BH -- Music

Répertoire international des sources musicales = Internationales Quellenlexikon der Musik = International Inventory of Musical Sources. Published by the Société Internationale de Musicologie et de l’Association Internationale des Bibliothèques Musicales. München: Henle. 25 cm. (vol. 1 without series numbering) [05-1-154]

Series B, [Restricted Sources] Recueils imprimés: XVIe-XVIIe siécles [Published Collections: 16th and 17th Centuries]. Ed. François Lesure.

Liste chronologique [Chronological List]. 1960. 639 p.

[Supplement] Indice dei compositori = Index of composers = Komponistenindex, Ed. Pietro Zappalà. Pavia: Università di Pavia, Facoltà di Musicologia, 2005. 60 p. URL: http://philomusica.unipv.it/materiali/rism/IndexB1.pdf

Divided into three main series (which, to make matters more complicated, have been renamed over the years) RISM’s organization is not exactly transparent – hence this overview. Series A comprises the "alphabetical author catalog" and is published by Bärenreiter-Verlag (see http://biblioline.nisc.com/scripts/login.dll). Series A/II is the "thematic catalog of music manuscripts after 1600 on CD-ROM" and is published by K. G. Saur Verlag. Series C is the Directory of Music Research Libraries, whose final edition was published, again, by Bärenreiter-Verlag. Additionally, there is an index to library abbreviations that apply across all three series.

The most recent RISM publication has been made available only as a .pdf document on the Net and consists of an index of the composers in Volume 1, Series B (1960), which lists "more than 2,700" printed collections of the 16th and 17th centuries in chronological order. The index–which had been compiled and submitted for a diploma at the University of Pavia in Cremona–has never been systematically revised and brought up to date. Anonymous works and reprints of collections listed in RISM, Series B (1) have not been included in the index. The promised index volume of titles and first lines of all compositions included in the collection has never been published and probably never will be.

A properly published, professionally prepared edition of this most useful composer index that would be available to all libraries, institutions and individuals owning RISM is a definite desideratum. [mr/sl]

Practical Vocabulary of Music: English, German, Italian, French = Praktisches Wörterbuch der Musik … = Vocabolario pratico della musica … = Vocabulaire pratique de la musique … Roberto Braccini. 4th rev. and expanded ed. Mainz: Atlantis-Musikbuch-Verlag, 2005. 435 p. 19 cm. (Serie Musik Atlantis-Schott, 8279). ISBN 3-254-08279-6: EUR 19.95 [05-1-155]

Langenscheidt-Schott-Praxiswörterbuch Musik: Italienisch, Englisch, Deutsch, Französisch [Langenscheidt-Schott Practical Dictionary of Music: Italian, English, German, French]. Roberto Braccini. München: Langenscheidt, 2005. 435 p. 19 cm. ISBN 3-86117-247-X: EUR 19.90 [05-1-156]

[Ed. note: Each edition is also available with a CD-ROM. Atlantis Musikbuch-Verlag offers a book + CD-ROM edition (ISBN 3-254-08998-4: EUR 29.95) Schott offers a CD-ROM edition (ISBN 978-3-7957-6056-4: EUR 14.95) in the series Digitale Bibliothek]

The Practical Vocabulary of Music was originally published in 1992. Little has changed since the third edition (see RREA 7:165). However, the simultaneous publication of this dictionary by two publishers under deceptively different titles suggests that there is a high demand for it.

The dictionary is revised, and the hierarchies in the table of contents are modified and slightly expanded. The dictionary now contains 4,000 entries. The main list includes 3,529 terms arranged in four columns, one each in Italian, English, German and French, an increase from the 3,484 listed in the last edition. There is also a useful section listing 100 popular composers with the forms of their names in all four languages. Unfortunately, the names are not included in the index. The inclusion to the index of some terms listed in the appendix is an improvement over earlier editions, but at the same time other terms, especially the more technical ones, are not indexed.

The cost of this title is relatively low, but it is reminiscent of two similar polyglot music dictionaries that are commonly held by libraries with music collections: Fremdwörterlexikon Musik: englisch, französisch, italienisch by Richard Schaal (Wilhelmshaven, 2000) and the Terminorum Musicae index septem linguis redactus, edited by Horst Leuchtmann (Budapest, 1978 – brief description found in RREA 4:136). [mr/rg]

Handbuch deutsche Musiker 1933-1945 [Handbook of German Musicians, 1933-1945]. Fred K. Prieberg. Kiel: Kopf, 2004. 1 CD-ROM. EUR 150. (Oliver Kopf, Holtenauer Strasse 250, D-24106 Kiel, Germany; email: info@fred-prieberg.de) [05-1-158]

Scholars of the cultural history of the Third Reich recognize Fred Prieberg, an independent researcher who for years has lived in retirement in the Vosges Mountains of France, as perhaps the leading expert on the history of music during the Nazi regime. The work reviewed here constitutes the culmination of a life’s work. It is not commercially available, but is rather offered on "non-revocable permanent loan" in return for a licensing fee, and can be acquired by sending a request to the email address given above. The CD-ROM contains .pdf files (close to 10,000 pages worth) which are readable using Adobe Acrobat version 5.0 and higher. The .pdf files were constructed with the assistance of Oliver Kopf of the Musikwissenschaftliches Seminar in Kiel. The amount of detail that Prieberg amassed in almost 40 years of research is truly amazing; his work promises to be the definitive document on which all future studies of the musical life of the Third Reich will be based. It is unfortunate, if understandable, that Prieberg sometimes resorts to a polemical and condemnatory tone; he could have dispensed with this and allowed the facts he has gathered to speak for themselves. He admits no distinction between those whose Nazi party membership arose from fanatic partisanship and those who were merely seeking to survive. He is also clearly frustrated by what he sees as the unwillingness of establishment musicologists in Germany finally to come to grips with the Nazi past. But these attitudes are ultimately peripheral to the value of the document he has produced.

For the purpose of this work, "German musicians" encompasses composers, lyricists, practicing musicians, academic musicologists, music pedagogues, and music managers (the last category includes government officials, publishers, and agents). The criterion "German" is applied rigorously, which means that several popular performers of non-German origin have been excluded, such as Lale Andersen, Marika Rökk, and Rosita Serrano. Entries contain (1) surnames and forenames, with reference to birth name in the case of pseudonyms; (2) birth and death dates; (3) biographical notes; (4) political activity; (5) lists of works, with particular reference to works that were either forgotten or suppressed after 1945; (6) personal statements and quotes of a political nature; and (7) information on sources, including corrections of statements appearing in other sources, with attention to particular problems of documentation or gaps in archival material. In addition to names, the alphabetical sequence of entries includes the titles of some 40,000 popular songs, some of which remained popular after the war. The texts of these songs revealingly document the degeneration of popular song during the Nazi years.

Unfortunately, Prieberg fails to offer a comprehensive bibliography. Too little attention is given to cultural exchanges with foreign countries and to the reception during the Nazi years of great German composers of the past, from Bach to Mozart. Still, Prieberg is a shining example of the passionate outsider who devotes a lifetime to his particular interest. The best way to thank him is not so much to praise him as to make use of his seminal work. [frh/crc]

Music Publishing in Europe 1600-1900: Concepts and Issues, Bibliography. Ed. Rudolf Rasch. Berlin: BWV, Berliner Wissenschaftsverlag, 2005. xvi, 314 p. ill., music. 23 cm (The Circulation of Music, 1). ISBN 3-8305-0390-3: EUR 39 [05-1-160]

This book is part of a five-team, international research collaborative entitled Musical Life in Europe, 1600-1900: Circulation, Institutions, Representation and is sponsored by the European Science Foundation (www.esf.org), which has 76 offices in 29 countries.

This work consists of nine chapters (preceded by an introductory essay) by seven authors from five western European countries. The chapters cover basic concepts, especially bibliographic terminology and data; an historical overview of printed and handwritten sources; technological, economic, and legal aspects; a chapter entitled "What do Surviving Copies of Early Printed Music Tell Us?"; the relationships between composers and publishers (with the example of Germany between 1700 and 1830, publisher-to-publisher relations, and relations between publishers and buyers. The bibliography found on pages 241-283 includes sources in many western European languages. The index includes persons, places, titles, and subjects, and points not only to text in the chapters but also to works in the bibliography. The book concludes with brief biographies of the contributing authors.

This work is intended not only for specialized music libraries but also for larger academic libraries with music collections and larger public libraries. [mr/ga]

Kritische Ausgabe: Orchester- und Kammermusik sowie ausgewählte Klavierwerke. Louise Farrenc [Louise Farrenc. Critical Edition: Orchestra and Chamber Music as well as Selected Piano Works]. Ed. Freia Hoffman. Wilhelmshaven: Noetzel. 30 cm.

Vol. 4. Thematisch-bibliographisches Werkverzeichnis [Thematic-Bibliographic Index of Works]. Ed. Christin Heitmann. 2005. 150 p. music. 30 cm. ISBN 3-7959-0838-8: EUR 128 (hardcover), EUR 98 (paper) [05-1-161]

This is a catalog and bibliography of the works of Louise Farrenc, French composer, pianist and teacher. It supersedes what the editors describe as the incomplete and error-filled thematic catalog in Bea Friedland’s: Louise Farrenc (1804-1875): Composer, Performer, Scholar (Ann Arbor: UMI Research Press, 1980, based on her 1975 doctoral dissertation from CUNY). Friedland made extensive use of the holdings of the Bibliothèque Nationale de France, which contains a large number of 19th-century imprints of Farrenc’s music as well as the composer’s archive. The Heitmann publication contains all of the expected titles but concentrates on titles published during the composer’s lifetime.

On the whole, the book design and layout are very generous. Almost every opus begins on a new page, making them easy to view. However, the design has some faults. The centered chapter headings squeeze the text unnecessarily, and the use of incipits is abandoned partway through the publication. The book includes works by opus number and works without opus numbers, including collaborations, arrangements, doubtful works, and spurious works. The appendix includes a bibliography of published and unpublished works and an index of names and publishers. [mr/rg]

Krzysztof Penderecki: A Bio-Bibliography. Cindy Bylander. Westport, CT; London: Praeger, 2004. 306 p. 24 cm. (Bio-Bibliographies in Music, 98). ISBN 0-31325658-6: $102.95 [05-1-163]

This international bibliography contains over 1,400 books, articles, and other writings published through 1998, Penderecki’s 65th birth year, in North America, England, Poland, Germany, and France. One of the few exceptions is a list of his works that includes six compositions from 1999-2003. A brief biography of Krzysztof Penderecki is followed by a bibliography in three major sections.

The list of Penderecki’s works by their English titles (only a few have references to their original titles) is indexed by genre, performers, publisher, place, date and instrumentation of premières and other important performances. The list also includes many of the compositions that he did for puppet theater and incidental works for theater, works that are not normally cited in other lists of his music. A discography includes, also under their English titles, LPs, CDs, DVDs, and cassettes in no obvious order of arrangement other than complete recordings followed by excerpts from works and with information about the recording company, order number, year of recording and of publication, and instrumentation. An annotated bibliography includes monographs (not many), essays from newspapers and collected works, as well as performance reviews in newspapers. In addition (but not tied to the bibliography or discography) is a chronological list of compositions by date (1953-2003), of compositions by genre, and of dissertations. The work concludes with a two-page list of monographs and a seven-page list of Penderecki’s works, in English (with references from the original titles).

More indexes – e.g., places of première performances, sponsoring agencies, publishers, and pertinent newspapers – should have been included. It should also be mentioned that the poor glue binding makes using the bibliography unnecessarily difficult. Although not up to date, and with the shortcomings mentioned, this volume is pertinent to all music libraries because of Krzysztof Penderecki’s important and significant role in music of the 20th (and 21st) century. [mr,sh/ga]

Schubert-Enzyklopädie [Schubert Encyclopedia]. Ed. Ernst Hilmar and Margret Jestremski. Rev. and expanded ed. 2 vols. Tutzing: Schneider, 2004. xxx, 953 p. ill. music. 25 cm. (Veröffentlichungen des Internationalen Franz-Schubert-Instituts, 14). ISBN 3-7952-1155-7: EUR 152 [05-1-165]

The first edition of this work appeared in 1997 under the title Schubert-Lexikon, on the occasion of the second centenary of the composer’s birth. This new edition has been considerably expanded in order to cover the large number of publications on Schubert that appeared in and around that year. It contains 850 articles in an alphabetical sequence; most of the articles have been revised and 35 of them are new to this edition. The articles generally maintain the three-part structure found in the first edition: a general introduction; a main section concentrating on Schubert; and a bibliography. This new edition has several added sections, in particular 424 illustrations. Many of these images are described as being lesser known or of difficult access, but this is not strictly true, as a large number of the originals are in the collections of the Austrian National Library, the Wiener Stadt- und Landesbibliothek, and the Historic Museum of Vienna. They are reproduced in black and white and in a rather small format, scattered throughout the text. Two earlier publications provide better sources of visual documents connected with Schubert: Schubert / Ernst Hilmar. Graz: Akademische Druck- und Verlagsanstalt, 1989; and Franz Schubert: sein Leben in Bildern [Franz Schubert: his life in pictures] / edited by Otto Erich Deutsch. München; Leipzig: Müller, 1913.

There are two new indexes, first of names and secondly of titles of Schubert’s compositions. Among the several appendices is a concordance between opus numbers used on editions published in Schubert’s lifetime and the numbers of the Deutsch catalog. [mr/crc]

Lexikon der Harmonielehre: Nachschlagewerk zur durmolltonalen Harmonik mit Analysechiffren für Funktionen, Stufen und Jazz-Akkorde [Dictionary of Harmony: A Reference Work on the Harmonic Theory of Major and Minor Keys with Analytical Codes for Functions, Steps, and Jazz Chords]. Reinhard Amon. Vienna; Munich: Doblinger. Stuttgart; Weimar: Metzler, 2005. 416 p. ill., music. 25 cm. ISBN 3-900695-70-9 (Doblinger), ISMN M-012-19576-4 (Doblinger), ISBN 3-476-02082-7 (Metzler): EUR 34.95 [05-1-167]

The Dictionary of Harmony discusses the musical theory of harmony and composition in 65 topical and alphabetically arranged chapters. These chapters also define some 2,500 key concepts (which are listed in the alphabetical index at the end). In contrast to the many available textbooks on harmony theory, this volume aims to become both a standard textbook and a dictionary.

This dictionary devotes equal treatment to the various historical theories of harmony up to 1900 and uses a color scheme to enhance comprehension of concepts explained. Multiple references, examples of musical notes, and footnotes in margins contribute to the overall clarity of the text. Appendices present eight tables, a list of symbols used, and a treatise on new theories of harmony developed in the 20th century.

This dictionary is useful for musicians and students and teachers of music. It is therefore recommended for all libraries with music collections. [mr/ba]

Lexikon Musiktheorie [Dictionary of Music Theory]. Thomas Krämer and Manfred Dings. Wiesbaden: Breitkopf & Härtel, 2005. 336 p. music. 19 cm. ISBN 3-7651-0370-5: EUR 12 [05-1-168]

With this title, Krämer and Dings have produced a very useful reference resource on music theory. Entries, ranging from a few sentences to several pages, focus on key areas such as harmony theory, counterpoint, acoustics, pitch training, and jazz theory. Topics are amply illustrated with musical samples. See references within and at the end of entries point to other pertinent articles. The short bibliography is limited to German-language monographs only. This work is appropriate for libraries with music collections as well as for individuals interested in music. [mr/jb]

Lied-Bibliographie: die Literatur über das Kunstlied [Song Bibliography: The Literature of the Art Song]. Wolfgang Walter. Frankfurt am Main: Lang, 2005. xiv, 348 p. 23 cm. ISBN 3-361-527241: EUR 56 [05-1-169]

Wolfgang Walter, the author of this bibliography, is a member of the faculty of the Musikhochschule Stuttgart. His bibliography is devoted to the literature about art song, that genre being defined here as works primarily for solo voice, or for a few solo voices, composed between the middle of the 18th century and the present. The bibliography contains 4,924 entries, covering monographs, articles in music or cultural journals (the complete runs of 120 different journals were examined during the compilation of entries), yearbooks, conference proceedings, festschrifts, and dissertations; the languages covered are German, English, French, Italian, and Spanish. Most entries are based on analysis by the author; works which he did not personally examine are marked with an asterisk. Excluded from the scope of the bibliography were popular biographies of composers, articles in encyclopedias, music or book reviews, articles in daily newspapers, liner notes for sound recordings, concert programs, and masters’ theses.

The bibliography is organized in three sections: (1) an alphabetical list of composers (literature on a particular song is listed under the composer’s name, rather than under the poet’s name); (2) an alphabetical list of poets; and (3) thematic and formal headings, such as bibliographies; geographical regions; concepts (analysis, interpretation, harmony). The appendices include an index of poets, in which can be found references to all song titles belonging to a particular poet, and an index of authors. This bibliography is sure to be useful in any library with a music collection. [mr/crc]

Metzler-Musik-Chronik: vom frühen Mittelalter bis zur Gegenwart [Metzler Music Chronology: From the Early Middle Ages to the Present]. Arnold Feil. 2d expanded ed. Stuttgart; Weimar: Metzler, 2005. xii, 895 p. ill., music. 24 cm. ISBN 3-476-02109-2: EUR 34.95 [05-2-373]

First published in 1993 (see RREO 94-1-094), the Metzler Music Chronology is a special form of music history reference work. It is not concerned with composers and offers no historical or critical analyses thereof. Rather, the Chronology treats every composition strictly according to year of publication, premiere, and revision. Much attention is paid to lesser-known composers’ works.

The Chronology is divided into ten periods, with several chapters per period: (1) Pre-Middle Ages; (2) The Middle Ages; (3) Renaissance; (4) Baroque; (5) Musical Early Romanticism; (6) The Viennese Classicists; (7) Musical High Romanticism; (8) Modern Music; (9) New Music; (10) Music of the Present. The texts have remained basically unchanged, but chapter 13 (Music in the Age of New Technological Possibilities) has been expanded from ca. 60 to over 90 pages. The chronologically arranged table of contents has been dropped, but there is an index of names. A 22-page bibliography is included, but it in spite of its length includes only a selection of works cited.

The Chronology is very helpful for ready reference to both specialists and laity and belongs in every library with a music collection. It is also recommended for purchase for the home. [mr/ga]

Musiklexikon: das aktuelle, umfassende Lexikon der Musik; Klassik, Pop, Rock, Jazz, Weltmusik, Komponisten, Interpreten, Bühnenwerke, Gattungen, musikalische Formenlehre, Musikinstrumente [Music Lexicon: The Current, Comprehensive Lexicon of Music; Classical Music, Pop, Rock, Jazz, World Music, Composers, Performers, Works for the Stage, Genres, Musical Form Theory, Instruments]. Ed. Harald Hassler. New ed. Stuttgart; Weimar: Metzler; Hamburg: Die Zeit, 2005. Previous title: Das neue Lexikon der Musik [The New Lexicon of Music]. 25 cm. + 1 CD-ROM (12 cm.) ISBN 978-3-476-02086-4: EUR 169.95 [05-2-374]

Vol. 1. A-E. 2d updated and expanded ed. xviii, 827 p. ill., music

Vol. 2. F-K. 2d updated and expanded ed. 825 p. ill., music

Vol. 3. L-Rem. 2d updated and expanded ed. 843 p. ill., music

Vol. 4. Ren-Z. 2d updated and expanded ed. 826 p. ill., music

Das grosse Metzler-Musiklexikon [The Great Metzler Music Lexicon]. München: USM, 2005. 1 CD-ROM (version 2.0) in case. 24 cm. + handbook. (Systhema). ISBN 3-8032-2765-8: EUR 29.90 [05-2-375]

Given the changes in title that this work has undergone, one hopes that the new title will stick, even as new editions will continue to be published. This edition includes over 11,500 entries (according to the slipcase, 10,285 articles are on the CD-ROM), 700 illustrations, and numerous graphics—taken from both the earlier edition and the Metzler-Sachlexikon Musik (see RREA: 5:172). In some cases the entries have only been minimally updated—limited, for example, to grammatical corrections. Bibliographical references from the previous Metzler dictionary were not, alas, included here, nor were all of the occasional references to scores from the earlier edition; authorial responsibility for the articles is not consistently provided.

The CD-ROM consists of two separate data files that appear as two different icons on the desktop: 1) music-related articles from the biweekly newspaper Die Zeit (of dubious usefulness, especially since numerous searches turned up zero hits) and 2) the complete text of the lexicon—in addition to the bibliographical references from the Metzler dictionary, though this is not mentioned. The interface is divided into three parts—on the left are the search functions, in the middle the text itself (including links to sound files), and on the right the "media column," with illustrations and musical examples. Users are able, for example, to listen to the first movement of Beethoven’s Eroica Symphony played by the entire orchestra, or by individual groups of instruments, while following along with the score.

This lexicon is intended for people who want more than a one-volume dictionary but who do not need something on the order of Grove. The reviewer recommends it for home use rather than for libraries, unless one needs the search functionalities, sound files, and illustrations of the CD-ROM, in which case, however, the version that appeared in the same year in CD-ROM format only (title: Das grosse Metzler Musiklexikon) would suffice, since the content is identical. [mr/sl]

Quellen zur Geschichte emigrierter Musiker 1933-1950 [Sources Relating to the History of Émigré Musicians, 1933-1950]. Ed. Horst Weber. München: Saur. 25 cm. ISBN 3-598-23745-6 (set) [05-2-376]

2. New York. Ed. Horst Weber, Stefan Drees. 2005. xliv, 465 p. ISBN 3-59823747-2: EUR 78

Volume one (see RREA 10:151) covered émigré musicians in California; volume two is focused on New York, the headquarters of many organizations helping settle European émigrés (further volumes may feature other East Coast cities).

As in volume one, the entries in volume two are arranged in alphabetical order by place, then by institution, department, and specific collection (as of August 2004). The numbering of the entries (numbers 3046-7163) picks up from the end of volume one. A thesaurus of terms describes the headings and subject rubrics, slightly modified from volume one. Because so many archives are still in private hands, volume two does not attempt to list them. On the other hand, because of the passage of time, the concept of "emigration" has lost some meaning. The majority of the archives and collections in part two are no longer in individual hands but rather reside in various institutions. In the section Selected Documents (p. 353-429), collections are arranged in chronological order. There also name indexes, and index of both private archives and publicly accessible archival collections. [mr/ga]

Thematisch-systematisches Verzeichnis der musikalischen Werke Engelbert Humperdincks [Thematic-Classified Index of the Compositions of Engelbert Humperdinck]. Hans-Josef Irmen. Zülpich: Prisca-Verlag, 2005. 202 p. music 30 cm. EUR 90 (Prisca-Verlag, Virnich 14, D-53909 Zülpich. hansjosef. irmen@t-online.de) [05-2-377]

This thematic index to Engelbert Humperdinck’s (1854-1921) compositions is based on his papers, housed at the Frankfurt City and University Library. It is organized by genre: opera, incidental music for the theater, choral works, songs for voice and piano, orchestral works, chamber music for strings, Humperdinck’s arrangements of works by other composers, sketches and textbooks, and, finally, writings. Additionally, there are references to editions of scores, piano reductions, arrangements of Humperdinck’s music by other musicians, and reviews, as well as a ten-page bibliography, an index of persons, and an index of titles and first lines. The work also includes an index to the letters and documents in the Humperdinck archive.

Like every published index to the music of significant composers, this work belongs in every library with music holdings. [mr/sl]

Klaviermusik: internationales chronologisches Lexikon; Geschichte, Komponisten, Werke, Literatur [Piano Music: International Chronological Lexicon; History, Composers, Compositions, Literature]. Peter Hollfelder. New ed. Wilhelmshaven: Noetzel, 1999. 1,007 p. ill. 25 cm. ISBN 3-7959-0770-5: EUR 45

Supplement 2005. 2005. 291 p. ISBN 3-7959-0855-8: EUR 29.80 [05-2-380]

Unlike the most recent, revised edition of 1999 (see RREA 7:184), in which almost 100,000 individual works and almost 5,000 composers are organized chronologically by century (and then by countries and regions), the 2005 Supplement is arranged alphabetically by composer. In addition to the usual editorial updating, the Supplement adds about 300 new names. In order to facilitate the ordering of scores, more publisher information is now included (though not detailed addresses). The index refers the user to entries in both the 1999 edition and the Supplement. [mr/sl]

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Last update: March 2009 [BG]
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