“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.
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published songs, the collection also contains “music of the people” — the work of amateurs in vanity press editions and unpublished manuscripts.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.
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 Californiahttp://www.oac.cdlib.org/findaid/ark:/13030/kt6q2nf5jm/.
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electronic music composer Richard Maxfield, composed between 1959–1964, four of which are believed to be previously unpublished (Dromenom, Electronic Symphony, Suite from Peripateia, and Wind).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 - http://library.stanford.edu/blogs/stanford-libraries-blog/2014/07/richard-maxfield-collection-now-streaming-online.
Yesterday evening, at the Dresden Music Festival and webcast live on medici.tv, 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, medici.tv will be in São Paulo to webcast Beethoven’s Symphony No. 9 conducted by Marin Alsop, during the World Cup.
For the full story, please see Musical America.
“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 NPR.org.
“The very first people to hear or see any part of Brahms’s Fourth Symphony in 1885 had some surprisingly heretical things to say about the piece. Brahms and a friend played through the symphony on the piano to a group of his closest confidants, critics and collaborators, but the reaction was one of those devastatingly uncomfortable silences. Eduard Hanslick, Brahms’s critical champion, broke the uneasy atmosphere after the first movement with the unforgettable comment, “I feel I’ve just been beaten up by two terribly intelligent people”. As Brahms’s biographer Jan Swafford reveals, another friend, the writer Max Kalbeck, turned up at Brahms’s apartment the next day to recommend that the composer should not release the piece to the public in its current form. Instead, he suggested, he should keep the finale as a stand-alone piece, and replace both the slow movement and the scherzo. Riven by self-doubt, Brahms was unsure that he would allow the piece to have any life beyond its premiere in Meiningen that October. Only the work’s positive reception there, and the gradual, grudging change in his friends’ attitude to the piece at its Viennese premiere, convinced Brahms that the Fourth Symphony could survive.”
For the full story, please see The Guardian.
“Today marks 100 years since was born — or, as the musician might have put it, since he arrived on Earth. An influential jazz composer, keyboardist and bandleader, Sun Ra always insisted he was just visiting this planet.”
For the full story, please see NPR.org.
“The clue’s in the title, surely: Janáček’s Sinfonietta is precisely that; an orchestral divertissement and an occasional entertainment rather than an actual “symphony”. If you think that a piece that begins and ends with a phalanx of military fanfares, performed by an additional ensemble of 13 brass players - including nine trumpets – can’t possibly be taken seriously as one of the 20th century’s most compelling symphonies, then look away now. But I’m here to make the case for Janâček’s work (one of his final masterpieces, premiered in 1926, two years before his death) as the product of a unique approach to symphonic form, for the 1920s – or indeed for any other time.”
For the full story, please see The Guardian.
Charles Daniels Sheet Music Collection - http://searchworks.stanford.edu/view/10447189
The Charles Daniels Sheet Music Collection principally contains sheet music of works either composed by Daniels, published under his given name or one of his pseudonyms, notably Neil Moret, or works published by one of the many publishers Daniels was affiliated with during his career. Also included are piano rolls of works by Daniels, various periodicals from the late 19th and early 20th centuries, ephemera, and compositions and publications by the creator of the Charles Daniels Sheet Music Collection, Nan Bostick.
Monterey Jazz Festival Collection - http://searchworks.stanford.edu/view/7154358 (N.B details of the live festival recordings in this collection have been online for some time http://collections.stanford.edu/mjf/. Recent processing has included the creation of a finding aid that details the entire collection in addition to these live audio and video recordings) The collection contains the archives of the Monterey Jazz Festival from 1958 to the present. It primarily consists of unpublished sound recordings and videos of festival concerts, and interviews and panel discussions in various formats, many of which are also available as digital sound and video files. Also included are a variety of recordings received with the collection that are not recordings from the festival itself, but instead feature content connected to the festival in some way, such as studio recordings of artists who performed at the festival, demo tapes for artists wishing to perform at the festival, or various recordings relating to festival founder Jimmy Lyons in some way. Some books, photographs, posters, programs, and other miscellaneous papers can also be found in the archives. The collection adds material every year.