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Research libraries branch.

The Research Libraries Branch sponsored two sessions at the IAML conference in Antwerp in July 2014.

The second session began with elections led by Johan Eeckeloo for the 2014-2016 term of the branch committee. All nominees were duly elected: Thomas Leibnitz (Osterreichische Nationalbibliothek, Vienna, Austria), Chair; Friederike Grigart (Beethoven-Haus, Bonn, Germany), Vicechair; Kerstin Carpvik (The Music and Theatre Library of Sweden, Stockholm, Sweden), Secretary.

The first session entitled Conflict and Culture: Research Collections in Libraries was attended by ca. 50 delegates. Jim Cassaro held an introduction on the subject music and war. Music has the ability to enhance feelings and can act encouragingly and be uplifting. Music is also something to gather around, to get comfort from and a sense of togetherness. The War Requiem by Benjamin Britten is one of the most famous pieces that shows the horror of war but at the same time gives comfort and a sense of relief.

The first presentation, "For King and Country: The Study and Valorization of Belgian War Music (1914-1918) From the Library of the Royal Conservatory Antwerp" was held by Jan Dewilde (Royal Conservatoire Antwerp-Centre for the Study of Flemish Music, Antwerp). Belgium was invaded by Germany in August 1914. Much music was composed during the war but little research has been done in the field. Many promising musicians and composers died in that battle and the music that was played during the war has been forgotten, consciously or unconsciously.

The library of the Royal Conservatory Antwerp preserves an important collection of around 600 scores of Belgian music which was composed during the First World War. Jan Dewilde talked about how this specific music was used not only as a patriotic weapon but also for leisure and entertainment, furthermore the music provided consolation and even therapy. He demonstrated how the collection of war music as well as the war archives have been opened up and valorised for a large public through (web)exhibitions, articles, editions of scores and a radio series.

Some composers mentioned were Andre Devaere (1890-1914), a promising pianist and composer who died during the war; Lodewijk de Vocht (1887-1977), who donated scores to the Antwerp Conservatory; and Emile Wambach (1854-1924). Many of their manuscripts are preserved in the Library of the Royal Conservatory in Antwerp. We listened to some examples of Emile Wambach's music.

The collection also includes many concert programs that give us a picture of the situation during the war and what kind of music that was played. The programs tell us that the people tried to stick to the usual way of life, concerts resembled in many respects the concerts held before the First World War, but, of course, there were other sorts of concerts, charity concerts, memorial concerts, etc ... The programs are a rich material for research.

A well-known mezzo soprano, Claire Croiza (1882-1946), held many concerts at the front. Even cabaret, opera, operettas were performed at the front. For obvious reasons many female roles were played by men. This is also documented through various photographs.

The material in the collection is a rich source for research, the war was fought also on the music front and you would not listen to the enemy's music. Patriotic, strengthening, and comforting songs and music were needed. Through the music you can see and follow the progress of the war. It was important to open up the collection for researchers who do not normally seek a music library for material around the First World War.

Finally Jan De Wilde pointed out that librarians should be more than a guide, librarians should work actively to highlight library collections, inspire to research, and contribute with their expertise. A good example is the work that has been done with the World War One collection at Antwerp Conservatory.

The second speaker was Frederic Lemmers (Bibliotheque royale de Belgique, Brussels) and his presentation was entitled "Musique et Premiere guerre mondiale dans les collections de la Bibliotheque royale de Belgique." Within the "Europeana Collections 1914-1918" project (2011-2014), the Royal Library of Belgium has digitized more than 10,000 documents relating to the first the First World War.

Europeana Collections 1914-1918 has created by 2014--the centenary of the outbreak of the First World War--a substantial digital collection of material from national library collections of ten libraries and other partners in eight countries that found themselves on different sides of the historic conflict. The First World War was a conflict on an unprecedented scale that affected the every-day lives of virtually all Europeans and many people living in other parts of the world. The memory of the war, its events and consequences, its victims and victors, remains very much alive today. It has become part of the individual and collective memory of Europe. The three-year project made more than 400,000 digitized items from the First World War publicly and freely available online for the first time--content that is often rare and highly fragile because of the deteriorating quality of the paper it was produced on and generally only accessible in reading rooms. The digital collection spans the full range of national library collections including books, newspapers, trench journals, maps, music sheets, children's literature, photographs, posters, pamphlets, propaganda leaflets, original art, religious works, medals and coins. This material highlights the importance of the First World War for a common European identity and is reflective of the different experiences of individuals and groups on all sides of the conflict in cluding different ethnic, linguistic, political, social and religious communities and those opposed to the war. It permits new interpretations of history that go far beyond traditional military history and include artistic and cultural reinterpretation of the experiences of 1914-1918.

A selection of approximately 300 sheets that illustrated Belgian music published during the war were described, digitized, and made publicly available on the internet within this project. This is a unique entrance to research not only because of the iconographic richness but also because it opens new ways of looking at the Belgian music scene at the time of the German occupation.

Following Frederic Lemmers was Marie Cornaz (Bibliotheque royale de Belgique, Brussels) with the presentation "The Recent Music Acquisitions of the Royal Library of Belgium (2010-2014): Overview, Issues, and Prospects." She gave us an overview of the latest significant materials that recently enhanced the music collections of her library. The Royal Library of Belgium is a federal scientific institution with a unique cultural heritage.

The acquisition in 2010 of the "Fonds Marc Danval", a collection including more than 12.000 sound recordings, more than one thousand scores, books, posters, photographs, and archives documents related to jazz and variety music in Belgium was presented with information and examples. Marie Cornaz also discusses the "Fonds Eric Mathot" that was acquired in 2011. This collection provides nearly 40.000 orchestral material titles related to different repertoires of the first half of the 20th century (jazz, chanson, salon music, accordion).

The acquisition in 2011-2012 of about thirty manuscripts of the Belgian violinist and composer Henry Vieuxtemps (1820-1881) gives the public access to material that has not been available earlier. These new archival sources, which were kept in private hands, are now making the Royal Library of Belgium the worldwide most important conservation center for the works of Vieuxtemps.

The second part of the presentation exposed an analysis of the outcome, issues and prospects concerning conservation (reconditioning, restoration) and cataloguing. It's important to look at both the implemented policies and the matter of online catalogue, which propose a large diversity of music materials including manuscripts and musical editions, iconographical documents, objects and archives documents.

To conclude projects of setting up scientific valorization, outreach and communication strategies were discussed. Several partnership programs with universities and conservatories have developed during the years. Examples of activities are lectures, seminars and supervision of doctoral dissertations, concerts and guided tours.

The second session entitled Catalogues, correspondence and C.P.E. Bach: Research projects in libraries was attended by around 40 delegates.

Richard Sutcliffe (Royal Conservatory Brussels, Erasmus University College, Brussels) began the session with a presentation called "Westpahl, Wagener, and the tercentennial C.PE. Bach Year." Richard Sutcliffe is a viola da gamba player and a researcher. In 2012, the Koninklijk Conservatorium Brussel (Royal Conservatory Brussels), a department of the Erasmus University College Brussels, launched a research project in preparation for the 300th anniversary of the birth of Carl Philipp Emanuel Bach (1714-1788). The project is ongoing and started in 2012, it will end in November 2014. The central aim of the project is to promote the unique collection of the Brussels conservatoires. An important aspect of the project is the digitization of a significant portion of works by C.P.E. Bach in the Westphal and Wagener collections. Ca 1,400 works were scanned and digitized. Only 200 works were scanned in colour, which had to be done outside the library and the insurance cost was very high. The project has focused on unique works not currently available from other libraries. As well as digitalizing, the project will also present an online exhibition and small exhibition in the library. The material is open for the public to use.

The second speaker was Florian Heyerick (University College Ghent, Ghent) and he spoke about "Designing an Online Thematic Catalogue of the Musical Works of Christoph Graupner." The autograph manuscripts of the musical works of Christoph Graupner (16831760), composed at and for the court of Darmstadt, are almost entirely preserved at the University Library of Darmstadt. Because of the renewed attention of his qualitative works, there was a demand for making a catalogue of his works accessible to the public. Florian Heyerick, musicologist and conductor, has designed an online catalogue tool (GWV-online) and showed us how it could be usable both for composers, performers and researchers. You can read about the catalogue and the project at http://graupner2010.org/

The last presentation "Mozart at Calais: A New Document and New Light on his Composition of Music for Keyboard Four-Hands" was held by Cliff Eisen (King's College London, London). The chronology of Mozart's return to the continent during the Grand Tour of 17631766 has never been adequately documented. The discovery of a diary entry by Prince Emmanuel Croy of Calais helps us to get to know more about this subject. For example Croy reports on a previously unknown performance by Wolfgang Amadeus Mozart and his sister, playing four-hand keyboard music. This casts new light on Mozart's early compositions of keyboard duets, and the sonata K.19d in particular. The diary itself doesn't quite solve the authenticity of the sonata problem but the diary demonstrates that archival and documentary research in Mozart's life still contributes with more information and knowledge concerning Mozart's life and work.

Kerstin Carpvik

Research Libraries Branch, Secretary
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Title Annotation:PROFESSIONAL BRANCHES
Author:Carpvik, Kerstin
Publication:Fontes Artis Musicae
Geographic Code:4EUBL
Date:Oct 1, 2014
Words:1792
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