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Archives and Music Documentation Centres.

The Archives and Music Documentation Centres Branch presented two sessions during the Vienna Conference 2013. The first one (Monday 29th July) entitled Austrian composers' archives and documentation centres : Mozart, Mahler, Schonberg focused on three repositories devoted to these major composers, and was attended by around 140 delegates.

The first paper: "From a collection of relics to a research library: The Bibliotheca Mozartiana of the International Mozarteum Foundation, Salzburg" was presented by Dr Armin Brinzing. Dr Brinzing gave an overview on the beginnings of the "Internationale Stiftung Mozarteum" since 1841 (as "Dommusikverein und Mozarteum"), the constitution of its collections and its current developments. The institution received gifts (such as the Kyrie-fragment K. 322 from W. A. Mozart's widow, Constanze Nissen), bequests, musical instruments, portraits, personal belongings of the family, and above all, the majority of the music autographs and family correspondence still held by the family came into the holdings. This core collection was often referred to as "relics" in the 19th century. Through the Library it has continued to expand, since the beginning of the 20th century, by systematically collecting all publications relevant to Mozart and his environment, as well as collections of letters, music autographs and early editions. The Library of the International Mozarteum Foundation is not only devoted to Mozart but also contains a large collection of rare music editions and music literature from the 19th century, used for musical education and musical performances at the Conservatory. Several bequests made by composers and musicians from the 19th and 20th centuries are also part of the collection.

The Library pursues different projects such as expanding the collection; cataloguing music autographs and early editions; researching the often complicated history of the different parts of the collection; and building new partnerships. /library-collections.html

The second paper: "The Mediatheque Musicale Mahler, Paris: from a Private Collection to a Research Centre", presented by Christiane David, focuses on a large Mahleriana collection, constituted by musicologist Henry-Louis de La Grange, Mahler's biographer. In the early 1950s, La Grange met Alma Mahler-Werfel, who allowed him to photograph the composer's letters and offered him some objects. He also met Mahler's daughter Anna, relatives, and friends of the composer. He began on both sides: building a collection of original documents and primary sources, and made extensive researches in libraries and archives in Europe and North America for his own publications (among them Mahler's biography in several French and English editions). The Mahlerian Library includes today more than 3,000 items: archives, scores, books, periodicals, theses, records, documentary files, etc. on the life and works of Gustav Mahler. A part of the Mahler collection concerns members of Mahler's family and some of his close friends and relatives. The Library is also known to keep resources on music in Austria, Bohemia, Moravia, and Slovakia from the 16th century to present times, as well as a large collection of books concerning Vienna and the Austrian Empire: history, biographies, Judaism, art, places, and other topics.

Apart from these topics, collections of the Mediatheque Musicale Mahler cover European classical music from the Middle Ages to present times. The activities (concerts, exhibitions, master-classes), services (on site or distant), and publications, are detailed on the website:

The third paper, "Arnold Schonberg Center, Vienna--repository of Schonberg's estate and digital archive" was presented by Eike Fess. Schonberg conducted in parallel several activities (composer, painter, writer, teacher, concert organizer) and always took care of and organised his own archives. These collections were kept by the family who then entrust their preservation to the Library of Congress and the University of Southern California in 1972. Since 1997, the collections of USC have been transferred to The Arnold Schonberg Center, a private foundation established in 1997 in Vienna, in order to be a repository of Schonberg's legacy and a cultural center open to the public. The Center keeps the most comprehensive collection of works by any 20th-century composer and provides a broad spectrum of research materials for musicologists, art scholars, teachers, musicians, and historians: music manuscripts (8,000 p.), text manuscripts (12,000 p.), Schoenberg's library (700 items), and music manuscripts from other composers given to Schonberg (100). A partnership was established with the LoC to digitize the huge correspondence received by Schonberg, now available online. A database of the photographic collection allows thematic and detailed researches. Other programs of digitization are being processed, covering paintings and drawings, concert programs, address files, teaching materials, and personal documents.

The Arnold Schonberg Center is also in charge of the Modling Museum. Since 2011, the Arnold Schoenberg Estate is listed on the Unesco Memory of the World Program.

The second session presented by the branch was entitled Music Archives: Sources, Tasks, and Recent Developments, and took place on Thursday 1st August. Around 60 delegates attended this session.

Two speakers presented the first paper "Letters and documents of the Mozart Family at the Mozarteum Foundation Salzburg". Dr Ulrich Leisinger introduced the whole project of collecting and editing the letters of the Mozart family. The Mozarteum Foundation Salzburg currently holds in its Bibliotheca Mozartiana approximately half of the known letters and documents of the Mozart family. The majority of the 700 documents consists of the correspondence between Wolfgang Amade Mozart and his father, Leopold. These were preserved by Mozart's sister Maria Anna (Nannerl), and belong to the earliest donations to the Dom-Musikverein und Mozarteum (established in 1841). Also included are numerous letters from Constanze Mozart as well as letters from both of Mozart's sons. In cooperation with the Packard Humanities Institute, Los Altos, California, the Mozarteum Foundation has digitized all its historical letters and documents at the highest technical standard.

The entire collection will be accessible to the public free of charge. In an innovative approach the images are presented online together with a literal transcription. Further forms of the text (e.g., a scholarly edition and a "reading version") can be downloaded; highresolution scans are available on request. English translations shall complete the online edition. 738 items are available online as of July 2013. Dr. Anja Morgenstern gave details of the editorial guidelines, comparing the HTML version and the PDF version and, with relevant examples, showing the text revisions and transcriptions of encrypted passages now made understandable by this new scientific edition. The Mozarteum Foundation also hopes to encourage owners of Mozart documents, public and private institutions as well as private collectors, to integrate their treasures into this online platform. A handout was given to the attendees.

The second paper should have been presented by Olesja Bobrik, who unfortunately could not attend the conference. Boris Mukosey, assisted by Sergey Konaev, gave the results of her research devoted to " The scores of Austrian and German publishers held by the Archives of the Music Library of Bolshoi Theatre". Around 1,500 scores of Austrian and German publishers entered the Bolshoi Archives by different routes, either directly purchased from the publishers, or as part of musicians' private collections. During the 19th century, a majority of the publishers active in Russia, such as Gutheil, Bessel, or Jurgenson, were German or from Baltic states. They edited Russian composers' works and also played an important part in spreading European music in Russia. Later in the 19th century, Russian publishers used to print their editions in Germany, using the "know-how" of German printers and establishing partnerships for a better diffusion of Russian music in Europe.

The Music Library of Bolshoi Theatre also holds the private libraries of Vaclav Suk and Sergei Koussevitsky. The Library holds complete works of German-language composers of various periods. The Bolshoi Theatre put a special emphasis on the scores published by Universal Edition in the 1920s, when a few productions of such modern composers as Richard Strauss, Ernst Krenek, and Franz Schreker were staged. Richard Strauss's Salome, for example, could not have been given at the Bolshoi in 1925 without Universal Edition's participation. Studying autographs, manuscript annotations and comments in the scores of Richard Strauss's Salome and Schreker's Der Ferne Klang for example, is very significant for understanding how Russian musicians received and passed on performing traditions and the music of Austrian and German composers at the end of 19th and the beginning of the 20th century. Scores from German publishers Breitkopf & Hartel, Peters, and Universal Edition are specifically well represented in the collection of the Bolshoi's Library. For publishers in the 1920s, sending scores to Russia was also a way to invest in a new cultural area in the east of the European continent and brought with it the promise of fruitful exchanges.

The Deutsches Musikarchiv (German Music Archive) was presented by Wibke Weigand. The Deutsches Musikarchiv, as a department of the Deutsche Nationalbibliothek (German National Library), has a responsibility to collect, preserve, index and make available music documents. Legal Deposit makes it possible to constitute a systematic collection of sheet music (scores) including printed music and digital scores, from 1943 to the present day. The collection of sound recordings covers the early days of sound carrier production in the 19th century to digital sound recordings, with systematic collection since the 1960s.

The Deutsches Musikarchiv held in 2012: 994,554 sound recordings; 797,975 music scores; and 1,237 electronic documents. Although this is not its main goal, the institution also receives estates, special collections and archives (25 collections until 2012), such as the music collection of the GEMA (German society for musical performance and mechanical reproduction rights), in July 2000.

A central pool of information, both for academic and practical use and also for retailers and buyers, is created by transferring its bibliographic data to the national bibliography and to the catalogue of the Deutsche National Bibliothek, which also coordinates the authority files which are collectively created and made freely available. MARC 21, MARC 21-xml, RDF-xml, are the exchange formats. (http:// These last years the Deutsches Musikarchiv has been involved in new tasks and recent developments, such as the RDA project 2012-2015 manage by the Deutsches National Bibliothek (https://wiki

The Deutsches Musikarchiv has moved to a new building (in December 2011), now equipped with new work areas and stacks, a new music reading room (18 working places and working keyboards), a listening booth including surround-sound system, and a stateof-the-art recording studio complex. Website:

Marie-Gabrielle Soret

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Author:Soret, Marie-Gabrielle
Publication:Fontes Artis Musicae
Date:Oct 1, 2013
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