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.
Blog topic: Music
Overture zum 3. Akt, Die Zauberharfe, original manuscript by Franz Schubert (1797-1828); libretto by Georg von Hofmann.
Memorial Library of Music, MLM 948
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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 There were seven repeat performances through October 12, before the work was subsequently withdrawn from the repertory.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.
For your browsing pleasure, we present the following list of new scores added to composer complete editions, historical sets, and facsimiles.
CPE Bach. Flute concertos, vol. II. Carl Philipp Emanuel Bach ; edited by Barthold Kuijken (Works, series III, vol. 4:2)
Cavalli. Orione / Francesco Cavalli ; dramma per musica by Francesco Melosio.
Chabrier. L'Étoile : opéra bouffe en trois actes / Emmanuel Chabrier.
The Stanford Music Library is pleased to announce the appointment of Kevin Kishimoto to the position of Head Librarian of Music Metadata Services. Kevin comes from the University of Chicago where he served as the Music Cataloger for five years where he was responsible for cataloging of music resources, including audio recordings, scores, video recordings, electronic resources, microforms, books in all European languages, and rare music resources in the Special Collections Research Center.
“There was war in heaven: and Satan was cast out into the earth, and his angels were cast out with him. Rejoice, ye heavens, and ye that dwell in them: woe to the inhabiters of the earth.” – Revelation 12:7-12
So opens The Fallen Angel, an oratorio by Sir Henry Rowley Bishop. The manuscript score, in Bishop’s hand, has recently been reunited with a full set of manuscript orchestral and choral parts, as item MLM 87 in Stanford’s Memorial Library of Music.
Tout Gai!, original manuscript by Maurice Ravel (1875-1937); traditional Greek text from the island of Chios, French translation by Michel-Dimitri Calvocoressi; No. 5 of Cinq Mélodies populaires grecques.
Memorial Library of Music, MLM 864
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Guest blogger: Kirstin Haag
Maurice Ravel was known as France’s premier living composer in the 1920s and ‘30s, but his early career was not without challenges. By 1900, Ravel had flunked out of his courses at the Conservatoire de Paris not once, but twice. By 1905, he had failed to win the Prix de Rome no less than five times. However, in the wake of these career hardships, Ravel orchestrated several Greek songs that would become some of his most beloved recital pieces.