Catalogs of Music Libraries, Societies and Exhibitions (ML 136-155)
Anglés, Higinio, and José Subira. Catálogo Musical de la Biblioteca Nacional Madrid. Vols. 1-3, Catalogos de la Musica antigua conservada en España. Barcelona: Casa Provincial de Caridad, 1946. Mus Ref ML 136 .M16 B5
Use: Catalog of
the ancient music of Spain, including manuscript illustrations.
Coverage: Covers music of the sixteenth century. No other specific criteria included. In Spanish.
Organization: A general index begins each volume and lists the main topic followed by each entry and the page on which it is found. The first volume lists various manuscripts by genre. The second volume is devoted to liturgical and theoretical librettos, listed chronologically. The third volume is centered around Musica Practica, listed by various categories noted in the general index at the beginning. Each volume is numerical and includes appendixes and indexes at the end.
Pros: The general index at the beginning of each volume is useful in providing category information. It lists each entry along with the page number on which it is found.
Uses: A national bibliography catalog listing all works contained in the Bavarian State Library collection. Useful for historical research on music in Bavaria, as well as for more recent acquisitions (broader scope).
Coverage: Lists 113,948 titles of printed music from the earliest examples in the 16th century through the second half of the 20th century. Originally focused on South German, Italian, French and Dutch publishers, but in the 19th century expanded significantly to include North German, Nordic and English sources as well as those from smaller neighboring countries. Also includes donated private collections. Since 1949, the library has acquired music from worldwide sources.
Organization: Catalog entries are comprised of names (including variant forms), main and added or related entries (cross-references) with given titles and the uniform title, call numbers (shelf numbers) and a bibliographic description. A ten-year supplement is forthcoming
Pros: An excellent source for German works, particularly first prints of Beethoven, Schubert, Schumann and Brahms. Meticulously catalogued in accordance with German cataloguing rules.
Cons: Would be strengthened by a comprehensive index (single volume?).
Charteris, Richard. Newly Discovered Music Manuscripts From the Private Collection of Emil Bohn. Musicological Studies & Documents, no. 53. Edited by Ursula Günther. Hänssler Verlag, D-71087 Holzgerlingen. Hänssler Verlag: American Institute of Musicology, 1999. Mus Ref ML 138 .B63 1999
Use: Useful for anyone seeking information on the manuscripts in the private collection of Emil Bohn (various composers). This reference is written so that the materials presented might help the sources become better known. It is directed to the scholar.
Coverage: A study of over 1000 manuscript scores (German part songs) in Emil Bohn’s private collection. This collection consists of a set of six partbooks with more than 460 works in mensural notation, and a single volume with more than 560 pieces in German organ tablature. All scores were found the Staatsbibiothek zu Berlin and have the pressmark Sammlung Bohn Mus. Ms. 357.
Organization: The first section includes the Introduction that gives a detailed description of the history of the manuscripts. Following the Introduction, a part entitle The Manuscripts describes the manuscripts thoroughly. The second section includes a list of seven indexes. The bulk of this section is the inventory of the sources (in no particular order other than what was found in the library). Each entry describes their contents, physical characteristics and provenance. Other indexes consist of the titles and composer indexes (organized alphabetically), and index of the copyists’ hands (organized in the order Hand I, Hand II, etc. to Hand XVII), early music manuscripts formerly in the Stadtbibiliothek zu Breslau (arranged chronologically by call number), followed by an index of the composers of those manuscripts (arranged in alphabetical order), and finally photographic illustrations of the manuscripts and copyist’s hands (organized chronologically by Plate number).
Pros: The explanation before the actual inventory is helpful to understanding how it works
Cons: Very complex in organization and information. You must be very familiar with manuscript terms in order to understand this volume. The information in the inventory is hard to understand. One must have some background in German.
Ciancio, Laura. Libretti per Musica Manoscritti e a Stampa del Fondo Shapiro nella Collezione Giorgio Fanan. Ancilla Musicae, No. 2. Lucca: Libreria Musicale Italiana Editrice, 1992. Mus Ref 138 .F23 C5 1992
Use: Useful for Italian speakers for finding information about an opera or another large work with a libretto, such as the author of the libretto, the composer of the music, the plot or meaning of the work, the places at which it was performed, whether or not dancers were used, and so forth.
Coverage: Covers 1,829 titles, which include oratorios, operas, and smaller works that included a libretto. It appears to cover only the Western European and American music, and is published in Italian. It seems to include works published from the early 1700's on.
Organization: Split into two large sections, with several indexes at the back. The first section is a catalog of libretti, and the second section is a catalog of smaller works, such as oratorios and melodramas. Each entry includes the title of the libretto, what it is about, who wrote music for it, what type of music (opera, oratorio, etc.), the year it was published, performers from the premiere, theaters at which it was performed, and the number of pages in the libretto. There are indexes for the author of the text, composer, singers, orchestra members, and choreographers and dancers.
Pros: It lists a lot of information, which is very useful.
Cons: It is in Italian, which limits users to Italian speakers only. It would be beneficial to have the introduction and table of contents in several different languages.
Use: Researchers interested in the musical holdings of this University library.
Coverage: Contents of the library donated to the University–which includes many Italian opera arias, overtures and instrumental works.
Organization: After a lengthy introduction that explains the details surrounding the collection’s history, the main body of the book is the listing of works. Catalog is arranged alphabetically by composer and then in alphabetical order by works. Entries for each work include title, composer, movements, time signatures, keys, instrumentation, publication dates and inscription information.
Pros: Well-organized catalog.
Fabiano, Andrea. Le Stampe Antiche Del Fondo Torrefranca Del Conservatorio Benedetto Marcello. Historiae Musicae Cultores, no. 65. Venezia, Italy: Conservatorio Di Musica di Benedetto Marcello, 1992. Mus Ref ML 136 .V3 C63 1992 vols. 1-2
Use: Researchers interested in the holdings of this particular conservatory.
Coverage: Includes entries that reflect the musical library contents.
Organization: Preceded by abbreviation lists and indexing information, the book is in one main section- the list of works in the catalog. These are arranged alphabetically by author and then by work. Each entry contains title, catalog number, author first and last names, birth and death dates, location, voicings, misc. content information about the piece of music.
Pros: Titles are in the original language. Cross-references to thematic catalogs.
Cons: Introduction is in Italian.
Use: A history of der Familie von Voss and their music collection. Useful for musicologists and researchers locating original Prussian manuscripts.
Coverage: Biography of der Familie von Voss includes a family tree, portraits of family members, copies of pages from the original Verzeichniss der Musicalien. Contains a list of compositions by many German musicians dating from approximately 1500-1800.
Organization: Nine chapters: Der Familie von Voss, The Music Catalogue of der Familie von Voss, Handing the Royal Prussian Collection over to the Berlin Library, Identifying Voss’schen handwriting in Pedin's National Library of Prussian Culture, Index of Music belonging to der Familie von Voss, Preliminary Remarks and Explanations about the Repertoire in the Voss Collection, The Work of J.S. Bach in the Collection von Voss, and Proof from Leipzig, Rome, and Hamburg. Includes a music reference with an alphabetical list of composers, birth and death dates, work, source, reference, and notes about original manuscripts.
Pros: Equal amount of coverage on the history of der Familie von Voss and their music collection.
Haberkamp, Gertraut. Die Musikhandschriften der Fürst Thurn und Taxis Hofbibliothek Regensburg : thematischer Katalog mit einer Geschichte des Musikalienbestandes von Hugo Angerer. München: G. Henle Verlag, 1981. Mus Ref ML 136. R33 F87x 1981
Use: Reference for the identification of first edition manuscripts in the collection in Regersburg.
Coverage: Single volume work of the manuscripts in the collection in Regersburg.
Organization: Begins with an introduction and a guide to using the catalog, Entries listed alphabetically by composer. Incipts included for many works. Catalog includes a separate section for anonymous works (including incipts). Bibliography and index of works and authors completes the book.
Pros: clear typography
Haberkamp, Gertraut. Thematischer Katalog der Musikhandschriften der Fürstlich Oettingen-Wallerstein’schen Bibliothek Schloß Harburg. Kataloge Bayerischer Musiksammlungen. München: G. Henle Verlag, 1976. Mus Ref ML 136 .H332 F83
Uses: A catalog of the collection held at the library of the Harburg Castle. Useful for choral and instrumental research on select European musical scores from the 17th through 19th centuries.
Coverage: Includes approximately 1800 music manuscripts and about 570 printed editions, mostly from the last half of the 18th century. Each entry in the catalog includes the author (if known), title, instrumentation, dates and an incipit which includes vocal, violin and bass staves if a choral work, and just the violin and bass parts if instrumental. Information on the watermarks and autographs are given if known.
Organization: Main body consists of the catalog of the musical collection at the Harburg Castle library. The works are listed by composer, followed by a listing of anonymous works and collections. Also included is an extensive section on watermarks, including sketches. There is a bibliography as well as indexes for titles and first lines, and names.
Pros: Extensive information about different European watermarks and paper between the years 1665-1867 approximately.
Notes: Microform edition: M2 .032 1985
Use: Catalogues the music collection in the royal library of Belgium.
Coverage: As indicated in the introduction, this catalogue includes musical works of the fifteenth, sixteenth and seventeenth centuries (located in the Bibliothèque royale de Belgique) that are not part of the Fétis collection. Excludes liturgical books (except for psalteries, antiphonies and graduals).
Organization: Begins with preface, introduction (which includes information on how to use the book), a list of pertinent cities, and a list of abbreviations. The catalogue is alphabetized by composer. If the composer is unknown, the work is alphabetized by the first word in the title. Each entry includes a list of works by the composer that are in the libraries collection. Also included are: the title page of each work listed (in the original language), bibliographical citations, a physical description of the score, number of pages, and notes on irregularities found in the score. Concludes with indexes of authors, printers and editors.
Con: Because the title page information (of each entry) is in its original language, it is difficult to obtain much of the information in each entry.
Kmetz, John. Die Handschriften der Universitätsbibliothek Basel: Katalog der Musikhandschriften des 16. Jahrhunderts, Quellenkritische und historische Untersuchung. Basel: Verlag der Universitätsbibliothek Basel, 1988. Mus Ref ML 136 .B29 U58x 1988
Use: Catalog of 16th century musical manuscripts of Switzerland and southern Germany in the University Library of Basel. Serves as a model and point of comparison for a study of the repertoire and performance conventions cultivated by aristocratic and upper-middle-class musicians in the Renaissance. Specifically useful for manuscript studies.
Coverage: Provides instruction on instrumental music in the learned music circles of the 16th century. Includes fragments of 60-odd manuscripts that contain remnants of the repertory. Provides information on who wrote them, when (with precise dating), and why. Identifies the names of the scribes and watermark information. Most information reflects the interests, tastes, and talents of middle-class amateurs.
Organization: Main body consists of call no. with short description of contents, number of folios/pages, leaves, size of book (cm), and the provenance and date (presumed) of the origin of the manuscript. Indicates following: whether bound with printed material, no. of leaves in each volume listed with manuscript collation in sets of partbooks, physical description, paper used, collation information, foilation and numeration, notation, scribes, decoration and illustration binding origins of history, literature, inventories, number of voices, text incipits, concordances, vocal models, editions, literature, plates, handwriting specimens, watermarks and bindings.
Pros: Contains several collections of music compiled during first decade of century from a church or monastic institution (Latin school institution).
Cons: Limited information on performed sacred music.
Korth, Hans-Otto, Jutta Lambrecht, and Helmut Hell. Die Signaturgruppe Mus. ms. 40 000ff. Erste Folge: Handschriften des 15.-19. Jahrhunderts in mensuraler und neuerer Notation. Staatsbibliothek zu Berlin, Preussischer Kulturbesitz, Katalog der Musikabteilung. Series 1: Handschriften, Band 13. München: G. Henle Verlag, 1997. Mus Ref ML 136. B5 S74 1997
Use: Catalog numbers of music manuscripts of the Prussian public library. The compilers intend to recreate the previous catalog which has been unaccessible in East Berlin due to communism, in addition to its being 50 years outdated. Strengths of the collection would interest scholars of pre-17th-century music.
Coverage: Works of western-European composers from the 15th-19th centuries; and classmark numbers Mus. ms. 40,000-40,613 from the Prussian library catalog. (139 of the manuscripts are still in the Jagiellonian University library in Krakow, and unaccessible.) Manuscripts are in mensural or newer notation. Catholic liturgies are not included because they needed a specialist to work on them, and manuscript tablatures were too time consuming for the project.
Organization: The preface includes a catalog description, list of abbreviations, and list of included music manuscript signatures. The catalog is ordered numerically according to the classmark number–which represents a volume of songs or works. (for example Choräle, Hymnen, Oden; Kontratänze für Dresdener Hofbälle; Lateinische und deutsche geistliche Gesänge; Giuseppe Ottavio Pitoni: Offiziumssätze; Sanctus-Sätze.) For each Mus. ms. entry there are two parts, first: the titles--ordered numerically--with first lines, composers, voice parts, and publishing information for each piece. The second part includes the musical incipits to match the number listed for each piece. Includes index of first lines and titles with composers names beneath the title, followed by an index of Personen, Sachen, Länder, Orte (Persons, subjects, regions, and villages).
Pros: Musical incipits in modern notation for every entry.
Cons: The editor accepts that many of the dates are unclear due to inaccessibility and unclearness of the original catalog, and guesswork.
Uses: Provides information in the archives in Paris concerning theatre productions. Useful in identifying period scores.
Coverage: 1704-1948. Includes documents, music, production information, letters, programs, personnel, and financial records in the archive.
Organization: It is divided into sections on opera, lyric opera, comic opera, Italian opera, and documents, societies, and information on the productions, and chronologically within each division. Items include administration information, program collections, building maintenance information, and actor society notes. Catalog information is provided. Also contains an index of opera employees and their function with page references. Contains a thorough index with names and titles integrated.
Pros: Extensive, explanatory introduction. Includes small detailed items other catalogs might not have.
LaJarte, Theodore de. Bibliotheque musicale du Theatre de l’Opera: Catalogue historique, chronologique, anecdotique, 2 vols. Paris: Libraire des Bibliophiles, 1878: reprint, Hildesheim: Goerg Olms Verlag, 1969. Mus Ref ML 136 .P2 O6 1878a
Uses: Historical chronological documentation and background of the Paris opera. Provides contextual information on productions and people involved.
Coverage: 1671-1876. Covers ballets, operas performed and their scores, artists, and some period scores.
Organization: Divided into six periods of opera's history, and titled after the musician who defined it: Lully, Campra, Rameau, Gluck, Spontini, Rossini/Meyerbeer. Entries are arranged in order of first performance. Each citation offers composer, date, place, performers, and more details of the initial production. Also included are the specific holdings of the library (number of parts and scores). Appendixes are included for non-represented works, sacred concert music, ballet literature, instrumental works, and political pieces and cantatas.
Pros: Because it is focused only on production materials, it allows for more detailed entries. An index lists the location of each production. Features editorial comment concerning the initial performance (dates, performers, place, etc.).
Cons: There is no location identification within the library.
Laurencie, L. de la, and A. Gastoué. Catalogue des livres de musique (manuscrits et imprimés) de la bibliotèque de l’Arsenal á Paris. Publications de la Société Française de Musicologie, seconde serié, tome VII. Paris: Librairie E. Croz, 1936. Mus Ref ML 136 .P2 B36
Use: Locating manuscripts and prints in the music books of the Arsenal Library in Paris, France.
Coverage: All music manuscripts and prints located in the Arsenal Library, Paris, established in 1757. Manuscripts date from the 9th century through the 18th century. Prints and engravings consist of 16th, 17th, and 18th century works.
Organization: Divided into two parts. The first part consists of religious music integrated alphabetically by genre and composer, with extensive cross references. Titles are listed alphabetically under either the composer’s name or the genre type. The second part contains secular music, both instrumental and vocal. This, too, is organized by composer and genre. Under a genre heading, such as Airs, an alphabetical listing of first lines is given. The book concludes with an index by genre.
Pros: Complete coverage of manuscripts, prints, and engravings in the Arsenal collection. Only a single index by genre is included.
Cons: Organization is convenient, although the alphabetical lists of first lines that are interspersed throughout the main catalog can be a bit confusing and cumbersome.
Lomnäs, Bonnie, and Erling Lomnäs. Stiftelsen Musickkulturens Främjande: Catalogue of Music Manuscripts. Music in Sweden: Documents and Bibliographies, eds. Anders Lonn and Veslemoy Heintz, no. 9. Stockholm: Musickaliska Akademiens Biblioteck, 1995. Mus Ref ML 138 .S74 L65 1995
Use: For advanced music researcher seeking original manuscripts and manuscript copies contained in the collection of the Foundation for Furthering Musical Culture in Sweden. The majority of this collection is autographs. If it is a copy, the copyist is given. Also of interest to someone interested in seeing original music manuscripts of famous composers.
Coverage: Catalogues the music manuscripts in the Foundation for Furthering Musical Culture. This collection is made up of autograph and manuscript copies purchased by Rudolf Nydahl in mostly Paris and Germany throughout his life (1882-1973). Detailed information about the sources is not included.
Organization: Divided into three sections. Plainchant Manuscripts is one page and arranged by mass movement. Anonymous Composers is two pages, and arranged by title. Composers is the largest part of the book and lists the composers alphabetically with their works. Entries for all the sections include some or all of the following data: titles, text incipits, key or opus number or other numbering system used by composer for identification, date published, location, music incipit if attribution uncertain or lacking, source of the manuscript, and medium of performance. The appendix lists less known or amateur composers with works in the collection.
Pros: This collection is almost all original manuscripts. Cons: Limited information on each entry, so you have to go to the collection or contact the curators for more details. Many abbreviations. No index of titles, so composer must be known.
Cons: Though it gives a taste of what items are included in the collection, only the manuscripts “of the most interest” are mentioned. Since readers’ ideas of what is of most interest may vary, it leaves one wondering what items were left out. Fortunately the same foundation is coming out with a computerized version that is said to be more comprehensive and include more information about each item.
Use: A catalogue of libretti of theatr works written in Spanish involving music (opera and operettas or zarzuelas).
Coverage: 17th century to the 20th century beginning with 18 works by Calderon. Includes short farces or interludes, operas, operettas, parodies, and works by Italian composers in the Spanish royal court, Ramon de la Cruz, Lorenzo Da Ponte (an Italian librettist), and Francisco Arderius. Includes collections of smaller theatrical works.
Organization: Alphabetical by composer, or title of the work if the composer isn’t known. Each entry lists the original composer as well as secondary composers and librettists or those responsible for adapting the work from one language or genre to another. All the information from the original title pages are included. Some additional references are given in some entries.
Pros: Long introduction explains what categories of theatre works were included and why. Nice facsimiles of advertisements, photos etc.
Cons: Written in Spanish.
Mitjana, Rafael. Catalogue critique et descriptif des imprimes de musique des XVI et XVII siecles, vols. 1-3. Avec une introduction par Isak Collijn. Upsala: Almqvist & Wiksell, 1911. Mus Ref ML 136 .U8 U5
Use: Critical and descriptive catalog of religious and secular choral manuscripts held in the Bibliotheque de l’Universite Royala. Useful in locating Renaissance choral music.
Coverage: Sacred and secular choral manuscripts from sixteenth and seventeenth centuries held in the Bibliotheque de l’Universite Royala. Covers mostly European composers (esp. French and German).
Organization: Standard dictionary format. Each entry translated into original language: French, German, or Latin. They include: composer, title of work, notes included on manuscript, choral parts, and publisher. Related musical illustrations interspersed throughout.
Pros: Detailed entries include full descriptions of each work in the original language: either French, German, or Latin. Music otherwise unobtainable in other libraries is present.
Use: Researchers interested in autograph manuscripts
Coverage: Includes information about the autographed manuscripts available in this library’s collection.
Organization: Each entry includes photo representation and explanation of the autograph. Entries include historical background and context of the autograph as well as musical titles and or movement titles and names.
Pros: Photos are helpful to understand the work being listed.
Österreichische Nationalbibliothek—Musiksammlung. Katalog der Sammlung Anthony van Hoboken in der Musiksammlung der Osterreichischen Nationalbibliothek: Musikalische Erst- und Fruhdrucke, 15 vols. to date. Edited by Institut fur Osterreichische Musikdokumentation under the direction of Gunter Brosche. Tutzing, Germany: Hans Schneider, 1982-97. Mus Ref ML 136 .V6 N34 1982 vol. 1-17
Uses: A rich bibliographic catalog of collections of musical scores and holdings in the Hoboken collection in Austria. Contains manuscripts and original documents.
Coverage: Includes the library of first and early editions donated by Anthony van Hoboken to the Austrian National Library. Covers holdings to 1982 with an appendix updating to 1997. Covers scores only.
Organization: In 16 volumes. Covers composers Johann Sebastian Bach, Ludwig van Beethoven, Johannes Brahms, Frédéric Chopin, Willibald Gluck, Georg Friedrich Händel, Joseph Haydn, Franz Liszt, Felix Mendelssohn Bartholdy, Mozart, Franz Schubert, Robert Schumann. Entries list title, genre, instrumentation, and a description of the manuscript. Uses abbreviations which are explained in the introduction.
Pros: Contains some facsimiles of title pages. Well organized and easy to understand. It is very concise.
Cons: There is no index of works.
Pliester, Freek. Handlist of the Collection of the Théâtre Français de la Haye. Handlists of Manuscripts and Early Prints in the Music Library of the Haags Gemeentemuseum, The Hague, vol. 1. [The Hague]: Haags Gemeentemuseum, 1983. Mus Ref ML 128 .O4 H25 1983
Use: This special collection of works previously housed in the Théâtre Français de la Haye, currently a part of the Haags Gemeentemuseum, could prove to be valuable to those seeking original parts used in performances at this theater. Although limited in scope, this collection’s contents may reveal priceless autographs, holographs or transcriptions.
Coverage: Limited to operas performed during the late 18th through late 19th century at the Theatre Francais de la Haye that were preserved as a part of its performance library. Some scores (of performances) were not added to this collection during that time.
Organization: By composer with numeric cross-reference and author indexes. Entries may contain score type, publishing dates, imprint information, and unique markings.
Pros: A very unique archive that could benefit the study of early operatic music.
Cons: Archives limited to on site examination. No microfiche available. Names, dates and other Information difficult to validate without proper examination.
Note: This collection has been microfiched, and is available at Brigham Young University, call number: M2.3 .F73 1980.
Potyra, Rodolf, and Jürgen Erdmann. Die Theatermusikalien der Landesbibliothek Coburg, 2 vols. Katalog bayerischer Musiksammlungen, Band 20. Munich: G. Henle Verlag, 1995. Mus Ref ML 136 .C63 L36 1995
Use: Includes a brief history of the Coburg-Gotha ducal court theater and a description of the musical holdings of the Landesbibliothek Coburg. The book is intended to document the holdings of the library from between 1827 and 1918.
Coverage: The catalog describes the collection of the library. These scores include music of western-European composers: 701 complete or fragments of operas, 267 piano excerpts and transcriptions, overtures, symphonies, chamber music, lieder, dances and marches.
Organization: The Preface includes a catalogue explanation, a history of German theater music, and a list of composers who specifically wrote in or for Coburg and Gotha. The Volume I catalog is divided into 8 sections: stage works; old and fragmented materials from stage works; piano excerpts and transcriptions; interludes for musical or regular plays; overtures; symphonies; serenades, oratorios, ballet music, cantatas, and choral works; solo and chamber works. Volume 2 also includes 8 sections, and 3 indexes: character pieces; fantasies and potpourris; dances; waltzes; marches; songs for one or a few voices, and arias. The composer index is first and following each name are listed the titles or first lines of the works listed in the catalog. The second index integrates librettists, poets, and editors, and the last index is of anonymous titles and collected works.
Pros: Musical incipits are included for many entries. Cross-references integrated with entries. Composer index gives the composer’s dates after the name.
Use: A comprehensive catalog index of Russian composers and their works in the Interalliierten Musik-Leihbibliothek in Berlin. Useful in finding the works of Russian composers in that library.
Coverage: All the works by Russian composers in the Interalliierten library up until 1947.
Organization: Arranged according to genre. Alphabetical by composer within each genre. Each entry includes composer, list of works in the library by title and opus number, voice type, instrumentation, author of text, and catalog number.
Pros: The library has many vocal-solo selections.
Cons: Out of date, but comprehensive of the library’s Russian works at the time.
Sartori, Claudio, ed. Assisi: la cappella della basilica di S. Francesco. Preface by P. Giusseppe Zaccaria. Bibliotheca Musicae-I: Collona di cataloghi e bibliografie. Milano: Istituto Editoriale Italiano, 1962. ML 136 .A88 S4 (Stacks NOT Music Reference)
Use: A catalog of music prints and manuscripts from the chapel of the Patriarchal basilica of S. Francesco in Assisi, as well as music gathered and composed by the maestro cav. Cesara Minciotti–the keeper of the library. Recorded to illustrate a historical account of what happened in the Assisi music chapel, and to show the connection of the Basilica to the European schools of music. For scholars of chant and early music.
Coverage: Musical culture, events, teaching methods, and compositions form 1363 to the 20th century. Almost all pieces are in Latin. Major focus on Gregorian chant and the prestigious manuscripts of the library (Representative documents of the French and Dutch schools, and works of certain earlier composers).
Organization: Preface provides an overview of the collection. Volume 1 is in four sections: Music from prints; Literature on music; music manuscripts; and manuscripts of antiphons, adespoti, graduals, and processionals. Entries are alphabetical by composer’s last name. Entries here tell document conservation status and accessibility, printing history, composers, dedications, voice parts, and classmarks. Volume 2 is projected to cover compositions, works, and literature of people who have had something to do with the basilica during the 19th and 20th centuries.
Pros: Entries show the table of contents of each work.
Cons: No incipits.
Sartori, Claudio. Ostiglia: Biblioteca dell’Opera pia Greggiati, vol. 1. Bibliotheca Musicae, no. 7. Collana di cataloghi e bibliografie, eds. Claudio Sartori and Agostina Zecca Laterza. Milano: Nuovo Istituto Editoriale Italiano, 1983. Mus Ref ML 136 .O782 B56 vol 1
Use: Catalog of original manuscripts, their editors, and publishers contained in the Ostiglia library.
Coverage: Catalogue of musical manuscripts and letters held in the Biblioteca dell’Opera pia Greggiati. Comprehensive in coverage of holdings in the library.
Organization: Organized into Musical Literature, Anonymous Musical Literature, Catalogue of Editors, Librettists, Anonymous Music, and Music – Treatment and Methods. Entries include: composer, explanatory notes of letter or manuscript, physical description of manuscript, and publisher. No illustrations.
Pros: Comprehensive listing of holdings in the library.
Cons: Very little explanation on how the catalog is set up.
Società Italiana di Musocologia. Biblioteca del Coservatorio di San Pietro a Majella di Napoli: Catalogo dei Libretti per Musica dell’Ottocento. ed. Francesco Melisi. With an introduction by Giancarlo Rostirolla. Lucca, Italy: Libreria Musicale Italiana Editrice s.a.s., 1990. Mus Ref ML 136 .N37 L65x
Use: A catalog of operas housed in the Conservatory of San Pietro in Naples, Italy used to find detailed information about the scores, lebretti, and the first productions of the operas, including original cast and crew.
Coverage: Italian operas and ballets written between 1800 and 1860 are covered.
Organization: Contains a bibliography, introduction, foreword, and an abbreviation key before the actual catalog. The catalog is organized alphabetically by piece name. Each entry is organized as follows: Piece title, type of work (i.e. dramatic or comic opera etc.), the number of acts, The name of the town and theatre of the debut performance, the place where the work was printed, the date of printing, score size, number of pages. Then the original production crew is listed starting with the composer/librettist then: architects, painters, choreographers, costume designers, props managers, machinists etc. Original cast names follow, the number of copies of the scores the library at San Pietro has; the dates that the library acquired the score. The book also contains these indexes: Compositori, Concertatori, Dèrettori lel musica instrumentisti, istruttori e detori del coro; Librettisti; Cantanti; Scenografi; Pittori; Architetti; Coreografi e Ballerini; Costumisti; Macchinisti; Attrezzisti; Altre maestrouze; Indice dei balli; Sottoscrittori delle dediche; Dedicatari; Luoghi di rappresentazione e teatri.
Pros: The entries include the names of the people involved in the original productions of the operas.
Wotquenne, Alfred. Catalogue de la bibliothéque du conservatoire Royal de Musique de Bruxelles. 4 vols. Bruxelles: J.-J. Coosemans, 1898; reprint, Bruxelles: Editions Culture et Civilisation, 1980. Mus Ref ML 136 .B9 C78x 1980
Use: The music collection of the royal conservatory in Brussels contains autograph, holograph and other unique compositions of many prominent European composers. A few of these sets are complete and provide a unique survey (historically) of these compositions.
Coverage: Contained most of the listings of the library at publication date (1980). Must see Index for complete listing of what the collection holds.
Organization: Alphabetic in nature with sequential index numbers added for cross-reference, with added ‘names cited’ index. Entries may include author (name) and/or title, and a brief annotation.
Pros: A reference that gives access to a unique and valuable archive of original (autograph) and other scores.
Cons: No current addendums or supplements. Listings not complete, total holdings not identified.
Uses: The first published catalog of the holdings of printed music in the British Library, it makes widely available a large amount of bibliographic information before only able to be accessed by personal visits to the British Library. Now superceded by a CD-ROM version titled, “CPM plus.”
Coverage: 1497-1980. Covers “printed music” which is defined as musical scores, whether scholarly or performance editions, and methods but not the literature, namely theory, history, biography, etc. This catalog unites in sequence the various music catalogues maintained in the British Library Reading Rooms, including notably the “Catalogue of Printed Music” published between 1497 and 1800, the Royal Music Library catalogue and the Hirsch Collection.
Organization: Entries are arranged as follows: main entry, either by composer, pseudonym, or anonymous (title); cross references from various points, including names of editors or first word in a title; arrangement of headings in alphabetical order; and arrangement of entries within each heading (usually name of composer) as follows: Thematic catalogues, collected editions, composite works, sequence of single works, spurious works and an appendix of cross references. The content of individual entries include: works in a series, imprint and pagination, and dating.
Pros: While by no means comprehensive, it nonetheless offers an ample survey of printed music through 1980. Particularly helpful in the 19th and 20th centuries, the CPM covers the years where RISM and Eitner’s Lexikon leave off.
Use: Catalog of the BBC’s holdings covering 40 years. Primarily performance editions.
Coverage: Predominantly classical music.
Organization: Separated by musical genre with each genre broken by composer and titles. Column format.
Pros: Clear explanations of use, scope, cataloguing procedures, timings and bibliographical references can be found in the preface.
Cons: Has not been updated. Materials can be viewed by appointment only.
Uses: Locate information about music, related literature, individuals, businesses (composers, editors, publishers etc.), published in Great Britain.
Coverage: Scholarly and popular. Includes domestic reprints of literature and music published previously outside of Great Britain. Combines the information of over 51,000 separately/previously published works. From 1957. Individual supplements (published quarterly) from 1996 to 1997.
Organization: General index (classified section), composer and title index and subject index, arranged by the "Coates" system. Listings include (where applicable) publisher information, publisher's description of work, previous title or edition, ISBN and price.
Pros: Immense scope. Can be used in tandem with The Catalog of Printed Music in the British Library to 1980.
Cons: Mixture of literature about music and music scores can make it more difficult if trying to find just one or the other, dividing each section in two for music and literature would be helpful.
Use: Locate and gain general information of manuscripts from Durham Cathedral
Coverage: Includes any manuscript in the possesion of the Dean and Chapter of Durham located either in the cathedral libraries or in the care of the University of Durham. Includes sacred, secular, instrumental, and fragments. Dates from the 10th century to the early 20th century.
The book has the following sections:
Description of the Manuscripts: Each manuscript is listed by call number. Lengthy descriptions include title and author; cross-reference to other related scores including the same piece, parts or the full score; contents; background information including date, place of origin and cover description; and physical description including size, number of folios, pagination, blank pages and alternate notation. May include a brief bibliography.
Composer Index: Lists composers alphabetically prefaced with anonymous. Gives birth and death dates. Includes their pieces and the call numbers.
Call Numbers by Date: Lists general time periods (about 50 year blocks) and lists the range of call numbers from that time period.
Copyist Information: Lists copyists alphabetically, gives dates and call numbers to pieces they copied.
Genre Listing: Lists genre that are not either anthems or services and gives the call numbers of pieces included in that genre.
First Line Index: Lists songs alphabetically by first line of the text and gives the composer.
Pros: Well indexed and cross-referenced.
Use: A catalogue of the various printed musical scores, part books, and literature concerning music in the Durham Cathedral Library.
Coverage: Materials in the Durham Cathedral Library which is made up largely of two private collections donated to the Cathedral library in the eighteenth century.
Organization: Entries are in a bibliographical format and are numbered. The catalog is divided into three sections; vocal works, instrumental works, and theoretical works.
Pros: Concise and well organized.
Cons: For historical interest only. It gives no information on how to locate current publications of the same material, if possible.
Uses: Reference all music manuscripts one of the largest manuscript collections in the world.
Coverage: Content, physical nature as well as other information concerning the British Museum’s collection. Although volume 3 contains an appendix of more recently added manuscripts, these only include works from 1906 to 1908.
Organization: Volume one indexes sacred vocal music. Volume two, secular vocal music. Volume three includes indexes of instrumental music, albums of mixed content (vocal and instrumental), music treatises, miscellaneous manuscripts, as well as an appendix of acquired manuscripts between 1906-8. Music manuscripts within a given volume are listed by sub-categories of form (cannon, cantata etc.), genres (orchestral, chamber etc.), or type (treatise, history, dictionary etc.). Beyond traditional bibliographic information (title, composer etc.) entries include information concerning manuscript paper (approximate dates), manuscript size/organization, as well as a descriptive annotation of the music and its notation.
Pros: Thorough. Annotations are very helpful in elucidating the nature of the manuscripts.
Cons: The reference is incomplete given the date (1909) of the last volume's publication date.
Ledsham, Ian, comp. A Catalogue of the Shaw-Hellier Collection in the Music Library, Barber Institute of Fine Arts, The University of Birmingham. Brookfield, Vermont: Ashgate Publishing Company, 1999. Mus Ref ML 136 .B55 U64 1999
Use: A catalogue intended to aid the researcher in locating information found in the Shaw-Hellier Collection.
catalogue numbers 1-652 of the Shaw-Hellier collection.
Catalogue is arranged numerically to match the approach used in the printed
catalogue of the Barber Institute’s own pre-1800 holdings. Each catalogue
entry contains the following main elements: composer, filing title, title-page
title, imprint, format, type, pagination, notes, ownership marks, Hellier’s
catalogue number, concordances, and incipits. Following the catalogue, a comprehensive
series of indexes is included with the following titles: composers, titles,
publishers, other names, manuscripts, incipits, and concordances.
Pros: The most detailed catalogue of its kind.
Miller, Leta, and Albert Cohen Music in the Royal Society of London, 1660-1806. Detroit Studies in Music Bibliography, no. 56. Detroit, Mich.: Information Coordinators, Inc., 1987. Mus Ref ML 136 .L8 R745 1987
Use: Primary research into scientific perspectives on music from 1660-1806, including acoustics, theory, tempermant, musical instruments, anatomy (ear and voice), music medicine, and composers.
Coverage: From the founding of the Royal Society of London (1660) through 1806, the latest date in the archive collection.
Organization: Divided into ten sections. 1. Philosophical transactions: bibliographies of the Royal Society’s official publication. 2. Early letters. 3. Classified papers. 4. Letters and papers: collections of the early letters 5. Letter book: collection of the classified papers. 6. Register book. 7. General manuscripts. 8. Robert Boyle letters and papers. 9. Extra manuscripts. 10. Journal book: meeting minutes of the Royal Society. Each of these ten catagories is first individually described and discussed before the main catalog begins. Individual entries within the catalog proper include bibliographic citation, reference number, and summery/description.
Pros: An extra appendix of authors’ brief biographies is included. Individual descriptions of each of the ten main sections is very useful.
Rumbold, Valerie, and Iain Fenlon, ed. A Short-Title Catalogue of Music Printed Before 1825 in the Fitzwilliam Museum, Cambridge. Great Britain: Cambridge University Press, 1992. Mus Ref ML 136 .C212 F58 1992
Use: Written as a step towards replacing J.A. Fuller-Maitland and A.H. Mann’s 1893 Catalogue of the Music in the Fitzwilliam Museum, Cambridge. Directed to the scholar of ancient music interested in studying the collection of manuscripts of Viscount Fitzwilliam.
Coverage: Catalogues all the manuscripts collected by Viscount Fitzwilliam that were printed before 1825. All manuscripts were found in the Fitzwilliam Museum of Cambridge.
Organization: The introduction give a history of Viscount Fitzwilliam, a collector of ancient music. Entries of the Catalogue are arranged alphabetically by composer. Each entry describes the physical characteristics (such as six duets for violin and tenor), the call or shelf number, and any other information that would be pertinent (some entries vary from others). Following the Catalogue are some illustrations (described in the front of the book). The book closes with a Numerical Listing – a summary list of all the items contained in the Catalogue – arranged numerically by volume number (introduction to this section provides further instructions), and a Chronological List of the Founder’s Collection – a section arranged chronologically by the date of the purchase by the founder, Fitzwilliam.
Pros: Thorough explanations of history and catalogue usage.
Cons: Must have a background knowledge of manuscript terms in order to fully benefit from this source.
Use: Purpose to portray the quality, range, and nature of the music in the Stefan Zweig Collection.
Coverage: Includes manuscripts acquired by Stefan Zweig from 1937 to 1940, unsold manuscripts returned by the Viennese antiquarian book dealer Heinrich Hinterberger, and manuscripts added to the collection by Zweig’s heirs after his death. All manuscripts are autograph except where stated otherwise.
Organization: Begins with introductory material discussing the Stefan Zweig Collection. The remainder of the catalogue is divided into two main sections. The first section contains the listings of the manuscripts, and the second section contains corresponding facsimile reproductions pertaining to each listing. Entries in each section are organized alphabetically by composer. Each entry contains an identification of the musical work and a physical description that includes overall measurements, foliation given in the British Library, structure (number of leaves), stave ruling, and watermark details. Other information given as appropriate includes location of related manuscripts, publication information, reproductions, details of all known exhibitions, previous known owners, bibliography, and explanatory commentary. Includes an index.
Pros: Facsimiles that correspond to each entry are helpful in providing a clear physical description of each manuscript. Locations of related manuscripts provide useful cross-reference information. Extremely useful for any research requiring authentic autograph manuscripts.
Rowen, Ruth Halle. Symphonic and Chamber Music Score and Parts Bank Thematic Catalogue of the Barry S. Brook Facsimile Archive of 18th and Early 19th Century Autographs, Manuscripts and Printed Copies at the Ph.D. Program in Music of the Graduate School of the City University of New York.
Alm, Irene. Catalog of Venetian Librettos at the University of California, Los Angeles. University of California Publications: Catalogs and Bibliographies, Vol. 9. Berkeley and Los Angeles, Calif.: University of California Press, 1993. Mus Ref ML 136 .L842 U682 1993
Use: A catalog which provides access to the wealth of information contained in the librettos of Venice during the seventeenth and eighteenth centuries. Primary aim is to provide a descriptive bibliography of Groppo’s collection (1745) which was discovered in the cellar of a London book-dealer.
librettos printed in Venice between 1637 and 1769. Based on the collection
at the University of California, Los Angeles, which was acquired in 1950.
Total of 1286 librettos are assembled in 117 volumes. Of the 1286, 470 date
from the seventeenth century, and 816 are from the eighteenth century.
Organization: Following “A Guide to Using the Catalog and Appendixes and Indexes,” the main Catalog of Venetian Librettos is presented in the order in which the original manuscript is bound--roughly chronological. The basic format for each catalog entry includes the following: volume (year), number, index number, title page transcription, pagination, prologue, acts, and scenes, balli or intermedii, summary of contents, roles, theater, text, music, ballets, sets, costumes, singers and dancers. Five appendixes follow the main body and 17 valuable indexes complete the book. Indexes include such titles as Set Designers, Singers, Dedicatees, Printers, Genres, Poets, Balli and Roles.
Pros: Especially valuable are the 17 indexes, as the entries in the Catalog are not perfectly chronological.
Use: Especially directed to musicians and musicologists who are interested in music publications and publications without musical notation printed before 1801.
Coverage: Records music publications and publications without music notation but of distinct interest to musicians and musicologists, printed before 1801, now in the Huntington Library. A list of the types of music publications included is provided in the Introduction. Excluded from the catalog are the following: 1) manuscript music; 2) collections of songs which have the words but not the music; 3) ballad operas, plays, operas, and opera libretti without musical settings; 5) single sheet songs, with tune indicated, but no notation; and 6) songs in periodicals, published without music. Contains music printed before 1801 (no information given about when the earliest printed music included was).
Organization: Organized alphabetically by composer, music editor, or music compiler, if known. If not known, entries are arranged alphabetically by title (there is no separate section for those with or without a known composer, compiler, etc.). Liturgies and Psalters have been arranged in the index by those exact subject names. Within those entries, songs are arranged alphabetically. All entries contain information such as who it was first sung by, where and when it was printed, what magazine it was included in with it’s issue date and page numbers, whether the print was engraved or not. Other information is provided in code. Explanations of those codes are provided in the Introduction. Half of the book is devoted to the indexes at the back: Composers and Music Editors Index, Chronological Index, and First Lines of Songs Index. Instructions on how to use these indexes are located in the Introduction.
Pros: Thorough Preface. Indexes are helpful, especially when seeking for songs with a similar titles or first lines.
Cons: Many entries are in various languages. Poorly organized Introduction.
Brigham Young University, Harold B. Lee Library, Division of Archives and Manuscripts, comp. An Alphabetical Title Index to the Capitol Records Company Archives of Music Manuscripts, 5 vols. Provo, Utah: Brigham Young University, 1978. Mus Ref ML 138 .C65 B75x
Use: An index to the scores in the Capitol Records Company music archive located at Brigham Young University. Useful for those studying the output of Capitol Records or those wanting to perform arrangements recorded by Capitol Records.
Coverage: Includes original orchestral scores used by Capitol Records for recordings from 1942 through 1967.
Organization: The index is organized alphabetically by song title. Each entry provides available information on the names of the composer, arranger, recording artist(s), conductor, and date recorded. Each entry also includes an identification number to help locate the score in the archive.
Pros: Entries are concise and easy to find. Helpful in finding the composers of several popular pieces recorded during this time.
Cons: Doesn’t include listings of orchestral parts available in the archive. (The reader must consult an additional index to find this information.)
Use: Annotated listings of the music cataloged by Yale librarians in the James Weldon Johnson Memorial Collection of Negro Arts and Letters.
Coverage: Contains annotations of manuscripts, anthologies, and individual works contained in the James Weldon Johnson Memorial Collection of Negro Arts and Letters.
Organization: Divided into three categories: Manuscripts, Anthologies, and Individual Works. Entries are listed by Yale library entry number. Entries contain entry number, composer, title(s), lyricist, publication, description, medium, miscellaneous information, and call number(s). Also contains an addendum with a listing of Minstrel Books and Miscellaneous music.
Pros: Concise annotation of the contents of this collection. Easier to use than searching through the manuscripts themselves.
Cons: Limited to music only in the James Weldon Johnson Memorial Collection of Negro Arts and Letters.
Use: Harvard University’s enormous library collection holds numerous unique items not found in any other library. This unique collection may hold valuable information critical to scholarly research, new and unpublished music, rare books and etc.
Coverage: Any book, pamphlet, score, or other periodical related to music currently in the holdings of the Harvard library, current to 1985.
Organization: Microfiche is organized into two categories: shelf lists, which give call numbers and dictionary lists which specify author, title and subject.
Pros: Valuable research aid for unique items, or items located in this library’s holdings.
Cons: Cumbersome, due to lack of proper index material (for navigation of microfiche). Badly dated by current technology. For current and up to date information, check Harvard University Library Online Catalog or RILM.
Use: Designed primarily for those who use the source as a resource: Conductors, programmers, orchestra librarians, and researchers.
Coverage: Includes entries for the entire Edwin A. Fleisher Collection of Orchestra Music now located in the Library of Philadelphia. Collection begun in 1909 and presented to the library in 1929. Maintains a large collection of music for orchestra, including scores and full sets of parts. Sizable holdings of Latin American, Swedish, British, and Canadian literature.
Organization: Composition and arrangements integrated alphabetically under composer, or editor or transcriber, in cases of anonymous works. Works composed as a joint effort are entered under title. Entries give variant forms of composer’s name, place, and date of birth and death. Form , medium, opus number, key signature, and transcriber given. English translations of foreign titles given. Durations, movements by title and tempo indication if given. Instrumentation, size of score, publisher and date of edition. Index designed to provide access to ensembles other than the standard orchestra to works such as fanfares, works for one or more solo instruments, and works for voice. Includes index divided by topic and list of abbreviations.
Pros: Contains 4,000 orchestral compositions and 2500 solo instrument with orchestra compositions. All instrumental parts are included.
Cons: Limited to works that Fleisher and colleagues personally collected. Outdated by 20 years.
Emerson, John A. Catalog of Pre-1900 Vocal Manuscripts in the Music Library, University of California at Berkeley. University of California Publications: Catalogs and Bibliographies, vol. 4. Berkeley, Calif.: University of California Press, 1988. Mus Ref ML 136 .L8 R745 1987
Use: Locating pre-1900 vocal manuscripts housed in the Music Library of UC Berkeley. Useful for advanced music students and serious scholars.
Coverage: 700 vocal music manuscript collections gathered between 1946 and 1981 by UC Berkeley. These manuscripts range from sacred to secular, and date from the 11th century to the late 19th century.
Organization: Manuscripts are divided into six categories: 1. Single Identified Composer (arranged by last name) 2. Single Anonymous Composer (subdivided by language: Italian, Latin, and other) 3. Anthologies containing works by multiple composers (Subdivided by language: Italian, French, English, German) 4. Collections of religious and service music (subdivided by Latin and English) 5. Gregorian chant and fragments. 6. Music treatises, an anthology of vaudevilles in French without music, and a correspondence collection related to another manuscript. Each entry within these seven categories contains a catalog number, composer name, title, collation information and description, provenance and date of authorship, inscription, remarks, inventory, and bibliographical reference. There are eleven indexes: Personal names, titles of dramatic works, song titles/first lines, musical genres, names of cities, names of theaters, names of dramatic characters, names of liturgical feasts, dates that occur in manuscripts, watermarks, and concordance by shelf number.
Pros: Series of supplemental indexes, providing multiple points of access. Extensive physical descriptions of the manuscripts, including such items as watermarks, stained/ripped pages, etc.
Cons: No musical incipits, justified by the compiler due to lack of space.
Glennan, Kathryn P., Jerry L. McBride, and R. Wayne Shoaf. Arnold Schoenberg Institute Archives: Preliminary Catalog, vols. 1-2. Los Angeles, California: Arnold Schoenberg Institute, 1986. Mus Ref ML 136 .S283 G53x
Use: Extensive catalog of the archival scores and reference scores in the Arnold Schoenberg Institute. Collection includes all manuscripts, musical and non-musical, in Schoenberg’s possession at his death. Reference scores available for review in the reading room of the Institute.
Coverage: Covers all items catalogued from February 1981 through August 1986 in the Institute. Includes all manuscripts in Schoenberg’s possession that he donated to the institute, except for correspondence.
Organization: Organized into Archival Scores and Reference Scores. Each section organized alphabetically. Call numbers for location of reference scores in the Institute included with each entry. Entries also contain full description of manuscripts. No illustrations.
Pros: ontains all of composer’s lifetime holdings, including his full compositional catalogue. Manuscripts are described in great detail.
Cons: C Only includes holdings that Schoenberg had in his possession.
Uses: Listing of all works preserved in Johannes Herbst Collection, which is now in Salem, North Carolina. Information concerning the Moravist church, biographical information concerning Johannes Herbst, as well as information (dates, melodies, texts etc.) concerning individual pieces in the collection.
Coverage: Limited to the Herbst Collection, with information relevant to the Moravist church.
Organization: Explanation of the collection, manuscripts and catalog. Grouped by congregation music, extended works, and miscellaneous scores. Index of composers and titles. As available listings include title, musical incipit, and description of the music (medium, key, tempo, duration, text and tune sources). Includes a few photographic plates from the collection, as well as a photograph of Johannes Herbst 's grave headstone.
Pros: Detailed description of each entry, including incipits.
Cons: Specialized. User must have a good understanding of Moravist church music issues to understand Herbst Collection significance. Very little commentary on the physical nature of the collection.
Lang, Robert and Joan Kunselman. Heinrich Schenker, Oswald Jonas, Moriz Violin: A Checklist of Manuscript and Other Papers in the Oswald Jonas Memorial Collection. Berkeley, Los Angeles, and London: University of California Press, 1994. Mus Ref ML 136 .R48 U55 1994
Use: Catalogues the Oswald Jonas Memorial Collection, which is located at the University of California at Riverside. mainly dealing with unpublished material associated with Heinrich Schenker, Oswald Jonas, and Moriz Violin.
Coverage: Includes unpublished manuscripts, theoretical and analytical studies, critical essays, letters, biographical materials, printed scores, books, pamphlets, periodical publications, corrected galley and page proofs, notebooks, drafts, and photographs. Titles of works remain in their original language (German). Spans the professional careers of these three men (roughly 1885-1935).
Organization: Divided into six parts, the first three of which cover the Heinrich Schenker Archive, the Oswald Jonas Papers, and the Moriz Violin Papers. The next three sections cover Other Correspondence, Photographs and Other Portraits, and First and Early Editions. The first three sections are sub-divided into subjects (i.e., Manuscript Diaries, Critical and Analytical Works, Schenker as Composer). Each citation has a group and folder number. The major manuscript groups are as follows: Group I, Schenker Archive (documents where Schenker is the writer or recipient); Group II, Jonas papers (Jonas as writer or recipient); and Group III, Violin papers (Violin as writer or recipient). Listed in Group IV are a small number of letters in which none of the three is involved as correspondent. The different types of correspondence are identified as autograph (A) or typed (T), letter (L), postcard (P), or note (N), and whether signed (S) or unsigned (U). Correspondence files are arranged alphabetically by recipient or by writer. Within each folder in a group, letters are arranged by type, and within each type they are arranged chronologically, undated letters first. The First and Early Editions chapter cites printed scores by eighteenth and nineteenth century composers found in the Collection. There is a brief description by the author of each folder. An Appendix lists gifts and donors to the Collection since 1978, and an index integrates important people, organizations, and works.
Pros: author’s descriptions very helpful, very well organized
Lorenz, Ricardo, comp. and ed. with Luis R. Hernandez, and Gerardo Dirie. Scores and Recordings at the Indiana University Latin American Music Center. Bloomington, Ind. and Indianapolis, Ind.: Indiana University Press, 1995. Mus Ref ML 136 .I5 I557 1995
Use: Find Latin American musical recordings and scores contained in the Indiana University Latin American Music Center. Also locate a paragraph biography on each of the composers cataloged. Good source for performer seeking to include Latin American music in a program.
Coverage: It lists scores and recordings contained in the Indiana Latin American Music Center. The Latin American scores and recordings in this collection range from folk and primitive music, colonial church music, popular music, and art music from throughout Latin American history.
Organization: The catalog is organized alphabetically by country. Each country lists composers with a paragraph biography and a alphabetical listing of their compositions in the library. If a score is available, it lists the title, composition date, instrumentation, and additional information, publisher, and library catalog number. There is an index of composers.
Pros: Good source for Latin American music. Collection open to the public by visits, mail or interlibrary loan.
Use: A finding aid to the archival documents of Horatio Parker held at Yale University.
Coverage: Includes the evidence of Horatio Parker’s life and works seen through music, correspondence, programs, clippings and writings while at the Yale School of Music. Includes catalogue of materials with descriptions and location of materials within the collection.
Organization: Main body divided into 6 series: music, correspondence, programs, clippings and writings of Parker, biographical material, and miscellaneous items. Contains some documentation of holographs and manuscripts. Also provides title index, and shelf and box numbers for location of works in the archives.
Pros: Contains contact information for further research.
Use: Used as tool in finding materials in the New York Public Library music collection.
Coverage: 33 volumes include holograph scores, autograph letters, musical iconography, manuscripts, books, and libretti/texts without music. Articles and journals included. Journals subscribed to for first half of 20th century are indexed (articles by subject).
Organization: Main body consists of card catalog form with author, title, and subject access integrated into standard dictionary form, organized volumes A-Z.
Cons: Does not have modern cataloguing codes—can not be reproduced in color to indicate the content of various cards. Badly dated and largely superceded by RLIN.
Rowen, Ruth Halle. Symphonic and Chamber Music Score and Parts Bank Thematic Catalogue of the Barry S. Brook Facsimile Archive of 18th and Early 19th Century Autographs, Manuscripts and Printed Copies at the Ph.D. Program in Music of the Graduate School of the City University of New York. In Thematic Catalogues, vol. 24. General editor Barry S. Brook. Stuyvesant, NY: Pendragon Press, 1996. Mus Ref ML 136 .N5 S87 1996
Use: As stated in the preface, the purpose of this book is to "provide widespread access to the Symphonic and Chamber Music Bank by presenting a detailed Thematic Catalogue of its holdings."
Coverage: Symphonic and chamber music (in the archive) of the 18th and early 19th centuries (excluding Haydn, Mozart and Beethoven).
Organization: Begins with a table of contents (which is an index of composers), and an introduction. Thematic catalogue alphabetized by composer. Entries include the name of the composer, birth and death dates and locations, works (by opus number), incipits, movement information (includes key and time signatures), instrumentation, date of composition, a transcription of the title page (in the original language), the source of the manuscript, and the CUNY archive manuscript type.
Use: Catalog of orchestral music in the Library of Congress.
Coverage: Includes symphonies, chamber works, and short pieces such as serenades, overtures, etc. Covers the beginning of orchestral composition to 1912. No arrangements. Titles in original languages.
Organization: Works cited under composers in the order of opus numbers, or, when these do not exist, in the numerical order of “first,” “second” symphony, etc. Section of composers is followed by a systematic arrangement of entries by classes (band, concerto, dances, early music), then followed by a class index. Each citation lists the composer, his life-span, title, publisher, publishing date and number, and number of pages. An alphabetical title index at end.
Use: Index to the Clarence V. Mader Archive at the UCLA music library. Demonstrates classical music performance trends in Southern California from the mid to late 1900’s. Also represents the divergence of American classical music from that of Western Europe.
Coverage: The archive at the University of California, Los Angeles, dedicated to the life and works of Clarence V. Mader, organist. Contains over 100 holographs , manuscripts, and sketches by Mader from the years 1927-1971. Also contains manuscripts by other composers found in Mader’s possession at his death. In addition, the collection contains printed programs of performances given by Mader and performances he organized, as well as programs of concerts he attended. Personal items are also included, such as poetry and handiwork.
Organization: Broken into eight groups representing the eight separate collections the archives hold: Mauscripts, Poetry Manuscripts, Art Works, Tape Recordings, Documents, Miscellaneous Documents, Materials Dealing with Organs and Organ Design, Published Books and Articles Dealing with Church Music, Published Scores of Music with Mader Annotations, Scores and Books from the Mader Collection Placed in General Circulation, UCLA Music Library. Musical entries contain information on the title, orchestration, and musical description, as well as detailed physical descriptions of the manuscript. The Documents group specifies programs Mader put together for himself and also for others. These entries include dates, locations, and composers performed.
Pros: Very complete and highly detailed descriptions of every aspect of the archive.
Wolff, Barbara Mahrenholz. Music Manuscripts at Harvard: A Catalogue of Music Manuscripts from the 14th to the 20th Centuries in the Houghton Library and the Eda Kuhn Loeb Music Library. Cambridge, Mass.: Harvard University Library, 1992. Mus Ref ML 136 .C23 H684 1992
Use: Directs reader to music manuscripts held by the Houghton Library and the Eda Kuhn Loeb Music Library at Harvard University in 1992.
Coverage: Catalogues manuscripts holdings of the Houghton Library and the Eda Kuhn Loeb Music Library representing the fourteenth through the twentieth centuries. Current as of 1992.
Organization: Divided into three parts: Individual Manuscripts, Albums and Anthologies, and Large Collections. Entries arranged alphabetically: by composer in part one, by integrated composer or owner in parts two and three. Works are then organized alphabetically. In each entry, the title of the work is given, followed by information from the title page, a description of the manuscript, the contents (for larger volumes), comments about the manuscript, published literature about the manuscript, provenance (how the library obtained the manuscript), and the manuscript’s location in library. Some of these elements are omitted when not applicable. Four indexes: Index of Composers, Index of Hands: Composers and Scribes, Index of Previous Owners, and Index of Shelf Marks.
Pros: Facsimiles of some manuscripts at back. Four indexes provide additional points of access.
Cons: Poor typesetting.
Alder, Israel and Judith Cohen. A.Z. Idelsohn Archives at the Jewish National and University Library: Catalogue. Vol. 4, Yuval Monograph Series. Jerusalem: The Magnus Press, The Hebrew University, 1976. Mus Ref ML 136 .A35 A84x
Use: Catalogues published and unpublished works associated with Jewish music at the A.Z. Idelsohn Archives at the Jewish National and University Library at Jerusalem.
Coverage: Includes letters, press clippings, unpublished manuscripts of Idelsohn’s scholarly writings, drafts and articles, iconographical materials, and letters. Each citation includes a description by the author. The documents cover a time-span from 1897 to 1938 and include English translations to Hebrew titles; except for the press clippings that are all in Hebrew – also contains works written in German.
Organization: The materials are arranged in six sections: unpublished documents, poems by Idelsohn, studies and articles, correspondence (listed alphabetically by writer or institution), press clippings and newspaper articles, and iconographical materials. The order of the catalogue is done alphabetically by author and follows the sequence of call numbers in the archive. There are four indexes. The first two are for Idelsohn’s works and for periodical titles. A third Chronological Index lists the archives in relation to the main divisions of Idelsohn’s life and work. The fourth index integrates names of persons, institutions and localities mentioned in the catalogue. There is also an index translated into Hebrew.