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 http://www.kb.dk/dcm/cnw.html.
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.
Check out this freely available biographical resource of violin and bow makers (14,000 and counting). Most of the information is based from The Brompton’s Book of Violin and Bow Makers by John Dilworth.
“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.
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
“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.