In 2012, Harmonie Park Press released a catalog of the Ricasoli Collection of Tuscan manuscripts and prints residing at the University of Louisville. After the purchase of the collection in 1987, the money left over was put toward purchasing manuscripts and editions that would complement the Ricasoli Collection. These pieces were referred to as the addenda to the Ricasoli Collection, and eventually amounted to several hundred works, a substantial catalog of works in its own right. These works were purchased according to a priority schema that included three categories, ranked in order of importance: (1) Tuscan works from the late eighteenth and early nineteenth centuries, (2) Italian music of the same period, and (3) works that originated outside Italy, a category that could include works owned by Tuscan collectors of the period, or similar to ones that were. These addenda were originally intended to be included as an appendix to the published Ricasoli catalog, but it was decided to leave them out since they were not directly tied to the Ricasoli Collection. This, then, is the catalog of the addenda, and since it was intended to be a part of the Ricasoli catalog published by Harmonie Park Press, the format follows that catalog closely. Pieces are listed alphabetically by composer, with the "Add." numbers corresponding roughly to the order of acquisition by the Anderson Music Library. [ABSTRACT FROM AUTHOR]
Music -- Manuscripts and Online services -- Evaluation
Musical enthusiasts who are searching for a comprehensive list of musical manuscripts may find Series A/II a very useful program. Designed by Repertoire International des Sources Musicales, the software features user-friendly search parameters that can be used by researches in taking account of the bibliographic, theoretical and historical aspects of various manuscripts. Series A/II is further equipped with an interface which enables users to view a number of selected records or scores.
MUSIC -- Manuscripts, MOTION picture production & direction, and MOTION picture editing
William Walton's manuscripts are generally well-preserved and well-documented. Autograph material survives for half of his fourteen feature film projects. These sources offer a rare glimpse behind the scenes into the production of mid-century British cinema—in particular allowing a more nuanced understanding of the film editing decisions made by Walton's great collaborator Laurence Olivier, and the post-production role of conductor Muir Mathieson. Sketches reveal Walton's early attempts to synchronize his music to action on screen, and later giving up this technique. Most surprisingly, the autographs reveal that the recent DVD release of Battle of Britain which purportedly restores the discarded Walton score (actually written jointly with Malcolm Arnold) misplaces every cue. [ABSTRACT FROM AUTHOR]
Notes. Dec2010, Vol. 67 Issue 2, p249-262. 14p. 4 Black and White Photographs, 3 Diagrams.
MUSIC -- Manuscripts, CATALOGS, COMPOSERS, INCIPITS, MUSIC & the Internet, and MUSICAL composition
Due for completion in 2013, the Britten Thematic Catalogue, an online musicological research tool that will present detailed individual records charting Benjamin Britten's entire compositional output (approximately 1,200 works both published and unpublished including all juvenilia), is currently being compiled at the Britten-Pears Foundation in the United Kingdom. As this resource will be published exclusively online, it is the project's intention to fully employ the benefits afforded to the catalog through its virtual format, specifically when presenting thematic incipits for each work. In addition to typeset incipits, which in the case of the Britten Thematic Catalogue will extend beyond the traditional "opening fragment of music," corresponding audio examples will also be included that will enable users to not only view but hear Britten's compositional development, particularly during his childhood. Whilst extracts from existent recordings will be used to this end for the composer's published works, the majority of pieces to be included, principally the bulk of Britten's juvenilia, will need recording for the first time. This article outlines the various considerations that have informed incipit construction throughout the project's progression. Following an examination of specific issues regarding incipit length and error correction that arose during the process of typesetting examples, the article goes on to detail a number of observations that have been made thus far during the act of recording some of Britten's earliest efforts. [ABSTRACT FROM AUTHOR]