Mimi Tashiro and Ray Heigemeir travelled to Seattle on August 5-6, 2016, to join colleagues at the Music Library Association West Coast Joint Chapter Meeting. Over 50 music librarians and library school students, from Anchorage to San Diego and everywhere in between, gathered at the University of Washington for Day 1 of the conference.
Blog topic: Music
Medici.tv, available to Stanford community members, is the place to watch live-streamed music including the Verbier and Salzburg festivals, and the Cleveland International Piano Competition.
Among the highlights of the Verbier Festival (July 22 – August 7) are the opening concert with Kyung Wha Chung alongside Charles Dutoit; two opera nights with Kate Aldrich in Bizet’s Carmen and Bryn Terfel in Verdi’s Falstaff; pianists Daniil Trifonov, Yuja Wang, András Schiff, Behzod Abduraimov and the revelations from the last Tchaikovsky Competition George Li and Lukas Geniušas; and legendary conductors, Michael Tilson Thomas, Paavo Järvi, Emmanuel Krivine or Iván Fischer. Behind-the-scenes video will include rehearsals and artist interviews.
Canzonetta for cello and piano 
by Alfredo Piatti (1822-1901)
Carlo Alfredo Piatti (1822-1901) was one of the most famous cellists of the 19th century. Born in Bergamo, Italy, he began his cello studies at age 5 with his uncle. At age 7 he played in the local opera orchestra. In his teens, he studied at the Milan Conservatory and then began touring Europe. After meeting Liszt in Munich, the pianist invited Piatti to share a concert billing in Paris. There, Liszt presented Piatti with a fine Amati cello, having learned that he was playing on borrowed instruments after having to sell his cello during hard times on the road. Piatti later owned a fine Stradivarius cello, now nicknamed the “Piatti.” The book, The Adventures of a Cello, chronicles this instrument's story from its creation in Cremona in 1720 to the present day.
For your browsing pleasure, we present the following list of new scores added to composer complete editions, historical sets, and facsimiles.
Buxtehude. Keyboard works. part. 3 : preludes, toccatas, fugues, and canzonas for organ (manualiter), harpsichord, or clavichord (v. 17); Keyboard works. part. 4 : suites and variations for harpsichord or clavichord (v. 18). The collected works / Dieterich Buxtehude
Rare Music Materials at Stanford is a Spotlight instance that presents materials from the Stanford University Libraries' collections that have been digitized in response to research requests, or were produced for small projects. Items and their downloadable images may also be found in SearchWorks, Stanford's library catalog.
Overture zum 3. Akt, Die Zauberharfe, original manuscript by Franz Schubert (1797-1828); libretto by Georg von Hofmann.
Memorial Library of Music, MLM 948
[download images of this work]
Guest blogger: Benjamin Ory
Die Zauberharfe, or “The Magic Harp,” was a melodrama premiered on August 19, 1820 at the Theater an der Wien in Vienna. The original cast included Ferdinand Schimon (Palmerin, tenor), Karl Erdmann Rüger (Arnulf), Josefa Gottdank (Melinda), Frl. Botta (Ida), and Nikolaus Heurteur (Folko). There were seven repeat performances through October 12, before the work was subsequently withdrawn from the repertory. The majority of Hofmann’s text and some of the musical numbers were lost, and thus, no further staged performances were able to occur. The manuscript of the Act III Overture now resides in Stanford’s Memorial Library of Music.
The following titles have been added to the Music Library Reference Room. In no particular order:
Open reel tapes, head blocks, and unconventional track arrangements at the Stanford Media Preservation Lab
Part of audio preservation work includes working with media that has peculiar characteristics. Sometimes the atypical qualities are a byproduct of how the recording was made by the recordist. An example of this type of problem that we occasionally see at the Stanford Media Preservation Lab is when an open reel tape is recorded over and there is remaining content hidden in certain spots of the tape. This presents specific problems in capture since tape heads are built for use with specific physical configurations of tracks and thus capturing the hidden spots outside of the normal range of track configuration is near impossible. With this in mind SMPL recently worked on obtaining equipment to address this challenging scenario.