New Online Catalog of Carl Nielsen’s Works

The Carl Nielsen Works Cat­a­logue; an online the­matic cat­a­log of Nielsen’s works com­plete with details of orig­i­nal man­u­script sources, per­for­mance his­tory, and pri­mary texts; has just been pub­lished

The cat­a­log is the result of a multi-year project by the Dan­ish Cen­tre for Music Pub­li­ca­tion which is based at the Royal Library in Copen­hagen. The library holds the major­ity of Nielsen’s sur­viv­ing manuscripts.

A Mozart Mystery: Sonata Manuscript Surfaces in Budapest

For Bal­azs Mikusi, a young Hun­gar­ian musi­col­o­gist, it was the find of a life­time. Leaf­ing through fold­ers of uniden­ti­fied man­u­scripts at the National Szechenyi Library in Budapest recently, he came across four pages of what looked to him like Mozart’s hand­writ­ing. As he read through the music, he told Agence France-Presse, he real­ized that he had stum­bled onto Mozart’s own score of the Piano Sonata in A, K.331 – one of the best-known Mozart sonatas because of its “Rondo alla Turca” finale.”

For the full story, please see the New York Times.

Sign the Henle Guest Book!

Clau­dio Arrau, Yehudi Menuhin, Arthur Rubin­stein — the founder of our pub­lish­ing house Dr. Gün­ter Henle and his wife Anne Liese often invited the most dis­tin­guished musi­cians of the time to their home.

From 1942 to 1979 they kept a guest book. We have now dig­i­tal­ized and tran­scribed it. In addi­tion we have also com­piled sev­eral indexes, as well as biogra­phies of the artists who were their guests.

Delve into this trea­sure trove with its insights into peo­ple, dates and rela­tion­ships. You can view it in its entirety and free-of-charge online.
» to the guest book

How Streaming Media Could Threaten the Mission of Libraries

Dig­i­tal music has made it eas­ier to buy and share record­ings. But try telling that to librarians.

In March 2011, the Uni­ver­sity of Washington’s library tried to get a copy of a new record­ing of the Los Ange­les Phil­har­monic play­ing a piece by Gus­tavo Dudamel, a pop­u­lar com­poser, that the library could lend to stu­dents. But the record­ing was avail­able only as a dig­i­tal down­load, and Ama­zon and iTunes for­bid rent­ing out dig­i­tal files.”

For the full story, please see The Chron­i­cle of Higher Edu­ca­tion.

World War I sheet music online at Library of Congress

From 1914 through 1920 the Library of Con­gress acquired over 14,000 pieces of sheet music relat­ing to what ulti­mately became known as the First World War, with the great­est num­ber com­ing from the years of the United States’ active involve­ment (1917–1918) and the imme­di­ate post­war period.  America’s entry into the war came at a time when pop­u­lar song­writ­ing and the music pub­lish­ing indus­try, cen­tered in New York’s Tin Pan Alley, was at its height and a new musi­cal form known as “jazz” was emerg­ing.  The sheet music col­lec­tion rep­re­sents the inter­sec­tion of this rich out­put of pop­u­lar song and the con­scious­ness of a nation at war that was itself emerg­ing, as a major world power.

In addi­tion to com­mer­cially pub­lished songs, the col­lec­tion also con­tains “music of the peo­ple” — the work of ama­teurs in van­ity press edi­tions and unpub­lished man­u­scripts.  The essay “World War I Sheet Music at the Library of Con­gress: America’s War, as Viewed by Pub­lish­ers and the Pub­lic” dis­cusses the his­tor­i­cal con­text of the col­lected songs and their reflec­tion of Amer­i­can soci­ety dur­ing the war.

Browse this collection.

Richard Maxfield Collection now streaming online

The Archive of Recorded Sound at Stan­ford Uni­ver­sity is delighted to announce that the Richard Max­field Col­lec­tion (ARS.0074) can now be lis­tened to online, via the collection’s find­ing aid on the Online Archive of Cal­i­for­nia

This col­lec­tion fea­tures nine dis­tinct works by the pio­neer­ing Amer­i­can elec­tronic music com­poser Richard Max­field, com­posed between 1959–1964, four of which are believed to be pre­vi­ously unpub­lished (Dromenom, Elec­tronic Sym­phony, Suite from Peri­pateia, and Wind). Addi­tion­ally, as Max­field fre­quently pro­duced unique edits of his work for each per­for­mance, many of the open tape reels that form this col­lec­tion include alter­na­tive edits to those pre­vi­ously pub­lished, such as the tapes for Amaz­ing Grace which fea­ture three dif­fer­ent ver­sions of the work.

You can read more about Max­field and this col­lec­tion on the Stan­ford Libraries Blog -

Daniele Gatti conducts a memorial concert for Claudio Abbado

Yes­ter­day evening, at the Dres­den Music Fes­ti­val and web­cast live on, Daniele Gatti was con­duct­ing a memo­r­ial con­cert for Clau­dio Abbado. Last Jan­u­ary, his depar­ture sad­dened us all, leav­ing the whole musi­cal world very lonely. At the begin­ning of the year, in an inter­view given by Mas­simo Bis­cardi (for­mer artis­tic con­sul­tant to the Orches­tra Mozart) for The Econ­o­mist, this lat­ter declared that Clau­dio Abbado “was a great men­tor to younger con­duc­tors like Gus­tavo Dudamel, Daniel Hard­ing and Daniele Gatti.” Yes­ter­day, per­form­ing along­side the con­duc­tor, was the great mezzo-soprano Wal­traud Meier, singing among other songs the ‘Urlicht’ (from Mahler’s Res­ur­rec­tion Sym­phony), that she had recorded in 1994 in a ref­er­ence ver­sion with Clau­dio Abbado; and the Mahler Cham­ber Orches­tra, a world-renowned orches­tra founded with the sup­port of the very much lamented con­duc­tor. Mahler was, with­out any doubt, one of Clau­dio Abbado’s favourite com­posers. And so, this month, we also sug­gest you a selec­tion of works shed­ding light on how influ­enced by Wagner’s works Mahler was. Both were keen on orches­tras of gar­gan­tuan pro­por­tions, with many brass instru­ments, as well as long silences and long-held melody tones, chro­mati­cism… Later this month, enjoy for the third year in a row the Flâner­ies Musi­cales de Reims and its con­certs of young tal­ents (very recently, true stars were revealed there, such as Beat­rice Rana and Edgar Moreau), a rare opera by Rossini, and aThird Sym­phony by Mahler (yes, still him!) con­ducted by the Bolshoi’s new musi­cal direc­tor Tugan Sokhiev, in Toulouse. Last, but def­i­nitely not least, on July 6th, while the entire world will be keep­ing their eyes riv­eted on Brazil, will be in São Paulo to web­cast Beethoven’s Sym­phony No. 9 con­ducted by Marin Alsop, dur­ing the World Cup.

In 2014, The Classical World Still Can’t Stop Fat-Shaming Women

After a week full of dis­cus­sions about gen­der and the news­room in the U.S., a pile of week­end reviews arrived from Lon­don, cour­tesy of five older male crit­ics writ­ing about an emerg­ing Irish mezzo-soprano named Tara Erraught. Erraught is singing Octa­vian in the Strauss opera Der Rosenkava­lier at the Glyn­de­bourne Fes­ti­val, which opened Sat­ur­day night.”

Read the full story at