IAML Electronic Newsletter No. 27, December 2007 IAML 2008 Vedi Napoli… … ma non muori. Our next annual confer- ence will take place in Naples (Italy), July 20-25. The web site is already up. Mark your calendar and your bookmarks.

Music in libraries

Arthur Rubinstein collection to Main Office) in . By 1947, Rubin- Juilliard School stein had returned to Paris, but it was not The family of until 1954 that his Paris home was returned (1887-1982) has donated to The Juilliard to him. His final years were spent in Paris School an extensive collection of original and Geneva, where he died in 1982. manuscripts, manuscript copies, and pub- In 1945, the material from Rubinstein’s lished editions seized by the Nazis from library was taken from Berlin to the USSR Rubinstein’s music library in his Paris by the Soviet Army. These 71 items came apartment and recently restituted by the back to Berlin in the course of a partial German government. The 71 items in the return of German cultural assets by the collection were returned in May 2006 to USSR in 1958-59 to the German Democ- the pianist’s four children, Eva Rubinstein, ratic Republic1. The music had been as- Paul Rubinstein, Dr. Alina Rubinstein, and signed to the Music Department of the Ber- John Rubinstein, by New York Consul lin State Library (East) and kept as unproc- General Dr. Hans-Jürgen Helmsoeth. By essed music resources for years. the German government’s own admission, After reunification of the Berlin collec- it marked the first time that Jewish prop- tions, the Prussian Cultural Heritage Foun- erty kept in the Berlin State Library was dation was given responsibility for the re- returned to the legal heirs. turn of the works in 1991. Most of the in- The returned items include music by dividual items lacked indications of prove- various , some works of which nance and could not be identified until re- are dedicated personally to Arthur Rubin- cently. References to the Rubinstein items stein. Among the original autograph scores were first discovered by a German group is the manuscript of Heitor Villa-Lobos’ of experts who were researching the fate of Rudepoêma, which was dedicated to cultural assets taken by the Soviet occupy- Rubinstein, as well as autographs by Ger- ing forces during the Second World War in maine Tailleferre, who was a member of the Glinka Museum in Moscow in 2003. the Paris group, Les Six. The Dutch musicologist, Willem de Vries, In the fall of 1939, Arthur Rubinstein aided in the discovery of the Rubinstein and his family emigrated to the United

States just prior to the invasion of Paris by 1 German troops in 1940. In that year, the Other articles from Mr. Rubinstein’s Paris apart- ment remain in Russia to this day. Their return Nazis confiscated Rubinstein’s property in seems unlikely given their parliament’s decision to Paris and moved his private library to the retain such war-time property as rightfully Russian Reichssicherheitshauptamt (Reich Security – a vote shockingly chronicled in the recent docu- mentary The Rape of Europa.

To submit an item to this newsletter, please send it via email to the address [email protected] To enquire about ad placement, please write to the advertising manager, David Day. IAML Electronic Newsletter N° 27 December 2007 provenance. After it was confirmed that the available on the Internet its entire collec- manuscripts belonged to the estate of Ar- tion of music manuscripts (see the auto- thur Rubinstein, the Foundation contacted graph manuscript of the Haffner Sym- the heirs. phony). The project will provide much- The scores and manuscripts will be part needed, Web-based access, free of charge, of Juilliard’s Peter Jay Sharp Special Col- to high-quality images and related descrip- lections and available to scholars and re- tions of every page within every music searchers by appointment. Mr. Rubin- manuscript in the collection. Users will be stein’s major collection of papers is housed able to page through a manuscript quickly in the Library of Congress in Washington, or turn to a particular page instantly, per- D.C. The Rubinstein Collection consists of form close comparisons of images from approximately 16,000 items, primarily several different manuscripts at once, and correspondence, and is available to re- study details not readily visible to the na- searchers in the Library’s Music Division. ked eye. Equally important, the digital im- Jane Gottlieb ages will be stored and managed in a way that will ensure their survival across plat- The Morgan Library to digitize forms and changes in file format. music manuscripts These images and descriptions will be The music collection of The Morgan Li- available via the institution’s online public brary & Museum includes over 1,000 mu- catalog. The Morgan will also be working sic manuscripts. Many are in the hand of with other institutions that house signifi- the ; most have never been re- cant music manuscript collections, includ- produced. Principal strengths are music of ing the Juilliard School, Harvard Univer- the eighteenth, nineteenth, and early twen- sity, and the Library of Congress, to de- tieth centuries. The eighteenth century is velop a unified portal for digitized versions represented by Bach, Handel, and Haydn; of their music manuscripts. the Mozart collection is one of the richest in the world. Nineteenth- and twentieth- IMC meeting in Beijing century composers who are especially well represented are Beethoven, Brahms, Cho- The International Music Council (IMC) is pin, Liszt, Mahler, Mendelssohn, and a membership organisation created by the Schubert. Berg, Menotti, Stravinsky, Director General of UNESCO as the advi- Schoenberg, and Webern are also repre- sory body to the agency on musical mat- sented with significant manuscripts. The ters. It functions as an independent interna- Morgan’s collection of music manuscripts, tional non-governmental organization considered one of the best in the world, is maintaining a formal associate relationship consulted by scholars, performers, conduc- with UNESCO. IMC has developed as a tors, and collectors. Currently, access is world expert organisation, a forum for ex- largely provided by appointment through change and reflection and an observatory the Morgan’s Reading Room. The collec- in the field of music. IMC has several tion is also made available to the public categories of membership, like National through a wide array of public exhibitions, Music Councils and International Music lectures, concerts, and other programs. Associations. IAML is one of many inter- Nevertheless, because of the fragility of national members. many of the items in the collection, there IAML has a reputation to meet in mag- are necessary limits on the amount of ac- nificent places (Sydney, Naples, Amster- cess that can be provided. The Library has dam….), but IMC has very high standards recently received a generous grant of too (Petra, Tokyo, Montevideo, Beijing, $500,000 from the Kovner Foundation for Tunis…). a three-year project to digitize and make In October it was my duty and privilege as President of IAML to attend the 32nd

2 IAML Electronic Newsletter N° 27 December 2007

General Assembly (GA) of IMC and the Outreach 2nd World Forum on Music (WFM), which was organized in connection with the As- I would like to draw your attention to a sembly. The six WFM sessions dealt with very worthwhile project being co-ordinated by the Norwegian MIC and endorsed by the basically four themes: Norwegian IAML Branch. • Music in Development “Transposition” is an initiative to help • Intellectual Property Rights the symphony and conservato- • Many Musics – Enhancing Musical ries in the Vietnamese cities of Hanoi and Diversity Saigon. Funding for shipping is available, • Music in the Future. but the project needs donations of scores The Forum sessions were well organized (including orchestral sets), and some with speakers from all over the world, recordings. If you think you may be able to help, even by donating one or two un- panel discussions and open discussions. wanted items, please click on this link for It was not possible to attend all sessions the explanatory letter and for the lists: because I chose to visit our Chinese IAML Please note that information only on member, the library of the Central Conser- available items is being collected at first – vatory of Music. do not send any music until the project I met the director of the library, Prof. Jia leader contacts you. Guoping, who is a composer and studied I would appreciate it if you could for- with Helmut Lachenmann in . It ward this appeal to any relevant colleagues, was very nice to meet again Gao Jie, di- for example orchestral libraries and na- rector of the Network Center and deputy tional branches. librarian. She attended two IAML confer- Many thanks for your help – this project deserves our support. ences and it was with her help that I could Aurika Gergeleziu organize my visit to the Central Conserva- Chair, Outreach committee tory. Wu Xu, director of the Scores and Audiovisual Department, showed me the The hosts of the meeting, the Chinese library and we discussed many aspects of Musicians Association, had prepared a his work, like cataloguing, acquisitions and very interesting entertaining programme of users. Western music in the Central Conservatory It was fascinating to visit a library which Concert Hall (Sino-German Youth Sym- has both a collection of scores of Western phony performing Beethoven music and a collection of notated tradi- and Brahms), a Dance Drama in the new tional Chinese music. Besides many books National Grand Theatre Opera Hall (The and journals in Chinese the library has a Great Dream of Dunhuang Grottos by collection of books and journals in English Lanzhou Opera and Dance Drama Thea- and other Western languages familiar to all tre), a concert of traditional Chinese in- of us. The library holds the largest collec- strumental music in the Beijing Concert tion of printed music in China, and is well Hall (Huaxia Chinese Orchestra), a concert equipped with modern technology and has of Chinese indigenous music from Yunnan good facilities for students to consult CDs Province, and a Peking Opera Show. and DVDs. During the GA, much time was needed I also was able to meet Ma Rongguo for such business as membership, strategic and Guo Lily, Head of Library and Assis- plan, elections, amendments to statutes and tant Library of the National Centre for the rules of procedure and the new member- Performing Arts. We discussed their plans ship fee structure. for the library and hopefully this new li- I was able to inform the GA of several brary will be IAML’s second member in alarming global trends in our library work: Beijing. the downgrading of specialist services, the loss of specialists posts and the closing

3 IAML Electronic Newsletter N° 27 December 2007 down of special courses in music librarian- 1997, and from that version into English – ship, despite the need for specialised train- this last avatar was recently published by ing. I mentioned to the GA that music li- Northeastern. z Edition Michael Procter is brarians need the support of the music pro- embarking on the publication of a 14- fession and asked IMC to support our volume edition of the sacred music of work. One way of doing so could be in the Giovanni Croce. z Henk Lambooij and form of a collective statement by IMC, Michael Feves, from the Netherlands Ra- recognizing the vital role of libraries for dio Philharmonic Orchestra, have pub- music. Another way could be by having lished A Cellist’s Companion: A Compre- more contacts between National Music hensive Catalogue of Literature. z Councils and National Branches of IAML. Alain Galliari, director of the I believe our profession and our Associa- Médiathèque musicale Mahler in Paris, has tion have become (a bit) more visible authored a detailed study (984 pages) on within IMC. Anton von Webern (Fayard, Oct. 2007). Martie Severt Non- Events, publications Norman Lebrecht’ controversial book, Maestros, Masterpieces and Madness: The IAML publications Secret Life and Shameful Death of the RIPM, the Retrospective Index to Music Classical Record Industry, published last Periodicals (1800-1950), has completed the April to mixed reviews (briefly: great style, annotated indexes to over one hundred confused ideas) has been withdrawn from music periodicals. z Contrary to the an- the shelves. It turns out this is an “inaccu- nouncement made at IAML 2007, Saur racy-riddled book, [which] includes a Verlag will publish in 2007 a RISM number of incorrect statements about the CDROM for the A/II series “Music Manu- record label Naxos, and Naxos’s founder, scripts after 1600”. z The latest issues of Klaus Heymann. In court, Penguin Books Forum Musikbibliothek, (2007/3 and 4), apologised for Lebrecht’s accusations, are out. Their tables of contents are at the agreed to pay legal costs and damages to end of this newsletter (p. 14). z A new Heymann, undertook not to repeat Le- issue of Intervalli is available, for those brecht’s allegations and agreed to round up who’d like to brush up on their Finnish. all the unsold copies of the book.” (Source: Jutta Lambrecht and BBC) “New” and new books New records Hermann Abert’s W.A. Mozart has finally appeared in English (Yale University Harmonia Mundi has just issued Stock- Press) – 80 years after its publication in hausen’s Stimmung (Copenhagen version) German. Charles Rosen has called this with the Theatre of Voices under the direc- monumental (1,600 pages) work “the best tion of Paul Hillier (see Jean-Jacques book on Mozart”, in a very interesting Millo’s review – in French). critical article published in the New York Newsletters, journals Review of Books, followed by an JMM 5 (the Journal of Music and Mean- exchange of letters between Rosen and ing) includes an invited paper by Edward Robert Marshall, about whom Rosen Green on “Aesthetic Realism & Mahler’s writes: “Robert Marshall’s understanding Sixth”, and three reviewed papers on Ben- of Mozart's ideas on aesthetics and expres- jamin Britten, on Stravinsky and on arm- sion is more profound and cogent than chair conducting. z The latest issue of the anyone else’s.” z Birgit Nilsson’s My Life newsletter of Eblida, the European Bureau in Opera, originally published in Sweden of Library, Information and Documenta- in 1995 was translated into German in tion Associations, is out. It reports on the

4 IAML Electronic Newsletter N° 27 December 2007 modifications of the copyright laws in Bel- words, adhere to the Circuit publication gium, and on a workshop on digitization of norms and be sent as an email attachment library material in Europe. The previous before April 14, 2008. issue dealt with so-called “orphan works” (in-copyright work where it is not possible Conferences to track down the rights holder because Many conferences on topics related to mu- they are not known or cannot be traced) sic will take place in the first few months and mass digitization. z The latest issue of of 2008 throughout the world. Among the the newsletter of the European Library is events of note next year, the celebrations out. This library can be thought of as a of a centennial – Olivier Messiaen’s, born kind of union catalog of many European December 10, 1908 – and of a centenarian, national libraries, thereby allowing for Elliott Carter (see below), born one day more efficient search across all their hold- later. z CMMR 2008, the fifth interna- ings. Selective searches can be performed tional symposium on computer music (e.g., only audio and printed music). modelling and retrieval, will take place in Copenhagen (Denmark), May 19-23. It Claude Vivier: call for papers seeks to enlarge upon the Sense of Sounds- The Société de musique contemporaine du concept by taking into account the musical Québec (SMCQ) and the journal Circuit, structure as a whole. A call for papers is in musiques contemporaines are proud to effect (deadline: February 15). z IASA announce the first international scholarly 2008, the conference of the International essay-writing competition, the “Concours Association of Sound and Audiovisual Hommage”, which will be held biannually Archives, will be hosted by the Austral- alongside the “Tribute Series” of the asian Sound Recordings Association at the Montréal/New Music Festival. Every two Australian National Maritime Museum in years, a composer is honoured by MNM, Sydney, Australia from 13–19 September and Circuit will publish a special issue 2008. It intends to explore the activities, devoted to this composer in which the achievements, interconnections and rela- winning essay will be published. tionships between individuals and institu- Writers, music-lovers, musicians and tions active in the field of sound and musicologists are invited to submit texts audiovisual collections. A call for papers is dealing with composer Claude Vivier, as in effect (deadline: January 31, 2008). z this season marks the sixtieth anniversary ISMIR 2008, the 9th international confer- of his birth, and twenty-five years since his ence on music information retrieval, will untimely death. The jury, composed of take place September 14-18 in Philadel- musicologists and prominent composers, phia, PA (USA). A call for participation is whose co-presidents are the composer in effect (deadline: March 26). The confer- Jean Lesage and the musicologist Jona- ence places a strong emphasis on scholarly, than Goldman, will meet in April 2008 to interdisciplinary papers: don’t hesitate to choose the winning text, which will appear submit. in Circuit’s Fall 2008 issue (vol. 18, no. 3). The selected writer will win a prize of Awards, grants $1000CAD, in addition to the usual hono- rarium given to contributors. Thanks to British composer awards their vast network of contacts, the SMCQ The winners of the 2007 British Compos- and Circuit, musiques contemporaines will ers awards were announced in early De- ensure that this article is widely dissemi- cember. They are: Thomas Adès (orches- nated internationally. tral), Julian Anderson (choral), Harrison Submission of articles about Claude Birtwistle (instrumental solo and duo), Vivier should contain no more than 6,000 Stephen Deazley (community project),

5 IAML Electronic Newsletter N° 27 December 2007

Brian Ferneyhough (, who organ (hydraulis). Later developments al- had won earlier in 2007 the Siemens Music lowed the organ to be played automati- Prize), Jem Finer (new media), Oliver cally: a cylindrical , revolving by Knussen (vocal), Stephen McNeff (stage), means of a water wheel, had projecting Tarik O’Reagan (liturgical), Guto Puw pieces fixed to its curved parts, almost like (BBC listeners), Howard Jones (making those of more modern carillon players. music), Wolfgang Rihm (international When each projection comes into contact award), and Edwin Roxburgh (wind or with a balanced lever, a hole on a horizon- brass band). tal pipe is uncovered and the note sounded by this pipe is heard2: music automata ex- Georg Friedrich Haas isted already 2000 years ago. In November 2007, composer Georg Frie- But music reproduction had to wait until drich Haas was awarded the Großer the invention of Charles Cros in 1877 – Österreichischer Staatspreis, the highest one year before Edison – of a “procedure distinction granted by . Born in for the recording and the reproduction of 1953 in Graz, Haas studied with Ivan Eröd, audible phenomena”. We all know how it Gösta Neuwirth and Friedrich Cerha. has affected – and continues to do so – the Grawemeyer Award reception of music by the public. In 1904, Edwin Welte invents the Peter Lieberson has been awarded the 2008 Mignon, designed to record not the sound Grawemeyer Award, worth $200,000 for produced by the , but the action of his Neruda Songs, on poems texts by the pianist – and thus to allow for a much Pablo Neruda, written for his late wife, better reproduction of the original per- mezzo-soprano Lorraine Hunt Lieber- formance: this is why we can listen to a son. She had performed the work with the very clean rendition of Beethoven’s Ecos- organizations that jointly commissioned it, saise in E flat as played in 1905 by Carl the Los Angeles Philharmonic and Boston Reinecke and recorded in 2006 on a Stein- Symphony, before she died in 2006. way Welte. This was a momentous land- mark in the pursuit of perfect preservation. Music reborn But as this device worked only for the Who hasn’t dreamt of hearing Bach play piano (and necessitated to own the instru- his works at the organ, or improvise on the ment to listen to the recording), most of the fortepiano, as he did for the King of Prus- performances of the past – including those sia? Who wouldn’t have liked to assist at a for piano only – were kept on such media Chopin piano recital (Frederic, not Henri)? as the cylinder and the disk. Audio restora- The quest for the preservation of traces of tion techniques can do miracles in cleaning the past goes way back: the exceptionally up the sound, but if essential parts of the vivid Fayum mummy portraits, dating signal were lost in the recording process, from the 1st century AD, are one of its the result will sound like many historical many manifestations. recordings sound: flatter, monophonic. But music works, and music perform- While this certainly doesn’t detract from ance even more so, are a different proposi- their musical quality, the taste of the public has become increasingly shaped by digital tion. Music notation probably started over 3 4000 years ago on cuneiform tablets recordings . (which were also the medium on which library catalogues first appeared). Mechanical music production is much 2 William Leslie Sumner, The Organ. Macdonald, older than the 18th century automata: about London, 1964. the year 265 BC, an engineer called Cte- 3 Which aren’t always truer to the original signal, sebius invented or improved the water by the way, but in different ways. Digitization may add some artefacts to the sound, and in many cases

6 IAML Electronic Newsletter N° 27 December 2007

Enter Zenph Studios, a company created This is yet another step in the long in 2002, with a novel idea – like Welte did march we have sketched. It has brought us for recording, but now for restoration: ex- to a day where we can go to a concert and tract from historical analogue piano re- hear the playing of the past on an instru- cordings not the sound, but performance ment of the present. Add to this the tech- information: attack, dynamics, rhythms. nology of virtual reality, and soon we’ll be This data can then be used to have a mod- able to “see” the dead pianist perform, as if ern player piano reperform the recording he were in the hall with us (or in a remote without the scratches, hisses and clicks of hall, see A night at the cinema below). the media, with all the glorious, dynamic Aren’t we on the threshold of a musical range of the piano, and even without the Jurassic Park? (Source) humming of the pianist or the coughs of the public. The result is stunning: listen to Other news of interest the “reperformance” of Chopin’s Troisiè- me prelude by Alfred Cortot, originally Just a page… but by Mozart recorded in 1926, replayed on a concert A single folio from Mozart’s draft for the grand in a small reverberant concert hall, Sinfonia Concertante was sold at an auc- and recorded on six channels. What you’ll tion in London for UK£110,900 hear is a stereo recording, but the rere- (US$223,778). Just imagine what would cording allows for the production of im- have been the price of the complete mersive versions on SACD multichannel score… To get an idea: the Beethoven- discs or on binaural spatialization systems. Haus in Bonn is trying to raise two mil- The first recording which Zenph pro- lions Euros (US$2.8m) in order to pur- duced commercially (on the Sony label) chase the manuscript of the Diabelli Varia- was Glenn Gould’s 1955 interpretation of tions. (Source: BBC). Bach’s Goldberg Variations, reperformed in the Glenn Gould Studio of Radio Can- Olivier Messiaen ada, on a Yamaha Diskclavier Pro harmo- Born in 1908, his life-long quest into such nized to sound like the 1955 instrument aspects of music composition as rhythms, used by Gould. harmony, polytonality and modality has He would certainly have liked this, his materialized in a wealth of works. His in- disdain for live performances being almost fluence as a teacher was as momentous as as legendary as his recordings. Actually, Nadia Boulanger’s, but in different ways, the information which has been thus ex- as one can count among his pupils several tracted from his recording allows one to generations of quite well-known diverse “correct” the playing without having to musicians: Yvonne Loriod (b. 1924, whom resort to additional takes: alter notes (Cor- Messiaen married and who became one of tot was known to miss some), correct the his outstanding performers, along with her attack, the intensity or the duration… any- sister ), Pierre Boulez (b. 1925), György thing goes. Yet at this point, all the Kurtág (b. 1926), Pierre Henry (b. 1927), changes will be the decision of artistic di- Karlheinz Stockhausen (1928-2007), rectors or sound engineers, not those of the François Bayle (b. 1932) or Iannis Xenakis defunct artist, and thus raises even more (1922-2001) as well as the younger Gérard than before the question of truth and au- Grisey (1946-1998), Tristan Murail (b. thenticity, while at the same time striving 1947), Michaël Lévinas (b. 1949) and to achieve perfect restoration. At least it is George Benjamin (b. 1960). In honor of true to the current taste. the hundredth anniversary of his birth, many performances of his work will take place during 2008 (such as the Ravinia it is “enhanced” in order to sound “better” and thus Festival, which will also celebrate to sell better.

7 IAML Electronic Newsletter N° 27 December 2007

Carter’s), as well as symposia and confer- be available on demand. According to Pe- ences (see Other conferences above). A ter Gelb, the Met’s general manager, this not-for-profit organization, Messiaen 2008, will double the audience of the perform- was recently established in order to coor- ances, and will allow the series to make a dinate and promote this wealth of events profit. (Source: NYT). Meanwhile, strikes and pass on this information on the Web. have continued at La Scala and the Paris Its honorary chairs are Yvonne Loriod and Opera. This won’t help them make profits. Pierre Boulez. Together alone Elliott Carter If going to the concert – or to any public Born one day before Olivier Messiaen, performance, for that matter – used to be Elliott Carter is alive and composing: his also construed as a social act, the Concerto was given its world pre- première of Merce Cunningham’s 2006 mière last month by the Boston Symphony dance piece, eyeSpace, required from the Orchesta (which awarded him for the sec- public to listen to one of several possible ond time the Mark M. Horblit Award for tracks of music (composed by Mikel distinguished work by an American com- Rouse) on an iPod (provided at the en- poser) and will be played at the Concertge- trance and returned after the performance). bouw on January 19. His only opera, What For those who didn’t want to insert a de- Next?, was given its New York première a vice in their ears, a sound track make of couple of weeks ago, and another pre- noises by Stephan Moore was also broad- mière, of a piano concerto, is yet to come. cast in the hall. This didn’t make the piece It indeed appears that “the number of more interesting or less repetitive, so why works he has written in the past thirty bother. Actually, the best work in that eve- years or so easily exceeds twice or even ning was Crises, going back to 1960: col- three times the number he wrote in the ourful (costumes by Robert Rauschen- previous thirty or even forty years”. In berg), joyful, polyphonic. addition to the international colloquium in his honor in Paris (see Other conferences Cancellations above) and the celebration at the Ravinia Conductor Claudio Abbado has cancelled Festival (see Olivier Messiaen above), all engagements in the near future — in- James Levine will conduct an all-Carter cluding a much-anticipated visit to Carne- program at Tanglewood in July 2008, and gie Hall — because of poor health. ● Con- a Ten for Carter concert, featuring ten ductor Edo de Waart and violinist Janine commissioned piano works (by composers Jansen have cancelled their visits to Tan- Milton Babbitt, Uri Caine, Jeffery Cotton, glewood. ● Barytone Dietrich Fischer- Alvin Curran, Jeremy Gill, Jennifer Dieskau cancelled the “One is expected Higdon, Jeffrey Mumford, Augusta Read concert he was to give to perform be- Thomas, Maurice Wright, and Ellen Taaffe in September in Paris yond the humanly Zwilich) will take place on February 29 in with pianist Hartmut possible… Dop- ing has long been New York. A web site has been put up by Höll for health rea- commonplace in Schirmer aiming at providing information sons. ● Several with- the music world... on the celebrations and on Carter’s works. drawals have recently Fear has become such a major fac- plagued the Salzburg tor that almost A night at the Opera cinema Festival: tenors Ro- any means seems For the second year, the Metropolitan Op- lando Villazón (who justified in order to live up to ex- era is having a series of high-definition live also withdrew from pectations.” transmissions of eight performances in performances at the Tenor Endrik some cinemas in the US and a dozen other Met) and Neil Shicoff, Wottrich, after falling ill at the countries, from Norway to Australia. A sopranos Anna Netre- Bayreuth Festival. month after the event, the video feed will bko, Patricia Petibon

8 IAML Electronic Newsletter N° 27 December 2007 and Diana Damrau, mezzo-sopranos Ves- (books, music scores, periodicals, manu- selina Kasarova and Elina Garanca scripts, online biographies and program ● Welsh bass-baritone Bryn Terfel has notes, sound recordings, documentary pulled out of his highly anticipated appear- films, databases…), but also their calendar ance in the Royal Opera’s production of of events (concerts, conferences, work- Wagner’s Ring cycle, due to “a particularly shops, courses…) and directory of people stressful family situation” involving one of and organizations. his children. ● German soprano Dorothea The French rights organizations have Röschmann has withdrawn from all of her agreed to let the project partners provide engagements for the next three months for online access to up to 3 minutes of re- health reasons. She was scheduled to sing cordings of each of the sound archives of the role of Countess Almaviva in Mozart’s contemporary music they hold and which Le nozze di Figaro at the Met. ● Cuban are currently being digitized to anyone on pianist Horacio Gutiérrez has cancelled the internet, and to the complete recordings all his engagements through January 2008 between partners, all for a reasonable fee. due to a diagnosis of a grave illness. Started in mid-February, the portal is op- erational and currently holds over 100,000 Mixup at the Sydney Opera records. It will open its electronic doors in It wasn’t a musical imbroglio. But the site January as scheduled (see Newsletter no. which we admired during the last confer- 22, p. 9). The Ministry of Culture has ence was witness to “a gaffe [George W.] agreed to the second phase of the project, Bush made while addressing business which should more than double the number leaders at a summit in the Sydney Opera, of partners in 2008, and include the French [where he] confused APEC (Asia-Pacific National Centers of Music Creation. A Economic Cooperation) with OPEC detailed presentation of the project will be (Organization of the Petroleum Exporting made at IAML 2008. Countries),” according to the Sydney Morning Herald. This geopolitical slip of The Netherland Radio Music tongue was followed by one transposing Library Catalog in English “Australian” and “Austrian”, and by an The Netherland Radio music library has exit through the wrong door (a probable recently launched its home-made English understandable mixup of côté cour vs. côté version of its online catalogue. jardin – I never could remember which is The sheet music collection is broadly which). The antipodal effect, I bet. orientated, with editions from many coun- tries and covering compositions from eight On The Web and elsewhere centuries. A team of skilled cataloguers is responsible for the content of this cata- Contemporary music re- logue. They combine international and sources in France national cataloguing standards with in- The portal of Contemporary music re- house rules. Our way of cataloguing en- sources in France is a joint project of six ables you to find compositions (including institutions: the Conservatoire de Paris, the popular songs) even if they are included in Centre de documentation de la musique an anthology. Moreover, all names of per- contemporaine (CDMC), the Cité de la sons that are artistically related to a com- Musique, the Ensemble intercontemporain, position have been added (librettists, ar- Ircam and the Médiathèque musicale rangers etc.). Mahler. Funded by the French Ministry of The catalogue consists of eight search Culture and the Sacem, it aims at providing pages, five of which are directly accessible a one-stop access to the wealth of re- from its homepage: Classical music, sources they hold or produce: documentts Light/popular music, Books about music,

9 IAML Electronic Newsletter N° 27 December 2007

Arrangements for light orchestras and Während die kostbaren Bestände bislang Composers. nur vor Ort über Zettelkataloge recher- This last and possibly most surprising chierbar waren, ermöglicht eine Datenbank section gives answers to questions like: nun die orts- und tageszeitunabhängige • Which composers were born 100 Suche via Index. Die Nutzer erhalten über years ago? den kostenfreien Service die Möglichkeit, • Which composers died this year? das Material komfortabel vom PC aus zu • Is Elliott Carter still alive? And Ir- sichten und auszuwählen. Zur weiteren ving Berlin? Verwendung können die Motive formlos • Of how many women composers per e-mail in hoher Auflösung bestellt from Estonia does the music library werden. Für die Reproduktionskosten und own scores? die Veröffentlichungsgenehmigung gilt die • In what year was Shakira born? Gebührenordnung der Thüringer Archive • What is the address of Sir Peter in der jeweils aktuellen Fassung. Maxwell Davies’s official website? Die Meininger Bildergalerie bietet eine Quite unique are the other three search Vielzahl unbekannter bzw. selten präsen- pages that are designed especially to help tierter Darstellungen prominenter Persön- one find classical repertoire with instru- lichkeiten des 18. bis 20. Jahrhunderts. mentation as a starting point. The menu Zudem gewährt sie einen Einblick in die option Classical Repertoire will lead one Lebenswelt der Dargestellten, so etwa im to these pages – for Chamber music, for Fall von über 30 privaten Aufnahmen von Orchestral music and for Vocal music. Brahms aus den 1890er Jahren, angefertigt They are pre-eminently useful for con- von Maria Fellinger und Heinz von Be- cert programmers and musicians looking to ckerath. Einzigartig dürfte auch die Fülle broaden their scope. Being one of the larg- erhaltener Fotografien Hans von Bülows est music libraries in Europe (and maybe sein. Einen wahren Bilder-Kosmos finden even in the world) one can discover in its die Nutzer zu Max Reger vor. Enorm ist collection music for even the most surpris- nicht nur die Menge an exzellenten Kunst- ing instrumental and vocal combinations. gegenständen, mit denen sich der rastlose So please visit the online catalogue and Musiker im täglichen Leben umgab. Sein discover the astonishing riches of our mu- sakral anmutendes Arbeitszimmer quoll sic library’s collection. schier über von auf Leinwänden, Papieren, Eric van Balkum Fotos oder in Gips festgehaltenen Größen Webmaster/cataloguer der Musikgeschichte. Die zahllosen von ihm überlieferten Bildnisse sind beredte The picture gallery of the Max- Belege sowohl für sein eigenes beständiges Reger Archiv Präsenzstreben als auch für Regers zeit- Am 15. November 2007 geht die Bilder- weise außerordentlich große Popularität. galerie der Sammlung Musikgeschi- Witwe Elsa sorgte nach seinem Tod chte/Max-Reger-Archiv der Meininger schließlich dafür, daß die bei ihrem Mann Museen online. Präsentiert werden rund allgegenwärtigen Totenbett-Bilder und 1.200 bedeutende Objekte, darunter Foto- Masken musikalischer Ahnen nur von ihm grafien, Gemälden, Grafiken und Porträt- selbst übertroffen wurden. So beauftragte plastiken, Plakate, Urkunden und Orden. sie bekanntlich gleich zwei Künstler mit Den Schwerpunkt bilden die zentralen Per- der Abnahme von Totenmasken: Richard sönlichkeiten der Meininger Musikge- Engelmann (Weimar) und Carl Seffner schichte sowie verwandte Themen- (Leipzig). bereiche, vorrangig aus dem Zeitraum zwi- Maren Goltz schen 1870 und 1945.

10 IAML Electronic Newsletter N° 27 December 2007

Boulez and Chéreau on Janáček Webber, or from oper to musical”. z Sev- Pierre Boulez as conductor and Patrice eral Czech and Moravian libraries have Chéreau as director had made history with partnered to buy in common electronic the 1976 Bayreuth production of Wagner’s licences to databases for our users. The Der Ring des Nibelungen. They paired first on will be the Grove Music Online, again earlier this year for Janáček’s Z which will be made available in seven lo- mrtvého domu (From the House of Dead), cations throughout the country. adapted from Dostoevsky’s account of his Jana Navratilova own experiences of penal servitude in Ser- Spain The branch has nearly 200 institu- bia. It is a “stark, moving miracle” of a tional and individual members and counts performance, according to Rupert Chris- three working groups: music cataloguing, tiansen, “one of the operatic highlights in orchestral archives and musical iconogra- Europe in recent years” in Alan Riding’s phy z Last year, AEDOM, the Spanish opinion. An online interview (in text and branch of IAML, organized a course on video formats) with Boulez and Chéreau, Internet for music cataloguers and docu- recorded on the date of the première of this mentalists. In December 2006, a meeting production in Vienna, is available. on the necessary collaboration between musicologists, interpreters and documen- Not (anymore) on the web talists, took place in Madrid. The papers A recent newsletter (no. 24, p 9) had re- which were presented will be published ported on the International Music Score next year. At the last annual assembly of Library Project – an online repository for AEDOM, Florence Gétreau was invited to an impressive number of music scores “in read a paper on musical iconography, and a the public domain in Canada”, according to new working group on this topic was cre- the student who ran this operation. We had ated. It is coordinated by Cristina Bordas. wondered about the rights (elsewhere) – z Volume 10 of our Bulletin came out in and right we were: it turns out that the site February, as well as the fourth volume of had to shut down due to copyright issues. our abstracts bibliography, BIME (Bilio- The web is international, rights differ from graphia musical española). A new facsim- country to country and they apply across ile venture in coedition with SEdeM (the borders. Maybe this should be taught to Spanish musicological society) has already students when they learn how to write (on brought about the publication of El can- the Web as well as on paper). cionero de la Colombina (January 2007), a fourteenth century chansonier in the Co- Reports from IAML 2007 lombina Library in Sevilla. José Carlos Gosálvez National reports The branch had 51 mem- Czech Republic The branch has now 23 bers at the end of 2006. z We held our full members. z The general meeting and General Assemblies in March 2005 and seminar took place in October 2006, during September 2006. The current board was which the president of the Czech Associa- constituted in June 2006. Unfortunately, tion of librarians and documentalists re- neither the Swiss Radio Studio archives ported in detail about the Czech Copyright and libraries, nor collections and museums Law and its impact on access of sound and of musical instruments are represented on printed documents in music libraries. The the board. The seat of the Italian part of Music Department of the Jiri Mahen Li- Switzerland is also open. z A working brary in Brno held its seventh seminar in a group of the libraries of the Musik- cycle of lectures on musical history. This hochschulen, established in 2004, met for one was dedicated to the history of music the second time in 2006. Thus far, only theatre, “From Monteverdi to Lloyd- RILM and RISM are active, the latter with

11 IAML Electronic Newsletter N° 27 December 2007 its own free online database.z The new home page of the branch contains the full list of music collections and libraries in Switzerland. Dorothea Baumann

Transition Karlheinz Stockhausen (1928-2007) One of the outstanding composers of the 20th century and a pioneer of electronic music and spatialization, Karlheinz Stock- hausen had studied music, philosophy and German studies at the University of Köln, 1946. Subsequently, he went to Rome to and later with Olivier Messiaen in Paris, study with Goffredo Petrassi at the Acca- where he met Pierre Boulez and Pierre demia Santa Cecilia. His composing career Schaeffer. His cosmic and holistic concep- started to soar after the Paris success of his tions found some of its roots in Hermann Concerto No. 3 in the seventies, and it was Hesse’s Glass Bead Game4: (also known at this time that he composed his large- as Magister Ludi). The most remarkable of scale orchestral works (Trasfigurazioni, his more than 360 works is Licht (“Light”), Musica per Orchestra). In the eighties, at a cycle of seven operas lasting ca. 28 the request of the King’s Singers, he wrote hours, which he had started composing two splendid vocal pieces, Fabula Phaedri over 25 years ago and planned then to fin- and Miserere. His string quartet was pre- ish in 2002. This should not obscure some miered at the Orlando Festival in Holland, of his masterworks, like Momente or the and his piano piece Paesaggio con morti at Klavierstucke. Even more popular than the Orkney Island Festival (UK). His com- Xenakis and Ligeti, he appealed also to positions have been played in almost every people outside learned contemporary mu- city in Europe and America. As a musi- sic, such as Lennon, Zappa, the Beatles, cologist, he laid the foundations of Bartók Björk or Radiohead. In preparation of his and Kodály studies. For his activity as a 80th birthday in 2008, Stockhausen Verlag composer and musicologist he was had produced a document including his awarded the Erkel Prize in 1971, the Kos- biography and list of works. suth Prize in 1985, and the Bartók-Pásztory Prize in 1986 and 1988. In 1993 he was András Szõllõsy (1921-2007) elected to the ranks of the Széchenyi One of the most important post-Bartók Academy of Letters and Arts, and in 2006 Hungarian composers, the “third master” was awarded the Széchenyi Prize. He was alongside György Ligeti and György a Professor Emeritus of the Franz Liszt Kurtág, András Szõllõsy died on Decem- Music Academy. ber 6. He studied composition with Zoltán Petr Eben (1929-2007) Kodály and János Viski at the Music Academy in Budapest between 1939 and Czech composer Petr Eben had studied piano, as well as cello and organ. Due to

4 his Jewish roots, he was deported to the “Hesse explains the game as developing out of Buchenwald concentration camp when he musicology and mathematics into a futuristic game woven as a symphony of knowledge and ideas. The was 15. After the war, he resumed his stud- game is more or less left to the reader’s imagination ies, with Frantisek Rauch for the piano with a few hints at sources and influences but with and Pavel Bokovec in composition. He no explanation of how it really works.” (Source)

12 IAML Electronic Newsletter N° 27 December 2007 later taught music at the Charles University additional previously unpublished ones. in Prague, and from 1978 to 1979 was pro- (Sources: Richard Chesser and Times fessor of composition at the Royal North- Online) ern College of Music in Manchester. From 1990 he became professor of composition Opera losses at the Academy of Performing Arts in Pra- These past few months, several famous gue and President of the Prague Spring singers have taken their final curtain call: Festival. His works include oratorios, bal- Rose Bampton (1907-2007), Régine Cres- lets, symphonic music, masses and operas. pin (1927-2007), Teresa Stich-Randall In 2000, he was the recipient of the Euro- (1927-2007) and Beverly Sills (1929-2007) pean church music prize. “To many, he – all four during the summer, and Luciano was a worthy descendant of the Bohemian Pavarotti (1935-2007) in early September. composer lineage traced back to Dvorák, For those who appreciated their art, records Suk and Janácek”, wrote Malcolm Riley and films are sure to be available for quite in Gramophone. a while. Guy Erismann (1923-2007) Contributors French musicologist Guy Erismann spent all his professional life at Radio France, Many thanks to the following people who from 1945 until 1988, where he established have contributed directly or indirectly to the musical program of its France-Culture this issue: Dorothea Baumann, Richard station. A specialist of Eastern Europe mu- Chesser, Roger Flury, Søren R. Fri- sic5, he is the author of books on Antonin modt-Møller, Aurika Gergeleziu , Ma- Dvořák, Leoš Janáček, Bohuslav Martinů, ren Goltz, José Carlos Gosálvez, Jane Bedřich Smetana… and of many articles in Gottlieb, Vashti Gray, Klaus Keil, Jutta music periodicals. Lambrecht, Heikki Poroila, Michael Procter, Martie Severt and György Ursula Vaughan Williams Wallner. Photo by István Huszti. (1911-2007) Writer and poetess Ursula Vaughan Wil- liams was the second wife of Ralph Vaughan Williams. She helped him resume composing and take a larger role in the musical life in London in his latter years. After his death in 1958, she wrote his biog- raphy (RVW: A Biography of Ralph Vaughan Williams), and encouraged the performance of his music. She served on the governing body of the Royal Academy of Music. She became a patron of count- less musical organisations and societies, and was a major benefactress of the British Library. Her autobiography, Paradise Re- membered, was completed in 1972 but published only thirty years later. Her own poems were brought together in a book published in 1996, and later reedited with

5 And in particular of Czech music. I was for‐ tunate to be a member of a group who visited with him Dvořák’s house. ‐ MF

13 IAML Electronic Newsletter N° 27 December 2007

INHALT

...zU DieseM HeFT 2 2 1

A i B M 2 2 3

4 Sydney leuchtete - Bericht über die IAML-Conference in Sydney vom 01.–06.07.2007 (Cordula Werbelow) 223 4 Ergebnisse der Wahlen für den internationalen IAML-Vorstand 230 4 Jubiläum: 60 Jahre Abteilung Musik, Th eater, Film in der Universitätsbibliothek Frankfurt am Main (Ann Kersting-Meuleman) 231 4 Treff en norddeutscher Musikbibliothekarinnen und Musikbibliothekare (Judith Slembeck) 234 4 Stille in Hamburg (Markus Müller-Benedict) 235 4 Zusatzausbildung Musikinformationsmanagement 237 4 Trauer um Brigitte Berenbruch (Ingrid Bodsch u. Katrin Reinhold) 238

B e i T R Ä G e 2 4 0 4 Peter Petersen: Dimensionen der Ausgrenzung. Warum es ein Lexikon NS-verfolgter Musiker geben muß 240 4 Maren Goltz: Meininger Musikgeschichte geht online 252 4 Danielle Roster: Das Musikarchiv und Frauenmusikförderprojekt Euterpe in Luxemburg 257 4 Julia Maass: Digitale Musik in Bibliotheken – eine Delphi-Studie 263

nACHTRÄGe zU BioGRAPHisCHen MUsiKLeXiKA 2 7 9 4 Nekrolog 2006 (Red. Susanne Scholze) 279

neUiGKeiTen UnD noTizen 2 8 7 4 Berlin: Musikinstrumenten-Museum. Carl Czerny (1791–1857). Pianist, Komponist, Pädagoge (Ausstellung) 287 4 Düsseldorf: NRW-Komponisten online 288 4 Frankfurt am Main: Umzug der Zentralbibliothek mit Musikbibliothek 289 4 Frankfurt am Main: 60 Jahre Musik- und Th eaterabteilung der Universitätsbibliothek 290 4 Karlsruhe: Susanne Popp (MRI) erhält Bundesverdienstkreuz 290 4 Karlsruhe: Max-Reger-Institut feiert Geburtstag 291 4 Leipzig: Neue Bach-Ausgabe abgeschlossen 291 4 Paderborn: Digitale Edition zwischen Experiment und Standardisierung (Konferenz) 293

Table of contents of Forum Musikbibliothek 2007/3 IAML Electronic Newsletter N° 27 December 2007

Websites 4 Juilliard Manuscript Collection jetzt online 293 4 Internetportal zu Ethel Smyth 294 4 Neue Datenbank für Werkanalysen 294

Rezensionen 2 9 6 4 K. Snyder: Dieterich Buxtehude: Leben, Werk, Aufführungspraxis (A. Schnoor) 296 4 „Ein fürtrefflicher Componist und Organist zu Lübeck“: Dieterich Buxtehude (1637–1701) / Hrsg. v. D. Schröder (T. Senkbeil) 297 4 und die Gegenwart – Beiträge zur Bach-Rezeption 1945–2005 / Hrsg. v. M. Heinemann [u.a.]; „Zu groß, zu unerreichbar“ – Bach-Rezeption im Zeitalter Mendelssohns und Schumanns / Hrsg. v. A. Hartinger [u.a.] (M. Noeske) 298 4 S. Hiemke: Johann Sebastian Bach – Orgelbüchlein (S. Tiggemann) 300 4 Mozarts Orchesterwerke und Konzerte / Hrsg. v. J. Brügge [u.a.] (P. Sühring) 301 4 C. Köckritz: Friedrich Wieck. Studien zur Biographie und zur Klavierpädagogik (P. Sühring) 302 4 H.W. Wüst: Frédéric Chopin: Briefe und Zeugnisse (C. Niebel) 303 4 D. Buschinger: Das Mittelalter Richard Wagners (L. Steinbach) 304 4 R. Reiser: König Ludwig II., Cosima und Richard Wagner (B. v. Seyfried) 305 4 J. Köhler: Ich, Cosima. (B. v. Seyfried) 306 4 N. Keil-Zenzerova: Adolph von Henselt. Ein Leben für die Klavierpädagogik in Russland (G. Günther) 307 4 H.-D. Roser: Franz von Suppé. Werk und Leben (A. Vollberg) 308 4 Friedrich Kiel-Studien Bd. 4 u. 5 / Hrsg. v. P. Pfeil (M. Noeske) 309 4 L.M. Koldau: Die Moldau: Smetanas Zyklus Mein Vaterland (M. Rebmann) 311 4 Gustav Mahler: „Mein lieber Trotzkopf, meine süße Mohnblume“. Briefe an Anna von Mildenburg / Hrsg. v. F. Willnauer (F. Hürter) 312 4 T. Mäkelä: Poesie in der Luft – Jean Sibelius. Studien zu Leben und Werk (A. Odenkirchen) 313 4 Zur Interpretation der Orgelmusik Max Regers / Hrsg. v. H.J. Busch (A. Tiggemann) 314 4 J.L. Mayer: Dmitrij Dmitrijewitsch verlacht den Olymp. Wie entdeckt Schostakowitsch die Formel für den Antiformalismus (A. Hopfengart) 315 4 I. Ahmels: Hans Otte – Klang der Klänge. Sounds of sounds (A. Hopfengart) 316 4 Eta Harich-Schneider: Musikalische Impressionen aus Japan 1941–1957 / Hrsg. v. I. Fritsch (M. Elste) 317 4 E. Wernhard: Clara Haskil. Inszenierte Lesung mit Musik (V. Funtenberger) 317 4 …es blüht hinter uns her – Festschrift für Almut Rößler/ Hrsg. von J. Abbing (M. Noeske) 318 4 H. Haffner: Die Berliner Philharmoniker; Die Orchesterrepublik – Ein Streifzug durch die Geschichte der Berliner Philharmoniker / Hrsg. v. d. Pressest.

Table of contents of Forum Musikbibliothek 2007/3 IAML Electronic Newsletter N° 27 December 2007

d. Berl. Philh.; D. Blum: Berliner Philharmoniker; N. Kenyon: Simon Rattle – Abenteuer der Musik (Cl. Niebel) 319 4 T. Otto u. St. Piendl: Erst mal schön ins Horn tuten. Erinnerungen eines Schallplattenproduzenten. Gespräche mit Wolf Erichson und Nikolaus Harnoncourt [u.a.] (M. Elste) 321 4 P. Braun: Komponisten und ihre Häuser (S. Kaindl) 322 4 Über den traurigen und fröhlichen Gesang. Reformierte Tonsatzbetrachtungen im Musiktraktat I 4°288 der Stadtbibl. Leipzig (um 1600) / Hrsg. v. W. Braun (K.E. Went) 323 4 M. Wersin: Reclams Führer zur lateinischen Kirchenmusik (P. Sühring) 324 4 G.A. Krieg: Einführung in die Anglikanische Kirchenmusik (M. Noeske) 325 4 E. Schmierer: Geschichte des Liedes (G. Günther) 326 4 J.M. Fischer: Vom Wunderwerk der Oper (V. Funtenberger) 327 4 Bearbeitungspraxis in der Oper des späten 18. Jahrhunderts. Bericht über die Intern. wissenschaftl. Tagung vom 18. bis 20.02.2005 in Würzburg / Hrsg. v. U. Konrad (G. Günther) 328 4 J. Goebel: Computer: Musik: Ästhetik. Klang-Technologie-Sinn. Aufsätze, Texte und Sendungen (A. Hopfengart) 329 4 Deutsche Leitkultur Musik? Zur Musikgeschichte nach dem Holocaust. / Hrsg. v. A. Riethmüller (P. Sühring) 330 4 H.-J. Homann: Praxishandbuch Musikrecht: Ein Leitfaden für Musik- und Medienschaffende (M. Müller-Benedict) 331 4 J. Robertson u. P. Humphries: The Beatles. Story und Songs kompakt. (M. Stapper) 333 4 Freddie Mercury: Ein Leben in eigenen Worten / Hrsg. v. G. Brooks [u.a.] (M. Stapper) 334 4 S. Tesche: Mr. Kiss Bang Bang. Die Geschichte der James-Bond-Filmmusiken (M. Stapper) 335 4 Die Ärzte: Bäst of Songbook (M. Stapper) 336 4 Ch. Drewing: Die wahren deutschen Superstars … und wie alles beginnt (M. Stapper) 337 4 1001 Alben. Musik, die Sie hören sollten, bevor das Leben vorbei ist / Hrsg. v. R. Dimery (M. Stapper) 338 Für junge Leser 4 Ch. Mellich: Charlottes musikalische Abenteuer (J. Lambrecht) 339 4 A. Schönberg u. P. Schössow: Die Prinzessin (J. Lambrecht) 339 4 Ch. Heimbucher: Clara und Robert Schumann (J. Lambrecht) 340 4 M. Simsa: Mit Gesang und Himmelsklang. Johann Sebastian Bach für Kinder (CD); M. Simsa: Große Komponisten für kleine und große Ohren (CD) (M. Stapper) 341 4 M. Collins: Popinstrumente und wie man sie spielt (J. Lambrecht) 343 4 R. Mauz: Musikinstrumente entdecken – Die Klarinette (J. Lambrecht) 344 4 U. Rühle: Komponistenlexikon für junge Leute (J. Lambrecht) 345

Table of contents of Forum Musikbibliothek 2007/3 IAML Electronic Newsletter N° 27 December 2007 INHALT

ZU DIESEM HEFT 3 5 3

AIBM / RILM 3 5 5

 Adieu, Wolfgang Krueger! (Susanne Hein / Jutta Scholl) 355  Credit Points und Schwarzwälder Kirschtorte. Eindrücke von der 42. AIBM- Jahrestagung in Freiburg vom 18. bis 21. September 2007 (Claudia Niebel) 358  Susanne Staral: Musikwissenschaftliche Publikationen in Deutschland zu Beginn des 21. Jahrhunderts im Überblick 363

B E I T R Ä G E 3 6 7

 Jürgen Schaarwächter: 60 Jahre Max-Reger-Institut/Elsa-Reger-Stiftung 367  Ina Sperl: Musik für alle Felle [!] - Beruf: Musikberater 372  Joachim Jaenecke: Die Deutsche Musiksammlung in der Staatsbibliothek zu Berlin und ihre Nachfolger 374

NEUIGKEITEN UND NOTIZEN 3 8 0

 : In neuen Räumen international zugänglich. Bücher- und Notenbestände des FrauenMusikForums Schweiz FMF werden Teil des Katalogs IDS Bibliotheksverbund Basel/Bern 380  Bonn: Bach, Mendelssohn, Schumann. Triumvirat einer Musikstadt (Ausstellung) 381  Bremen: Sophie-Drinker-Institut stellt Katalog mit Orchesterwerken von Komponistinnen online 382  Hilversum:  e Netherlands Radio Music Library Proudly Presents …  e Catalogue in English! 382  Leipzig: Museumsumbau und Ausstellung „Ein weitberühmter Musicus und Organiste“ – Dieterich Buxtehude (1637-1707) 384  Lübeck: „Digitaler Notenschrank" – neues Internet-Projekt des Brahms-Instituts 384  Zwickau: Joseph Joachim (1831-1907) – Freund Robert und Clara Schumanns (Sonderausstellung) 386 Websites 386  Carl-Reinecke.de 386  mugi.hfmt-hamburg.de/mugi.multimedial. MUGI Multimedial-Forschungs projekt MUGI Musik und Gender im Internet 387  musikanalyse.de 389  Sophie-Drinker-Institut.de 391

Table of contents of Forum Musikbibliothek 2007/4 IAML Electronic Newsletter N° 27 December 2007 REZENSIONEN 3 9 2

 P. Ryom: Antonio Vivaldi. ematisch-systematisches Verzeichnis seiner Werke (RV) (J. Lambrecht) 392  Konzertführer Barock / Hrsg. v. W. Konold u. E. Reisinger; Konzertführer Romantik / Hrsg. v. W. Konold (G. Finke) 394  F. u. I. Laufenberg: Hit-Lexikon des Rock und Pop (M. Stapper) 395  L.Prautzsch:BachundBeys:Wassieverbindet–wassietrennt(S.Kaindl) 396  L. u. J. Berger: Anna Amalia von Weimar. Eine Biographie; A. Seemann: Anna Amalia Herzogin von Weimar; Anna Amalia, Carl August und das Ereignis Weimar / Hrsg. v. H. . Seemann (B. Brand) 397  Mozarts Opern. Das Handbuch / Hrsg. v. D. Borchmeyer u. G. Gruber (P. Sühring) 399  U. Kaiser: Die Notenbücher der Mozarts als Grundlage der Analyse von W. A. Mozarts Kompositionen 1761–1767 (P. Sühring) 401  Beethoven und der Musikverlag Breitkopf & Härtel / Hrsg. v. N. Kämpken u. M. Ladenburger (J. May) 402  J. Lotz: Frédéric Chopin (Hörbuch) (C. Niebel) 403  F. Dieckmann: Bilder aus Bayreuth. Festspielberichte 1977–2006 / Hrsg. v. W. Behrens (L. Steinbach) 404  J. Aufenanger: Richard Wagner und Mathilde Wesendonck. Eine Künstlerliebe (B. v. Seyfried) 405  Ph. Olivier: Der Ring des Nibelungen in Bayreuth von den Anfängen bis heute (L. Steinbach) 406  Paul Claudel, Correspondance musicale avec Jacques Benoist-Méchin, Walter Braunfels, Paul Hindemith [u.a.] / Hrsg. v. P. Lécroart (D. Rahmer) 407  D. Schickling: Giacomo Puccini. Biografie (G. Günther) 407  D.Gojowy:MyriamMarbe.NeueMusikausRumänien(A.Hopfengart) 408  N. de Palézieux: Sternstunden der Musik (V. Funtenberger) 409  M. Goltz u. H. Müller: Der Brahms-Klarinettist Richard Mühlfeld (M. Noeske) 410  F. Haas: Der Magier am Dirigentenpult. Felix Mottl (L. Steinbach) 411  Variationen mit Orchester: 125 Jahre Berliner Philharmoniker / Hrsg. v. d. Stiftung Berliner Philharmoniker (C. Niebel) 412  M. Aster: Das Reichsorchester. Die Berliner Philharmoniker und der Nationalsozialismus; E. Straub: Die Furtwänglers. Geschichte einer deutschen Familie (P. Sühring) 413  K. Bazzana: Pianist X – Die Lebensgeschichte eines exzentrischen Genies (M. Noeske) 415  D. Hope: Familienstücke. Eine Spurensuche (Buch und Hörbuch) (A. Hopfengart) 417  W. Herrmann u. A. Hollaender: Legenden und Stars der Oper: Von Gigli über Callas bis Domingo und Netrebko (St. Heinrich) 418  N. Lebrecht: Ausgespielt. Aufstieg und Fall der Klassikindustrie (M. Elste) 419

Table of contents of Forum Musikbibliothek 2007/4 IAML Electronic Newsletter N° 27 December 2007

 J. Roth u. M. Sailer: Deep Purple. Die Geschichte einer Band (M. Stapper) 422  A.Summers:I’llbewatchingyou.InsideePolice1980–83(M.Stapper) 423  A.Cobbers:„Wirsindjetzt!“FrontfrauenimdeutschenPop(G.Finke) 424  Oper in Köln. Von den Anfängen bis zur Gegenwart. / Hrsg. v. Ch. Schwandt (A. Vollberg) 425  M. Wedel: Der deutsche Musikfilm. Archäologie eines Genres 1914–1945 (M. Stapper) 426  Orte der Musik / Hrsg. v. S. Rode-Breymann [u.a.] (C. Niebel) 427  N. Nowack: Grauzone einer Wissenschaft. Musiksoziologie in der DDR unter Berücksichtigung der UdSSR (P. Sühring) 428  M. Carbov u. Ch. Schönherr: Chorleitung Pop Jazz Gospel – Der sichere Weg zum richtigen Groove (R. Schuhenn) 430  L. Scholz: Die Musikbranche: Ausbildungswege und Tätigkeitsfelder (C. Niebel) 431 Für junge Leser  T. Brauer: Reise durch die Weltmusik (M. Stapper) 432  Musikgeschichte(n) für Kinder: K. Neuschäfer: Aus dem Leben von Antonio Vivaldi, Franz Liszt und E. T. A. Hoffmann ; V. Vanhoefer: Johann Sebastian Bach und die schlaflosen Nächte des Grafen Keyserlingk; Uhus Reise durch die Musikgeschichte: Das 11. Jahrhundert u. Das 16. Jahrhundert (CDs) (J. Lambrecht) 433  B. Newman u. G. Tomblin: Berühmte Ballettgeschichten für Kinder (M. Stapper) 435 Für den Gabentisch  H. Sonnabend: Wie Nero das Chanson erfand (J Lambrecht). 436  D. u. B. Puertas: Musik-Sudoku 2 : das Original „Sidoku"; 60 neue „klingende" Rätsel für Einsteiger und Fortgeschrittene (S. Kaindl) 437  P. Planyavsky: Moritz Reger und andere Schrägheiten (J. Lambrecht) 437  Noch nicht rezensiert, aber zu empfehlen (jl) 438

Stellenangebot 439

Table of contents of Forum Musikbibliothek 2007/4