2003

BH -- Music


Lexikon Danziger Komponisten: Mitte 18. bis Mitte 20. Jahrhundert [A Lexicon of Danzig Composers: Mid-18th to Mid-20th Century]. Peter Oliver Loew. In: Musikalische Beziehungen zwischen Mitteldeutschland und Danzig im 18. Jahrhundert: Konferenzbericht Gdansk 20.–22. November 2000 [Musical Relations between Central Germany and Danzig in the 18th Century: Conference Proceedings, Gdansk, November 20–22, 2000], p. 227–312. Ed. Danuta Popinigis and Klaus-Peter Koch. Sinzig: Studio, 2002. 312 p. ill. music. (Edition IME: Reihe 1, Schriften, 9). ISBN 3-89564-074-3: EUR 30 [03-1-189]

As a byproduct, so to speak, of his dissertation (Danzig und seine Vergangenheit: 1793 bis 1997; die Geschichtskultur einer Stadt zwischen Deutschland und Polen [Danzig and its Past, 1793 to 1997: Cultural Developments in a City between Germany and Poland], Osnabrück, 2003), Loew gives us here a dictionary of 153 composers who were born between 1783 and 1911 in Danzig, or who lived there for a period, or felt some special connection to the city.

The author supplements information from the contemporary press in Danzig with that found in the secondary literature. He stresses that this is a provisional work, and states the desirability of incorporating the information into a broader study of Danzig’s musical life in the 19th and 20th centuries. A short introduction describes the composers’ situation in the city. The individual entries include information on the composers’ lives, their works, and systematic lists of their compositions and their more important writings, along with bibliographical references. [mr/dss]

Lexikon deutschbaltischer Musik [Lexicon of German-Baltic Music]. Helmut Scheunchen for the Georg Dehio Society. Wedemark-Elze: Hirschheydt, 2002. 352 p. 22 cm. (Schriftenreihe der Georg-Dehio-Gesellschaft). ISBN 3-7777-0730-9: EUR 34.95 [03-1-190]

This work is the next in a series of lexicons of German-Baltic cultural history begun in the early 1980s. Previous titles include the Lexikon deutschbaltischer bildender Künstler: 20. Jahrhundert [German-Baltic Artists of the 20th Century] (Köln, 1983), the Lexikon deutschbaltischer Literatur: eine Bibliographie (Köln, 1989), and the Lexikon deutschbaltischer Wissenschaftler [Scientists]: ein biographisch-bibliographisches Handbuch (Köln, 1993; see IFB 99-B09-629). For reviews of biographical lexicons for German music in Bohemia, Moravia, and Silesia see RREA 7:167–168. The 700 articles in this volume deal with professional and lay composers: included in the biographical texts are lists of compositions, as well as citations to secondary reference materials. Appended to the text is an index of names and places. A supplementary volume with corrections and additions is planned. [mr/erh]

Per una bibliografia delle opere a stampa dei musicisti nati o attivi a Bergamo nei secoli XVI–XVIII [Towards a Bibliography of Printed Works of Musicians Born or Active in Bergamo in the 16th to 18th Centuries]. Marcello Eynard and Rodobaldo Tibaldi. In: Bergomum: bollettino della Civica Biblioteca Angelo Mai di Bergamo. vol. 91, no. 3 (1996), p. 1–252 [03-1-191]

This bibliography is a guide to the collection of works by composers from the province of Bergamo held in the city of Bergamo’s public library “Angelo Mai,” either in modern editions, reprints, or as reproductions of various types. An expanded and revised Editio maior is anticipated. The selected composers were born in the province of Bergamo or worked there; the chronological limitation to the end of the 18th century coincides with the period when Bergamo belonged to Venice. The bibliography consists of two parts: monographic works about the composers, who are listed alphabetically; and general works, listed chronologically. There are also four appendices: (1) holding libraries alphabetically by location, (2) private collections alphabetically by name, (3) bibliographic sources, and (4) brief composer biographies alphabetically. [mr/dsa]

Bibliografia delle opere dei musicisti bresciani pubblicate a stampa nei secoli XVI e XVII: opere in antologie [Bibliography of Works by Brescian Composers Printed in the XVI and XVII Centuries: Works in Anthologies]. Ruggero Del Silenzio. Florence: Olschki, 2002. 1,573 p. ill. music, 24 cm. (Biblioteca di bibliografia italiana, 173). ISBN 88-222-5140-7: EUR 140 [03-1-192]

This bibliography closes a project that has been underway for many years. Th e goal has been to develop a complete collection on microfilm of all works by Brescian composers during the cited period that were scattered throughout the world. Th e first step was a preliminary bibliography of the works, which appeared in 1982, on the basis of which the compositions were collected. In 1992 the first part of the bibliography, devoted to works published individually, appeared. The second part, which deals with works in anthologies, is the subject of this review. In these volumes, 277 numbered anthologies are described in detail, with diplomatic reproductions of the title pages, tables of contents, pages with text, and finally international ownership and bibliographic information. Part 2 contains 15 indexes for everything from composers to the recipients of dedications, musical instruments mentioned, etc. Two addenda and a further index refer to the 1992 bibliography.

This work is extremely useful due to its listing of Brescian composers and detailed descriptions of the analyzed anthologies. [mr/vh]

Dizionario biografico dei musicisti e fabbricatori di strumenti musicali cremonesi [Biographical Dictionary of Musicians and Makers of Musical Instruments from Cremona]. Comp. Giorgio Sommi Picenardi; ed. Cesare Zambelloni. Turnhout: Brepols, 1997. viii, 300 p. ill. 27 cm. (Studi sulla storia della musica in Lombardia, 1). Also published as a thesis: 1991/92, Cremona, Scuola di Paleografia e Filologia Musicale (Università degli Studi di Pavia). ISBN 2-503-50570-8: EUR 75 [03-1-193]

The material that forms the basis of this biographical dictionary was gathered by Giorgio Sommi Picenardi (1863–1916) but has been published only now. An introduction in Italian and English provides a biography of Picenardi and describes the content of the dictionary as well as the editorial guidelines. A bibliography (assembled by the editor) includes manuscripts and printed works. Biographical coverage extends from the late 15th to the beginning of the 20th century. The length of the articles (which are in alphabetical order by name, with no cross-references) varies tremendously—some are quite extensive, others consist of just a sentence or a few lines. In a nine-page “supplement” Zambelloni provides added information about further musicians and instrument builders, sources for the illustrations, and an index of names. This work is a useful addition to the local musical history of Italy. [mr/sl]

Dizionario dei musicisti di Modena e Reggio Emilia [Dictionary of Musicians from Modena and Reggio Emilia]. Franco Malagodi. Modena: Mucchi, 2000. xxxiii, 347 p. ill. 30 cm. ISBN 88-7000-349-3: EUR 46.48 [03-1-194]

This dictionary provides detailed information about composers, performers, music critics and scholars, librettists, and instrument makers from two regions of Italy, Modena and Reggio Emilia, from the 12th to the 20th century. There are biographical entries by geographic location, profession or activity, and century. Many of the articles contain bibliographies of secondary literature, as well as lists of compositions. There are also two useful appendices: one lists the names of the musicians who played in the court orchestra, the other provides a genealogy of the Este family in Modena. A fivepage bibliography is included, as are reproductions of portraits, concert programs, and other relevant illustrations. [mr/ldl]

Catálogo sistemático descriptivo de las obras musicales de Isaac Albéniz [Systematic Descriptive Catalog of the Musical Works of Isaac Albéniz]. Jacinto Torres. Madrid: Instituto de Bibliografía Musical, 2001. 521 p. music, 25 cm. ISBN 84-607-2854-4: EUR 64 [03-1-195]

This catalog of works deserves to be mentioned in the company of the best of its genre, such as those by Wolfgang Schmieder’s Thematisch-systematisches Verzeichnis der musikalischen Werke von Johann Sebastian Bach; Anthony van Hoboken’s Joseph Haydn: thematisch-bibliographisches Werkverzeichnis; and Georg Kinsky’s Das Werk Beethovens: thematisch-bibliographisches Verzeichnis seiner sämtlichen vollendeten Kompositionen). In three major parts, it explains the process of cataloging Albeniz’s works, presents the chronological catalog, and then describes his numbered works according to form and genre. A select bibliography lists literature consulted. This catalog is certainly relevant for libraries with music collections. [mr/mjc]

Günter Bialas: Werkverzeichnis [Günter Bialas: A Catalog of His Works]. Gabriele E. Meyer. Kassel [et al.]: Bärenreiter, 2003. 178 p. ill. music, 25 cm. ISBN 3-7618-1565-4: EUR 39.90 [03-1-196]

According to the introduction, the contents of this catalog of works by Günter Bialas is based upon earlier catalogs, the index cards of the GEMA [German Society for Musical Performance and Mechanical Reproduction Rights], and holdings catalogs of the Bavarian State Library, which owns copies of most of Bialas’ published scores as well as his manuscripts. The work is divided into the following broad categories: musical theater, music from radio plays, film and theater music, vocal music, and instrumental music. Within these categories, entries are further classified chronologically and by genre. Place of publication is dispensed with, as it was reliably Breslau up to 1941 and Glonn after 1945. In addition to the expected data, entries also include, when available, discographies, dates of premieres, and first broadcasts by the Breslau and Bavarian radio networks. Also included are a brief biography with two portraits, a bibliography of writings, a bibliography of criticism, and a discography (an alphabetical brief list of works which have detailed entries in the body of the work). Indexes are as follows: works by genre and/or by instrumentation; text titles and first lines, divided into three types of music—solo vocals, choral music, and folk songs in instrumental arrangement; titles of poems set to music; and personal names. A single index of all works would be useful. The Günter Bialas bibliography belongs both in music libraries and those that support school orchestras, due to his works written for school performance. [mr/hh]

Bruckner-Bibliographie [Bruckner Bibliography]. Renate Grasberger. Musikwissenchaftlicher Verlag. 24 cm. (Anton Bruckner, Dokumente und Studien, 12). Vol. 1 published by Akademische Druck- und Verlagsanstalt, Graz. [03-1-197]

Vol. 2. 1975–1999 und Nachträge zu Band 1 (bis 1974) [1975–1999 and Addenda to Volume 1 (up to 1974)]. 2002. 294 p. ISBN: 3-900270-61-9. EUR 33

In 1985, Ms. Grasberger published the predecessor to the current volume, a Bruckner bibliography that covered the literature up to the year 1974. Although the previous work was given no volume designation at the time, it has now been retrospectively designated as “volume 1” of the Bruckner bibliography, and the volume reviewed here is referred to as “volume 2.” The second one consists of a main section with coverage of literature published between 1975 and 1999 (3,110 titles) and a supplemental section that provides additional coverage for the years prior to 1974 (1,130 additional titles).

Unlike its predecessor, which was organized into 33 subject categories, the present volume is an alphabetical listing by author names. The entries are not numbered, which has a negative impact on the book’s usefulness; index entries give a page number, and the user must then search the page indicated for the relevant information. The titles listed are not annotated. Coverage includes monographs and periodicals as well as some program notes and newspaper articles containing, for example, reviews of first performances. There are three indexes: (1) persons, places, and institutions; (2) subjects; and (3) titles of Bruckner’s works. This Bruckner bibliography belongs in all libraries that have a music collection. [mr/crc]

Zur Kirchenmusik Georg Gebels (1709–1753): ein Verzeichnis der in Rudolstadt vollendeten Werke [Sacred Music of George Gebel (1709–1753): A Catalog of His Works Completed in Rudolstadt]. Ed. Axel Schröter. Frankfurt am Main [et al.]: Lang, 2003. 328 p. music, 21 cm. ISBN 3-631-50435-7: EUR 46.80 [03-1-198]

The 18th-century composer Georg Gebel moved to Rudolstadt in Thuringia in 1746, where he served as concertmaster and eventually music director at the Rudolstadt and Sondershausen courts until his death in 1753. Although many of his compositions have been lost, this catalog provides a guide to the works he completed in Rudolstadt, which represent, in effect, the total corpus of Gebel’s surviving sacred music compositions. The catalog describes in great detail the various musical compositions and fragments held in the Thuringian State Archives, including cantatas, oratorios, and masses. An extensive introduction provides a biography of Gebel and comments on his sacred music compositions starting with 1747. A similar work has already appeared about Traugott Maximilian Eberwein (1775–1831), a later musical director at the Rudolstadt court (see RREA 5:174). One wonders whether it might not be more practical to provide access to all of the holdings of the Th uringian State Archives via an online catalog rather than to publish costly print catalogs about individual composers of mainly local importance. [mr/akb]

Giacomo Puccini: Catalogue of the Works. Dieter Schickling. Kassel [et al.]: Bärenreiter, 2003. 466 p. music, 28 cm. ISBN 3-7618-1582-4: EUR 128 [03-1-199]

Schickling, the German Puccini specialist, adds this chronologically organized catalog of Puccini’s works to his previously published biography of the composer. Although the bulk of the work is dedicated to the 12 operas for which Puccini gained world renown, the author takes equal care in describing the composer’s smaller, lesser-known compositions. For the sake of a worldwide readership, the text is in English, although it includes German and Italian introductions. A discussion of Puccini’s process of composition and the practices of his publisher, Ricordi, is of great interest. This catalog is a necessary acquisition for all libraries with music collections. [sh/mjc]

Robert Schumann: thematisch-bibliographisches Werkverzeichnis [Robert Schumann: Thematic-Bibliographical Catalog]. Margit L. McCorkle for the Robert-Schumann-Gesellschaft, Düsseldorf. München: Henle, 2003. 86, 1,044 p. ill. music, 27 cm. ISBN 3-87329-110-4 (incorrect): EUR 298 [03-1-200]

Robert Schumann: thematisch-bibliographisches Werkverzeichnis [Robert Schumann: Thematic-Bibliographical Catalog]. Margit L. McCorkle for the Robert-Schumann-Gesellschaft, Düsseldorf. Licensed ed. Mainz [et al.]: Schott, 2003. 86, 1,044 p. ill. music, 27 cm. (Neue Ausgabe sämtlicher Werke / Robert Schumann. Serie 8, Supplemente, 6). ISMN M-001-13362-3: EUR 225 [03-1-201]

Hats off to everyone who has accomplished the Sisyphean labor of compiling a thematic catalog of a composer’s oeuvre. After her excellent Brahms catalog (1984), Margit McCorkle has earned the greatest respect for a second time, with her thematic catalog of Robert Schumann’s works. This enterprise was helped by the concurrent publication of the new edition of his complete works (Mainz, 1995– ) under the auspices of the Robert Schumann society, and by the fact that Schumann, who was preparing his own catalog at the time of his death, kept an almost complete set of his documents.

The first part of the catalog (p. 1–647) contains a detailed introduction in German and in English and lists works that were published or prepared for publication during the composer’s lifetime (156 works). The second part (p. 649–804) contains fragments, drafts, and other unpublished items. Each entry is described in detail (title, key, instrumentation, etc.), including performance history, editions, and sources. Th e bibliography (p. 805–836) follows, and the work concludes with 18 indexes (p. 837– 1044) that range from genre to titles and from publishers to a general name index, thus providing a wide variety of access points. This exemplary catalog is an essential purchase for libraries. [mr/rs]

Joseph Strauss: kommentiertes Werkverzeichnis [Joseph Strauss: An Annotated Listing of His Compositions]. Franz Mailer. Frankfurt am Main: Lang, 2002. 279 p. 21 cm. ISBN 3-631-39774-7: EUR 45.50 [03-1-202]

Joseph Strauss (1827–1870), the brother of Johann Strauss, produced more than 280 musical compositions. This is not an index of compositions in the traditional sense, with incipits and relevant factual information, but rather a dictionary arranged in alphabetical order that provides information about circumstances of the genesis of these compositions. There is a list of his compositions, both those with opus numbers and those without, that also provides information about the date and place of the first performance of each composition and the person to whom it was dedicated. Th is publication belongs in all libraries with major music collections. [mr/ldl]

Richard Strauss: Chronik zu Leben und Werk [Richard Strauss: Chronology of his Life and Work]. Franz Trenner. Ed. Florian Trenner. Wien: Strauss, 2003. ix, 826 p. 24 cm. ISBN 3-901974-01-6: EUR 75 [03-1-203]

Franz Trenner, compiler of the Richard-Strauss-Werkverzeichnis: (TrV) [Catalog of the Works of Richard Strauss: (Trenner List)] (2d ed., Wien, 1999), died in 1992 before he was able to complete his work on the Strauss diaries and his planned continuation of Willi Schuh’s biography of Strauss, the first volume of which covered the years from Strauss’ birth to 1898 (Richard Strauss: Jugend und frühe Meisterjahre, Lebenschronik 1864–1898, Zürich, 1976). The title reviewed here, completed by his son, Florian Trenner, covers the remaining years to Strauss’ death in 1949, and includes additional information on the early years, as well.

The dates of this chronology are arranged in tabular fashion by yearly sections. The tables are centered on the page, with bolded year information; due to the wealth of information available, beginning with 1879 also the months are included. The text is in the middle, with grayed dates on the left and facts in the center, and the page borders contain notations of the locations of events on the left and right. In the text, works by Strauss are in italics and are provided with a TrV number, Franz Trenner’s numbering scheme used in his catalog mentioned above. Most of the numerous citations are from the diaries Strauss kept from 1895 to 1934.

Because it includes biographical data, the name index can also be used as a dictionary to identify individuals, dates, and activities. The index of Strauss’ works is in TrV order and includes titles. This linkage impedes its independent use, as the Trenner catalog is required for any meaningful information. Obviously, this Strauss chronology belongs in the collection of any music library, along with Trenner’s catalog and Mueller von Asow’s Richard Strauss: thematisches Verzeichnis [: Thematic Index] (3 vols., Wien, 1959–1974). [mr/hrh]

Das grosse Lexikon der Filmkomponisten: die Magier der cineastischen Akustik; von Ennio Morricone bis Hans Zimmer> [Comprehensive Lexicon of Film Composers: Magicians of Cinematic Sound, from Ennio Morricone to Hans Zimmer]. Jürgen Wölfer and Roland Löper. Berlin: Schwarzkopf & Schwarzkopf, 2003. 583 p. ill. 24 cm. ISBN 3-89602-296-2: EUR 24.90 [03-1-204]

Jürgen Wölfer, the first-named author of this lexicon, already has another music lexicon to his credit, namely the Grosses Lexikon der Unterhaltungs-Musik [Comprehensive Lexicon of Light Music], published in 2000. His collaborator Roland Löper is a specialist in film music. Their lexicon contains ca. 2,500 brief biographies of film composers, most of whom are barely known to the general public. A typical entry lists the films for which the composer provided music, with the films’ original titles, the titles used for German distribution, and the place and year of production. Following this list there is a brief biographical note and a short bibliography. Some entries include illustrations, such as portraits of the composer or cover art from CD releases. The entries betray occasional lapses: for example, the entry on Miles Davis mentions the film L’ascenseur pour l’échafaud, to which Davis contributed the score, but fails to note that the film’s director was Louis Malle; it also fails to mention that the CD of the original soundtrack contains interesting new material on the recording sessions. Biographical information on film composers is often sparse, as many were mere employees of film studios and were often uncredited. The authors note that research on film composers is still in its infancy. The lexicon is really of interest only to specialists in the field of cinema studies or to collectors of film music recordings. On the other hand, it appears to be significantly more comprehensive than the only comparable English-language lexicon, Soundtracks: An International Dictionary of Composers for Film. [sh/crc]

Il melodramma italiano1861–1900: dizionario bio-bibliografico dei compositori [Italian Melodrama, 1861–1900: A Bio-bibliographical Dictionary of Composers]. Andrea Sessa. Firenze: Olschki, 2003. vii, 533 p. 24 cm. (Historiae musicae cultores, 97). ISBN 88-222-5213-6: EUR 49 [03-1-208]

Ignoring the great ones, this dictionary covers a total of 1,164 lesser-known Italian opera composers during the period of 1861–1900. Included are: (1) Italian and foreign composers who had at least one opera or operetta performed in Italy (or, in the case of the Italians, abroad); (2) foreign composers who wrote for stages in the near-by Mediterranean regions; (3) composers who participated in the Sonzogno and Steiner competitions, even if their work was not performed; (4) other musicians whose impact on the opera scene the author deemed important. Bibliographical references pay particular attention to reviews and obituaries. The appendix consists of (1) an overview of the composers of the standard repertory who are not covered in the main part, and (2) listings of works for the musical stage (cantatas, oratorios, operettas, etc.) taken from the annual lists in the Gazetta musicale and Trovatore for the years 1861–1900. A detailed bibliography concludes this dictionary, whose focus on the “minor masters” makes it a welcome complement to other reference works for opera. [mr/rs]

Rock-Hymnen: das Lexikon [Rock Classics: The Encyclopedia]. Olaf Benzinger. Kassel: Bärenreiter, 2002. 443 p. ill. 23 cm. ISBN 3-7618-1567-0: EUR 34.90 [03-1-209]

Finally! An encyclopedia like this is overdue, at least for the German book market. On the heels of Bärenreiter’s 2001 publication of Jazz Standards (see IFB 02-1-117) now comes Rock Classics with 123 songs. The author’s definition of rock music is very inclusive and general, presenting problems throughout. No distinction is made between “rock” and “pop.” In fact, rock ‘n roll is joined here by rhythm & blues, soul, folk, country, dance floor, hip-hop, and techno forms of music. The author admits to his subjective choice of songs (largely from the 1960s and 1970s), tracing a near absence of tunes from the 1980s and 1990s to what he terms an “increasing emphasis on stars and the star culture” and because, in his opinion, nothing really new was created in the latter period. The pieces of music themselves—presented alphabetically from “A Spaceman Came Traveling” by Chris de Burgh to “Ziggy Stardust” by David Bowie—take center stage in this encyclopedia, while the writers, composers, and performers are subordinate to their products. Th e most prolific are the Beatles, followed by Bob Dylan, Michael Jackson, Elton John and the Rolling Stones. For its title, Classics of Rock, Pop, Folk, House, Rap, Reggae, Disco, etc. would be more accurate. Highly interesting insider details are found for nearly every song, such as the fact that “Candle in the Wind” was originally written for Marilyn Monroe, or that Cat Stevens approved of Salman Rushdie’s death sentence. Original lyrics, visual musical notations, and the like are absent, due to space limitations, though some loose German translations are given for various phrases. There is enough material, certainly, for a second or third volume. Still, it is abundantly clear that reading about music is much less important than hearing it. [beh/rdh]

Europäische Klaviermusik um 1900: catalogue raisonné; Belgien, Schweiz, Spanien, Frankreich, Großbritannien, Niederlande, Portugal [European Piano Music around 1900: Catalogue Raisonné; Belgium, Switzerland, Spain, France, Great Britain, the Netherlands, Portugal]. Comp. Margret Jestremski and Insa Bernds; ed. Albrecht Riethmüller for the Akademie der Wissenschaften und der Literatur, Mainz. With practical notes by Sherri Jones. München: Henle, 2001. xxi, 203 p. 26 cm. + 1 CD-ROM. ISBN 3-87328-102-3: EUR 90 [03-1-213]

European Piano Music Around 1900 lists music for solo piano composed from 1895 to 1918 in the seven countries named in the subtitle. The future production of a similar work covering Germany, Scandinavia, and Italy is indicated in the preface. Entries are arranged geographically, then by composer, and consist of a short biography, chronological bibliography, and a list of works with selective library holdings. Annotations are provided for complete editions and non-standard works. Th e CDROM edition of the same title allows full-text searching and multiple access points. [mr/ab]


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Last update: March 6, 2006 [BG]
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