California State University, Long Beach

Contact: William Weber

wweber@csulb.edu

Notes/Comments: [none]
1. Does your instution maintain holdings of concert programs? Yes. It has xeroxes and a few originals of the programs, and reviews of many of the programs, given by the American pianist Richard Buhlig between 1905 and 1916.
2. Apart from concert programs, does your institution have significant holdings of other types of documents that can be useful for performance research such as libretti, playbills, historical journals with concert reviews, etc.? Yes. It has extensive materials from the collections of Richard Buhlig, Richard Kuenle, Gerald Strang, and others in southern California in the 1910s and 1920s. These materials range from letters to business effects to diaries.
3. Please list major concert venues, ensembles or performing organizations, and artists that are represented in your holdings. If possible, indicate a general timeframe for each (e.g. New York Philharmonic: 1920-1950). If your holdings are so extensive it is impractical to submit a list in a timely fashion, please provide a general overview (e.g. Programs of various musical events in Stockholm: 19th and 20th centuries). I myself have made a wide-ranging collection of concert programs. I began work on the Paris opera in the 18th century, went on to London concerts in that period as well, and recently have extended the work to the nineteenth century in London, Paris, and Leipzig, but also to some degree in Vienna and Berlin. I have attempted to go beyond concert societies to benefit concerts by individual musicians, since in many places they were the most numerous type of concert, at least prior to 1870. I have developed a computer program with File Maker Pro by which to obtain numerical definition of the age of repertory along different parameters: the dates of birth and death of the composer; his/her nationality and gender; the genre and instrumentation of the work; possibly its date composition; and the language of any text. A third parameter I use is what I call Historical Spread, which is measured, simply enough, by the Standard Deviation of all performances of works (chamber-music concerts, for example, have a low such measure from the start, having so tightly defined a repertory, while orchestral concerts have a high number since they often expanded back into early music and kept some newer works in play).
4. Do you have collection level or title/series level descriptions of your holdings? If yes, are these descriptions available online or in print? Not yet.
5. Have you undertaken or are you planning any item level indexing or cataloging of individual programs? If yes, please list the categories of information that are indexed for each program (e.g. date, venue, artists, works, etc.). If the details of your plan are not yet specified, please made a simple explanation of what you hope to accomplish. If your index is available online please provide the URL. If it exists in some other electronic format such as an Excel or FileMaker file please try to send it as an attachment. Special collections are open to the public. I am willing to make my materials available.
6. Please briefly describe the clientele or research use of your holdings. Are the programs accessible to the public? Are they used for historical research or more for practical in-house institutional functions? Not yet.
7. Are you able and willing to assist in developing a broader census of program holdings within your national branch? Perhaps.
8. Are you able and willing to assist in developing a template or questionnaire for submitting collection level descriptions? Yes.
9. Are you able and willing to participate in preparing the draft thesauri for genre and instrumentation? No.
10. Can you refer other potential participants for the IAML project? Please provide names and email addresses if possible. [none]

Compiled by Rebecca Arnott (rja7@email.byu.edu), John Spilker (jds233@email.byu.edu), and Annie Erickson (aerickson623@hotmail.com)