The first and second editions of Mahler’s third symphony increase the number of source materials for the work in the Memorial Library of Music in the Department of Special Collections, which already included two sketches and a corrected first edition. This copy of the first edition contains extensive manuscript corrections and alterations in a neat hand in red ink throughout, possibly from a member of Mahler’s circle, or of a professional copyist from the publisher Universal. Stanford owns another copy of the first edition which also contains corrections by an unknown source. Mahler is known to have constantly revised his works so that sources such as these may provide significant insight into his process. Besides the two annotated first editions at Stanford, there are other annotated copies at the Internationale Gustav Mahler Gesellschaft in Vienna, which has corrections in Mahler’s handwriting and another hand, the Library of Congress, and New York Public Library. The handwriting in the first Stanford copy and the New York Public copy seem to be similar. We do not fully know what the relationship is between these copies or what the information in them tells us. When one compares the newly acquired first and second editions, it is evident that the corrections and alterations noted in the first edition were made in the published second.

Additional images, with examples of annotations and corrections:

Two news stories on recent library acquisitions

There have been two news stories in the last couple of days about exciting new acquisitions here in the Stanford University Libraries. Yesterday there was a piece in The Dish about a book that the Art & Architecture Library has purchased that features an original 1869 etching by Edouard Manet. And in today's Stanford Report there's a story about a collection of 800 maps showing California as an island that's coming to the Branner Earth Sciences Library and Map Collections and that will soon be available digitally.

Music From Math - Digitizing the Works of Max V. Mathews

What's the first name you think of when considering the development of electronic music? Edgard Varèse? John Cage? Karlheinz Stockhausen? Now how about computer music? Max Mathews should be at the top of your list. While at Bell Laboratories in 1957, Mathews wrote the program MUSIC, ushering in an era of digital synthesis and composition. MUSIC went through many iterations, but its lasting influence can be seen in contemporary programs such as Max/MSP, itself named after the late pioneer.

Mathews' connection to Stanford is through the Department of Music and the Center for Computer Research in Music and Acoustics. Named a Professor of Music (Research) in 1985, Mathews continued pursuing digital sound synthesis techniques until his death on April 21, 2011. Although his recorded output is small, his contribution to the genre is no less important; he rightfully stands side by side with more prominent names on this illustrious compilation featuring the "early gurus of electronic music".

His archives, which includes papers, digital files, video, and audio recordings, was acquired by University Archives earlier this year by way of Jerry McBride, Head Librarian of the Music Library. Once the finding aid was complete, the Stanford Media Preservation Lab took on the reformatting duties for the media portion. Part of the work will be completed in our lab over the coming month, while the rest will be outsourced to a vendor.

All of the digital files will be available to the world in the not too distant future. Until then, here's a sample of what to expect.

Pontificale secundum ritum Sacrosancte Romane Ecclesie

Pontificale secundum ritum Sacrosancte Romane Ecclesie : cum multis additionibus opportunis ex apostolica bibliotheca sumptis: et alias non impressis: quarum breuis index post epistola[m]. S. Domino Domino nostro pape dicata[m] statim sese offert. Aptissimis figuris gestus & motus personarum ex officiorum decoro exprimentibus excultum. Quottationibus etiam marginalibus auctoritatum sacre pagine in eo existentium: quo libro: quoto quoq[ue] capite habeantur signatum. Opus sane laudabile atq[ue] diuinum.

BX2030 .A2 1542 Locked Stacks: Ask at loan desk

Oxford Music Online defines a pontificale or pontifical as “A liturgical book of the Western Church containing rites proper to a bishop: the dedication of churches, the consecration of altars, the blessing of sacred vessels, conferral of clerical ordination, the blessing of abbots and abbesses, confirmation, the blessing of the holy oils. It often contains music for these rites.” The volume is printed in red and black throughout and contains woodcut illustrations and headings, and historiated and ornamental initials.

Domenico Cimarosa. Artemisia : Dramma Tragico. Venezia, [1801].

Artemesia is the last of Cimarosa’s almost sixty operas, with libretto by Count Giovanni Battista Colloredo who wrote under the pen name of Cratisto Jamejo. Cimarosa completed only two of the acts; the third was completed by an unknown person. The opera premiered at La Fenice in Venice in January 1801, was performed in Florence in 1806, and was likely performed in England, Germany and Russia. Arias from the opera were published in the early nineteenth century and the overture in 1957. However the full opera has never been published. This two-volume manuscript copy was produced in Venice by the well known copying shop of Valentino Bertoja, who at one time was Haydn’s second cellist at Esterháza. It is inscribed to Alvise Mocenigo, a member of one of the most renowned patrician families of the Venetian Republic.

Acquired through the Lucie King Harris Books for Music Fund.

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Notable acquisitions: Mahler Symphony no. 3, first and second editions

Two news stories on recent library acquisitions

Music From Math - Digitizing the Works of Max V. Mathews

Pontificale secundum ritum Sacrosancte Romane Ecclesie

Domenico Cimarosa. Artemisia : Dramma Tragico. Venezia, [1801].

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