RISM is pleased to announce a major addition to its free online catalog that strengthens its utility as a resource for the documentation of printed music. Two of its major publications have been added to the online catalog and are freely available online for anyone to search at opac.rism.info (https://opac.rism.info/metaopac/start.do?View=rism) and www.rism.info (http://www.rism.info/):
- The entire contents of A/I, Individual Prints before 1800
Released on CD-ROM in 2012 and previously in 14 printed volumes
- A portion of B/I, Recueils imprimés, XVIe-XVIIe siècles (Printed collections of the 16th-17th centuries), covering the years 1500–1550
The addition of these printed sources brings the total number of records in the online catalog to over 1,010,000. New search fields allow users to search by Publisher, A/I or B/I number, and Plate number. Search results can be refined using the categories Publisher or a RISM Series. Icons of prints and manuscripts allow quick visual recognition.
We would like to express our gratitude to Bärenreiter and Henle Verlag for allowing us to incorporate the data into our catalog.
This addition of over 100,000 prints to the online catalog is an initial step towards revitalizing coverage of printed music in RISM. There are certainly many additions and corrections to be made to the A/I and B/I data and we ask for your patience as we work out a procedure for reporting new information. Institutions or individuals with additions or corrections to prints already in A/1 or B/1 are welcome to report them to us but for larger amounts of corrections, as well as new printed items without entries in A/1 or B/1, it will probably be easier to wait until the new cataloging program, Muscat, is available (expected in late 2015).
This multi-year recording project is the Marine Band’s first comprehensive collection of Sousa’s marches since the 1970s. The collection is in chronological order, and Volume 1 contains his first 17 marches, covering the years 1873 to 1882. Volume 1 is available for free download on the Marine Band website, which includes audio, scrolling score videos, and PDFs of the sheet music (full scores and parts) with historical and editorial notes. Each march has been carefully edited and corrected by Lt. Col. Fettig and Music Production Chief Master Sgt. Donald Patterson using some of the earliest known publications and incorporate performance practices employed by the Marine Band that are modeled on those of “The March King” himself.
The Spirituals Database is a searchable database of nearly 1600 tracks from recordings of Spirituals written for the solo voice. Launched in March, 2015, it is part of The Art of the Negro Spiritual and carries on that project’s efforts to discover and share information about the Spiritual’s potential role in developing a singer’s repertoire.
The project’s goal is the eventual publication of a discography of Spiritual art songs.
The primary–but far from exclusive–audience is the voice student and coach/teacher who is looking for these recorded resources. All too often, recordings may be the first exposure a vocalist or vocal instructor has to the Spiritual. That person, likely unfamiliar with the genre and with the singers who have recorded these art songs, can use The Spirituals Database to find these recorded resources for the study of how Spirituals can be performed in a concert setting.
Even the more experienced performer of this repertoire will have reason to seek out information about the wide range of recordings–including a number of rare or out-of-print long-playing (33 1/3 rpm) and 78 rpm albums, audio cassettes and 45 rpm discs–represented here.
More information about The Spirituals Database is available at http://spirituals-database.com/.
The Center for Popular Music at Middle Tennessee State University announces the launch of its American Vernacular Music Manuscripts (AVMM) website. Built as part of a three-year project funded by the National Endowment for the Humanities and undertaken in partnership with the American Antiquarian Society, the AVMM site makes available for the first time hundreds of American music manuscripts from the 1730s to 1910.
The complementary collections of the Center for Popular Music and the American Antiquarian Society are among the largest and most significant holdings of such material in the nation. Approximately 350 unique, handwritten manuscripts were included in the project, totaling more than 17,000 pages of music.
The manuscripts were all scanned in high resolution to archival standards for preservation, with the images stored at the Internet Archive. The AVMM website serves as a front page and search engine for the images, where users can search by year, song title, subject, origin, creator, and keyword.
For more information, please visit the AVMM website: http://popmusic.mtsu.edu/ManuscriptMusic
“Does the name Jan Antonín Koželuh mean anything to you? It doesn’t register even to most classical music geeks. But Albrecht Mayer would like to change that.
Mayer, the Berlin Philharmonic’s principal oboist, chose a concerto by Koželuh and works by three other forgotten 18th-century composers for the new album Lost and Found. Mayer solos in the concertos and conducts the Kammerakademie Potsdam.
How did he discover these neglected composers? Online, of course. At least that’s where his research began.”
For the full story, please see NPR.org.
“Many scientists have speculated that Beethoven had an arrhythmia (an abnormal heart rhythm), and some of his music is evidence of that. It seems that certain parts of the opening of the Piano Sonata in E-flat major (Opus 81a) were “transpositions” of irregular heart rhythms.”
For the full story, please see Newsweek.
“The fourth release of material in the New York Philharmonic Leon Levy Digital Archives — the multiyear initiative to digitize the Orchestra’s extensive archives, funded by the Leon Levy Foundation — has been completed, with all existing Philharmonic printed programs, from the first concert in 1842 to the present, now available online, and current printed programs being added every concert week.”
For the full story, please see Library Journal.
A ‘revolutionary’ piano, created by Hungarian pianist Gergely Bogányi, promises ‘sound beyond time’. What does that even mean? Read more at The Guardian.
To many classical music lovers, “crossover” is a dirty word. And who can blame them? The holiday season is especially rich in ill-advised CD releases by opera stars belting out operetta arias or crooning Christmas jingles in arrangements that do no favors to either the singers or the songs. For the full story, please see the New York Times.
The viola was the instrument of choice for Mozart, Haydn, Bach, Dvorák and Beethoven; Jimi Hendrix and John Cale both played it; violinists turn to it to improve technique. So why is the viola the butt of jokes? Tabea Zimmermann defends her instrument.
Read the complete story at the Guardian.