PERIODICA f $, MUSICA Newsletter of the Répertoire international de la presse musicale du XIXe siècle Centres internationaux de recherche sur la presse musicale RIPMxix CIRPM Volume I, Number 1 Spring 1983 An Introduction to the Fourth ' 'R ' ': H. Robert Cohen 1 Le répertoire international de la presse (Vancouver) musicale du XIX? siècle (RIPMxix) Periodicals Selected for Priority Indexing RIPMxix Commission 2 I. Western Europe Members II. North America Reflections on Nineteenth-Century Periodicals Imogen Fellinger 5 and Musicologica! Research (West Berlin) La presenza della musica nei periodici Roberto Vertí 6 bolognesi dal 1800 al 1830 (Bologna) The Use of Private Papers, Correspondence Leanne Langley 12 and Archives of the Publishing Trade in (Chapel Hill) British Music Periodicals Research Bibliographical Resources for Music Komel Michałowski 14 Periodicals in Poland I A Selective (Poznań) List of Polish Nineteenth-Century Music Periodicals Varia Ricerche all'Università di Catania Salvatore Enrico Failla 15 (Italia) sulla stampa periodica locale (Catania) The First Edition of the Music Criticism H. Robert Cohen 16 of Hector Berlioz Yves Gérard (Vancouver-Paris) Zoila Becali 's Música colonial cubana en Donald GÍslason 17 las publicaciones periódicas (1812-1902) (Vancouver) Havana: Editorial Letras Cubanas, 1979 A Note about Periodica Musica 18 i PERIODICA MUSICA —— -. Published by the Centre for EDITORIAL BOARD Studies in Nineteenth-Century Music / Centre international de H. Robert Cohen recherche sur la presse Elvidio Surian musicale and the Department Marcello Conati of Music of the University Editors of British Columbia Joel H. Kaplan Peter Loefflcr Zoltan Roman RIPMxix operates under the PRODUCTION ASSISTANTS auspices of the International Musicologica! Society and the Donald Gi'slason International Association of Isabel McCaughran Music Libraries BUSINESS MANAGER Richard Kitson © Copyright 1983, The University oí British Columbia PERIODICA MUSICA RIPMxix NEWSLETTER An Introduction to the Fourth "R": Le repertoire inter­ nineteenth-century press on an international scale. These discussions led to meetings with members of national de la presse musicale du dix-neuvième siècle the executive councils of several national musicol- (RIPMxix) ogical societies and ultimately to the plans, out­ lined at the 1981 Congress of the International H. Robert Cohen Association of Music Libraries, Archives and Docu­ mentation Centres (IAML), for the creation of Le (Vancouver) répertoire international de la presse musicale du dix-neuvième siècle. The development of musical romanticism coincides with the parallel development of musical journalism Stated succinctly, the goals of RIPMxix are and the creation of a very large number of periodi­ these: cals dealing, either entirely or in part, with musi­ cal activities.-'- Moreover, the extensive attention 1) to direct attention to the nineteenth-century in the press to music and musical life, noted first press as a documentary resource for the music histo­ in the 1830s and 1840s, continues into the twentieth rian; century. Specialized music reviews, feuilletone in 2) to develop a method—to be applied uniformly by daily newspapers, articles in literary periodicals, all collaborators—for cataloguing and indexing in theatrical journals and in magazines de mode, as writings on music and musical iconography in nine­ well as engravings and lithographs in the illustrated teenth-century periodical literature; press constitute, therefore, a documentary resource of truly monumental proportions that is of primary 3) to offer an opportunity for those interested in and unquestionable importance to the music historian. working in this area to do so within a clearly de­ Yet in spite of the wealth of information contained fined, internationally sanctioned structure; therein, two problems have prevented this material 4) to oversee the publication and distribution of from being exploited: the limited number of libraries the resulting reference tools, the Repertory itself;1 possessing the journals, newspapers and reviews, and the difficulty encountered when one attempts to lo­ 5) to make available copies of articles and icono­ cate specific information within an available source. graphy brought to light by the cataloguing effort; Because detailed indexing of nineteenth- and early twentieth-century periodicals dealing with music is 6) to develop in North America (at the University of extremely rare, the scholar wishing to consult arti­ British Columbia) and in Europe (at the Parma-Colorno cles or iconography—or reviews, advertisements, news Centre), an extensive microfilm research archive of notices or announcements—dealing with a given sub­ nineteenth-century periodical literature dealing with ject must, in most cases, simply resign himself to music; and turning literally hundreds if not thousands of pages 7) to disseminate information through the publication to locate relevant documents. Clearly, gaining bib­ of a newsletter concerning writings on music and mu­ liographical control and consequently access to this sical iconography in nineteenth-century journals. exceptional source of information is of profound im­ portance to the development of nineteenth-century In 1982, the International Association of Music studies in musicology. Libraries formally approved the creation of RIPMxix; the following year, formal approval for the creation In 1975, the Répertoire international d'icono­ of the Repertory was granted by the International graphie musicale (RIdIM) endorsed an elaborate under­ Musicological Society. RIPMxix now stands as the taking at Université Laval (Québec), dealing with fourth major international cooperative bibliographic the cataloguing and indexing of some 3,300 engravings undertaking in music, alongside Le répertoire inter­ of musical interest published between 1843 and 1899 national des sources musicales (RISM), Le répertoire in the illustrated French newsweekly IJ Illustration.^ international de littérature musicale (RILM), and As work on this project progressed, other ventures Le répertoire international d'iconographie musicale related to the nineteenth-century press were initi­ (RIdlM). ated at the University of British Columbia (Vancouver) and at the Conservatoire national supérieur de musique (Paris). Encouraged by these initial efforts and a In order to coordinate the work of RIPMxix, two growing interest in nineteenth-century studies in research centres—Centres internationaux de recherche general, a number of North American and European sur la presse musicale (CIRPM)—have been established: scholars and archivists met on several occasions to one with offices in Parma and Colorno, directed by discuss possible methods of coordinating work on the Marcello Conati and Elvidio Surian;^ the other at the University of British Columbia, directed by H. Robert Cohen. In order to assure the essential international nature of this undertaking, an advisory board, the Imogen Fellinger's Verzeichnis der Musikseitschriften des 19. Jahrhunderts (Regensburg: Gustave Bosse Verlag, 1968) lists 2,305, Commission Internationale Mixte, composed of eminent for the most part, music reviews published between 1798 and 1918. scholars and archivists, has also been established. 2 H. Robert Cohen, ed., Les gravures musicales dane l'Illustra­ tion, 3 vols. (Québec: Les Presses de l'Université Laval, 1983). These include the preparation of the first edition of the music criticism of Hector Berlioz, a catalogue of writings on music in the Revue des deux mondes, the compilation of the annual tables in the A list of RIPMxix-sponsored projects is published in Fontes Revue et gazette musicale de Paris and án index to musical iconog­ Artis Musicae 29 (1982): 158. A more detailed and updated list raphy in The Illustrated London Neus. Work in Paris is carried out will appear in the next issue of Periodica Musica. under the direction of Yves Gerard and is supported by the Centre The Centre in Italy is supported by various local and provin­ national de la recherche scientifique. cial government agencies, and the Emilia-Romagna regional government. PERIODICA MUSICA Spring 1983 The Cffl presently includes Richard Andrewes (Great Periodicals Selected for Priority Indexing by Members Britain), Barry S. Brook (U.S.A.), Maria Calderisi of the Commission International Mixte and the Com­ (Canada), Imogen Fellinger (West Germany), Yves Gerard (France), Christoph-Hellmut Mahling (West mission for Bibliographical Research Germany), János Kárpáti (Hungary), Alberto Gallo (Italy), Anders Lönn (Sweden), Kornel Michałowski (Poland), and the Directors of RIPMxix, H. Robert I. Western Europe: Austria, Belgium, Denmark, Cohen, Marcello Conati and Elvidio Surian. France, Germany, Great Britain, Italy, Norway, Sweden. In addition to the CIM, two other commissions have been formed, the Commission for Indexing Norms, to assist in determining internationally accepted u. North America: Canada, United States. standards of cataloguing and indexing, and the Com­ mission for Bibliographical Research, to serve as a liaison between the Repertory and nineteenth-century The Commission International Mixte and the Com­ periodical collections of national and international mission for Bibliographical Research is composed of significance. The membership of these two Commis­ scholars and archivists from thirteen countries. sions is composed of the following librarians and musi­ Commission members disseminate information concern­ cologists: Gillian B. Anderson (Library