Music Publishers and Synchronized Scores: Mascagni, Ricordi, and Rapsodia satanica

The article is dedicated to analyze the Lithuanian music score publishing after the Restitution of Independance of Lithuania (1990). After the specification of the concept of music publishing (publishing of musical compositions, not books about music) it is analyzed according to the main aspects of book analysis – the typology and genres of publications are discussed in it as well as technical and artistic design. Music publishers and music libraries are also assessed and the structure of music community is revealed together with its specific needs. The conclusion is drawn that music publishing in Lithuania has always been a marginal but very important part of a cultural life in a country. On the other hand, there have never been enough prerequisites to establish a long-acting music publishing house because of a small market and weak purchasing power of musical community in Lithuania. Since 1990, about 1400 published music titles have been calculated (according to the data basis of the National Library). The average number of music titles published per year is growing comparing with previous periods. The number of published copies varies from several copies up to 50000. There are only exceptional editions published with an especially small or an extreme number of copies (for example, music repertoire for the National Song Festival is printed with a maximum number of copies). Some small and private publishers started publishing music after 1990. Traditionally they publish only some titles per year. However, they have enlarged music repertoire with different editions according to the type, genre or instrument. The music publisher Jonas Petronis (1911–2005) can be mentioned as an exception – he published more than 100 titles. Today music publishing is regarded as a self-contained process rather than a strategically coordinated one. As a result, there are obvious gaps and uneveness in the current publishing landscape of the Lithuanian musical heritage.

Bohuslav Martinů's "Concerto for Oboe and Small Orchestra" is one of the most frequently played pieces in the oboe repertoire. For this reason, it is often played with the piano reduction instead of the orchestra in oboe recitals. However, the existing piano reductions include many errors and discrepancies from the orchestral score, misrepresent the orchestration, sometimes fail to make the oboe entries clear, and tend to be unplayable for pianists. Moreover, the scores were published after the composer's death without him supervising the final editing. I have prepared a new, playable piano reduction to represent the orchestration more faithfully and help pianists work with their soloists more easily. Based on the work of Martin Katz, a prominent collaborative-pianist, I establish four principles for creating a new piano reduction. After scrutiny of the deficiencies of existing piano reductions, I suggest solutions for making the passages in question practical and bringing out the leading voices clearly so that the soloist can join in as easily as playing with an orchestra. To aid in reflecting the orchestral texture that Martinů created, I include abbreviated instrument names in many passages to help pianists to understand how to create balance. I have changed some passages completely to make the sound closer to the orchestral texture. All changes and suggestions are based on the orchestral score and its layout. This simplified and practical piano reduction should help pianists have more enjoyable and more successful collaborations with their soloists.

In the early 1890s Mahler’s attempts to interest the German music publisher, B. Schott’s Söhne, in his large-scale works proved fruitless and the owner, Dr Ludwig Strecker, was content to publish a collection of songs, the 14 Lieder und Gesänge. Even for a major firm, with ample opportunity to use income from popular works to cross-subsidize more costly and risky ventures, the publication of new, innovative symphonies was unattractive. For Mahler one temporary solution emerged unexpectedly thanks to two Hamburg patrons who funded both the performance and publication of his Second Symphony.However, this was hardly a satisfactory arrangement, as no orchestral parts were printed, and it was only thanks to the intervention of an old friend, Guido Adler, that Mahler finally saw his first four symphonies, Das klagende Lied and the Wunderhorn songs, published in practical and performable editions. The firm that undertook this large-scale project was not primarily a music publisher at all, but a printing company, the Erste Wiener Zeitungs Gesellschaft, and until recently the details of its agreement with Mahler were unknown. With the discovery in 2014 of a manuscript draft of the firm’s contract with Mahler this important step in the dissemination of Mahler’s music can be better understood.The article presents a transcription and translation of the draft contract, and a commentary, drawing on other published and unpublished primary sources, that seeks to set the document in the wider contexts of the history of music publishing in Vienna and of the Erste Wiener Zeitungs Gesellschaft in particular, Austrian copyright legislation, and the publication of Mahler’s music.

FIFTY YEARS AGO, in March 1938, Hitler invaded Austria. I left Vienna and came to London. Now, half a century later, I look back on forty years of music publishing, first of all in the 1950's in the production department of Boosey & Hawkes, and later setting up my own business for the engraving and copying of orchestral full scores and instrumental parts for international music publishing firms.

The Harvard Theatre Collection includes a wide range of musical resources, of which the bound music volumes are a small selection.1 The bound music collection generally complements other materials available through the Theatre Collection, including music and early publications related to minstrel shows, early American musical theater, songs from plays performed on American and English stages, and operatic works. Other Theatre Collection holdings of interest to music librarians and historians include a collection of materials relating to John Gay's The Beggar's Opera, and the John Milton Ward collections which include materials gathered by other well-known collectors: Kurt Ganzl's operetta collection and Richard Macnutt's collection of librettos. Guides to the collections include the library staff's 1998 Sheet Music Shelflist (compiled for internal purposes), which itemizes multiple collections of sheet music, primarily from the nineteenth century, grouped and sorted by different categories including composer, title, airs, and songsters. This article will briefly consider the materials found in the bound music collection and suggest possible directions for further research related to them, concluding with the handlist and, in an appendix, various indexes for locating material by characteristics such as composer, dramatic production, or place of publication.2 OVERVIEW OF THE BOUND MUSIC COLLECTION Numbered XXXI in the 1998 Sheet Music Shelflist, the collection of bound music comes from a variety of sources. Some volumes were given directly to the Theatre Collection, other volumes came from Houghton Library or were removed from the old Music Library.3 Approximately one quarter of the nearly four hundred volumes were numbered using a previous system. The older numbers have been maintained where present; all other volumes have been assigned temporary numbers. Some volumes are of interest individually, while larger groups of volumes are worthy of consideration for what they can tell us about the history of music publishing in the United States, and the history of musical taste and reception, particularly of European opera-or at least of its hit arias and themes-by American musicians. Many of these collectors of operatic repertoire were women whose performances were probably presented privately, and thus are not documented by newspaper reports or concert programs. In addition to piano and vocal music, the collection contains nineteenth-century music for flute and harp, instruments also popular with nonprofessional performers. Some Volumes of Interest Doubtless the best-known volumes from the bound music collection are the three Martha Custis Albums, containing piano and vocal music published by Alexander Reinagle in Philadelphia, manuscript copies of opera music by Giovanni Paisiello and Domenico Cimarosa, and miscellaneous songsheets dating from the end of the eighteenth century. ' The collection also includes two English volumes of roughly the same date (Tawa 69 and Lowerre 274) that contain copies of significant selections of late-eighteenth-century London theater music published by Longman & Broderip. Tawa 69 includes songs sung at Vauxhall Gardens by composers including Tommaso Giordani, James Hook, William Jackson, and Thomas Linley. Lowerre 274, unfortunately somewhat dilapidated, contains several printed collections from the 1770s, of which the most valuable is a copy of Thomas Arne's The Syren: A New Collection of Favorite Songs Sung by Mrs. Farrell at the Theatre Royal Covent Garden and at Ranelagh . . . the Whole Composed by Dr. Arne (London: Longman & Broderip, [1777]). Many other collections feature popular works by later generations of London theater composers, including Charles E. Horn, Henry Rowley Bishop, and William Glover. The wide-ranging influence of eighteenth-century Italian opera is represented by Lowerre 31: Domenico Corri's A Select Collection of the Most Admired Songs, Duetts &c. …

Although opera has undoubtedly been an important point of reference for the silent film industry, it didn’t left a conspicuous amount of traces that could allow us today to carry out wide- ranging research. This paper aims to fill this gap trying to reconstruct the relationship between opera and the silent cinema in a particular country, such as Italy, where the culture of melodrama in the early twentieth century was not only widespread among the cultural elite but also familiar to a large section of the population. My contribution explores different items: the technological perspective; the involvement of the main Italian composers into the emerging movie industry; the role played by music publishers and film companies in order to reinforce integration between these media; finally the key role of the singer-actress. This last item is really significant. Indeed the character of singer- actress reaches on a profound symbolic meaning, and at same time reveals both the potentials and limitations of silent movie. Finally, I will show how the paradoxical status of “silent singer” is a very fructuous item to depict the identity of both silent cinema and opera in the well-known home of “bel canto.”

Reviewed by: LibraryMusicSource.com Scott Stone LibraryMusicSource.com. [Verona, NJ]: CD Sheet Music, LLC, 2000–. www.librarymusicsource.com (Accessed July–August 2012). [Requires a Web browser, Adobe Reader, and an Internet connection. Pricing: institutional subscription starts at $500 per year for unlimited users and downloads; individual subscription for $19.95 for 40 downloads with no time limit.] Many music libraries went through a brief period of collection development during which librarians purchased compact discs containing hundreds of pages of scanned sheet music. Instead of purchasing a single printed score, a library could pay about the same amount of money for dozens of titles on one easy-to-use disc—what a great deal! Perhaps the largest of these compact disc publishers, CD Sheet Music, took the next digital step forward by offering institutions and individuals a subscription option to their entire collection. This subscription product is Library Music Source. Library Music Source (LMS) is a subscription sheet music database that offers the entire collection of CD Sheet Music and the Orchestra Musician’s CD-ROM Library. This collection amounts to more than 300,000 pages of music comprising approximately 35,000 works. The collection provides public domain sheet music for almost all instruments commonly studied in American music schools, but primarily focuses on solo piano, piano duets, solo violin, violin and piano, voice and piano, opera vocal scores, choral vocal scores, full orchestral scores, and individual instrumental parts to major orchestral works. The search box, found on every page of the site, only allows for simple keyword searches. This could sometimes be frustrating as I would occasionally retrieve far more results than I was expecting; fortunately, LMS makes up for their simple search capabilities by providing rather good browsing options. One may begin browsing by either composer’s surname or by instrument family, both of which quickly branch out into multiple options. For example, I was able to very quickly locate the [End Page 602] Concerto in D Minor, op.47 for violin by Jean Sibelius with a quick browse; unfortunately, the resulting music was not what I expected as it provided me with the piano reduction score even though the Browsing category was clearly labeled “Solo Violin with Orchestra.” While the score was not exactly what I wanted, I downloaded the PDF file with a single click and was rewarded with a very clean scan of some score. I describe it as “some,” because LMS does not provide any information as to who published the original score, which I would certainly like to know so that I could easily compare editions if I were preparing for a performance. This issue became even more problematic to me when I noticed scores that contain fingerings without any information as to who originally provided the fingerings. The CD Sheet Music Web site states that scores come from publishers such as Durand, Schirmer, Peters, Breitkopf & Härtel, and others, but they “do not identify the edition of each work” because the “collections include so many individual works from a variety of different published editions.”1 Next, I decided to look at the vocal selections, because I work with many voice students. LMS certainly has many of the standard literature by Brahms, Schubert, and Fauré that students frequently perform; however, I was unable to find both high and low voicings for all the songs I searched for. Additionally, songs were not all arranged in a standard manner for each composer. For example, all of Schubert’s songs appear to be available individually by each individual song title (and therefore downloadable as a single file), but most of Fauré’s songs are grouped by opus (and therefore one must download a large group of songs at once). Somewhat frustrated by the vocal music, I next looked at the orchestral parts. As someone who spent many hours practicing (and sometimes almost as many searching for) excerpts, I was happy to see so many standard excerpts in one place. Most of the excerpt books I’ve ever used generally provide only one or two small parts of the whole piece, but these excerpts provide an instrument’s entire part for a work so one could truly study...

W. S. Gilbert and Arthur Sullivan. H.M.S. Pinafore, or, The Lass That Loved a Sailor. Edited by Percy M. Young. (The Operas, 3.) New York: Broude Brothers Limited, 2003. [Part A: Music. Frontispiece (facsim. reprod. of stage set); publisher's pref., p. vii; acknowledgments, p. ix-x; contents, p. xi-xii; editorial policies, p. xv-xviii; dramatis personae, instrumentation, 1 p.; score, 310 p.; musical appendices, p. 311-21. Part B: Commentary. Frontispiece (facsim. reprod. of letter from Gilbert to Sullivan); contents, p. vii-viii; introd., p. 1-30; libretto, p. 31-64; crit. apparatus, p. 65-160; appendices (Bab ballads, suppressed passages for Cousin Hebe, early recordings, the Royal Navy in H.M.S. Pinafore), p. 161-94; bibliography, p. 195-201; 8 illustrations throughout. Cloth. ISBN 0-8450-3003-5 (set). $300.]

정악을 기보하는 방법에는 여러 가지가 있는데, 가야금 정악보는 율자보를 주로 사용한다. 황종(黃鍾)을 예로 들면 율자의 높낮이는 청탁(淸濁)이라 하여 한 옥타브 높은 음역에서는 청성(淸聲)의 청에서 삼수변()을 사용하여 潢으로 쓰고, 청황종이라 읽는다. 한 옥타브 낮은 음역에서는 배성(倍聲)의 배에서 사람인변()을 사용하여 僙으로 쓰고 탁황종이라 하는데, 이때 사용하는 배(倍)의 연원을 알 수 없었다. 이에 관한 연구를 진행하였더니「세조실록」권48에서 ‘하4(下四), 하5(下五)는 배탁성(倍濁聲)이다’라는 글귀와,「악서」에서 율관을 반(半)으로 줄이면 한 옥타브 높은 음역이 되고 두 배(倍)로 늘이면 한 옥타브 낮은 음역이 된다는 황종 율관의 제작방법에서 배(倍)의 연원을 찾을 수 있었다. 20세기 이후 율자보로 발행된 가야금 정악보는 11종이 있는데 㣴-仲, 僙-㳞, 黃-㴢의 3가지 음역으로 기보 되어 있다. 그리고 오선보 음역 기보는 4종이 있는데 2종에서 E ♭ 2–A ♭ 4에서 㣴-仲을, 1종에서 E ♭ 3–A ♭ 5에서 㣴-仲을, 1종은 E ♭ 3–A ♭ 5에서 僙-㳞으로 기보 되어있다. 1920년대에 정악을 오선보로 처음 채보하였고, 역사적 과정을 거쳐 현재 아악은 황(黃)=C4, 향악은 황(黃)=E ♭ 4로 기보한다. 합주음악인 정악의 주요 악기들(가야금, 거문고, 대금, 피리, 해금)의 실제 음역을 측정하였더니 정악가야금의 음역은 E ♭ 2–A ♭ 4이고, 율자기보는 㣴-仲이 적합하였다. 정악에서 사용하는 음역에 대한 용어의 정립과 실음에 맞는 기보를 한다면 가야금 정악보가 보다 합리적이고 편리하게 이용될 수 있을 것이다.Among various notation systems used to notate jeongak (court/classical music), yuljabo (music letter notation) is often used for gayageum. In yuljabo, the pitch range of yulja (music letter) is called cheongtak ( 淸濁 ). For instance, hwangjong ( 黃鍾 ) is written as 潢 and called cheonghwangjong ( 淸黃種 ) using the water radical ( 氵) derived from the character cheong from cheongseong ( 淸聲 ). On the other hand, when indicating the lower register, called baeseong ( 倍聲 ), it is written as 僙 using the person radical ( 亻), derived from the character bae from baeseong (倍聲 ), and called takhwangjong. However, it was unclear from where bae ( 倍 ) was derived. Through my research, I have found the origin of the character bae ( 倍 ). From the 48th Annals of King Sejo, I have located a written passage where it says “hasa (the fourth lower note, 下四 ) and hao (the fifth lower note, 下五 ) are baetakseong ( 倍濁聲 ).” Moreover, I have also found its origin from the process of making a pitch pipe for hwangjong: “When you cut a pitch pipe in half ( 半 ), you get an octave higher note, and when you make it twice (du bae, 2 倍 ) longer, you get an octave lower note.” Since the twentieth century, 11 jeong-ak (court/classical music) sheet music books for gayageum using yuljabo have been published and three different ranges are used to notate music: 㣴 - 仲 , 僙 - 㳞 , 黃 - 㴢 . Among the four music books using a staff, two books use E ♭ 2 – A ♭ 4 ( 㣴 - 仲 ), one book uses E ♭ 3 – A ♭ 5 ( 㣴 - 仲 ), and another book uses E ♭ 3 – A ♭ 5 ( 僙 - 㳞 ). After undergoing several changes since jeongak was first written on a staff in the 1920s, currently hwang ( 黃 ) = C4 in aak (ritual music) and hwang ( 黃 ) = E ♭ 4 in hyangak (indigenous music). By measuring the actual pitch ranges of the major instruments (gayageum, geomungo, daegeum, piri, and haegeum) in playing jeongak, which is often played as an ensemble, I have found that the pitch range of the gayageum is E ♭ 2 – A ♭ 4 and thus concluded that the proper written range for yuljabo is 㣴 - 仲 . In conclusion, if we unify the terms related to jeongak and write music based on the actual pitch range of the instrument, the gayageum jeongak music books will be more logical and utilized more conveniently.

Many procedures common in the binding of books are not feasible for use with music scores. A small sample of academic libraries was surveyed about many of the special considerations required in the establishment of local binding procedures for music scores. Strictly from a preservation standpoint, many practices of the libraries in this survey sample are not sound. There is a growing level of communication among music publishers and music librarians about the “preservability” of published music. Carefully established binding practices are of paramount importance if a music collection is to serve the public of the music library for an extended length of time.

Vasily Vasilyevich Bessel (1843—1907) entered the history of Russian and world music culture as one of the largest music publishers. His company was occupying one of the leading positions in terms of production volume in the Russian music printing market in the late 19th — early 20th century. It was the company that first published many of works by Russian classical composers — A.G. Rubinstein, A.P. Borodin, P.I. Tchaikovsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, and A.K. Lyadov. V.V. Bessel’s music publishing activities were connected with his works on the history of music printing in Russia and copyright. He left an extensive legacy in the form of numerous handwritten materials, now dispersed in various archives (mainly in Moscow and Saint Petersburg). The Russian National Museum of Music, Collection 42, holds one of the largest archives associated with V.V. Bessel. Major part of it makes up a separate collection called “V.V. Bessel”, which includes unofficial documents, responding mail, as well as literary manuscripts and photographic materials. Due to lack of comprehensive research of that documentary collection, this article provides a brief overview of its content, and the history of formation of V.V. Bessel’s collection. The main purpose of the research is to characterize both published and unknown sources. The article meets the relevant task of modern musicology: disclosure of Moscow and St. Petersburg archival collections. Many of the documents reviewed by the author are an important addition to the only monograph on V.V. Bessel, which belongs to the pen of N.F. Findzein. The article discusses, in more detail, the documents related to the literary weekly “Muzykal’nyi Listok [Musical Sheet]” (1872—1877), the first periodical published by “V. Bessel and Co.”, as well as the correspondence of December 1886 between V.V. Bessel and P.I. Tchaikovsky, which, at the latter’s initiative, ended all the composer’s personal and business contacts with his Petersburg publisher. This study expands the researchers’ understanding of the body of documents stored in the collection under consideration, the problems associated with them, and their prospects.

Leonid Raab was one of Hollywood’s most prolific orchestrators of Golden Age film music. However, his profile is absent from standard reference works on the cinema. Raab’s career is examined using contempora- neous sources including a journal in Russian belonging to his friend Boris Artzybasheff, translated here for the first time. Emphasis is given to Raab’s alliances with fellow émigré studio musicians, artists, and expats in thewider community in Hollywood. Born in Tiraspol, Russia, Raab started his career in New York City as a copyist and arranger with the music publishers T.B. Harms, working under Robert Russell Bennett on musicals such as Show Boat (1927). He moved from Broadway to RKO Radio Pictures in 1929 and, following the Great Depression, was employed by MGM orchestrating Herbert Stothart’s scores for The Merry Widow, David Copperfield, and A Tale of Two Cities. From 1936 to 1967, Raab collaborated mainly with the composer Franz Waxman, orchestrating some 100 scores, including Rebecca, Edge of Darkness, Objective Burma, Sunset Boulevard, A Place in the Sun, and Taras Bulba. A comprehensive filmography (~400 scores) is presented, together with some rare family memorabilia and, among other things, an orchestral score which Raab arranged of the song “Glory to God” composed by Sergei Rachmaninoff.

The idea of reducing popular and musically satisfying operatic or orchestral works to smaller instrumental forces is not uncommon, but the idea of reducing large scores for the exclusive use of orchestral excerpt pedagogy is. Although there are a multitude of excellent resources detailing how select excerpts from both the clarinet and bass clarinet orchestral repertoire should be performed, no resources for clarinetists or bass clarinetists provide a piano reduction of orchestral scores. Through piano reduction of orchestral scores, bass clarinetists have access to a resource that simulates the experience of playing in an orchestra. Bass clarinetists using a piano reduction will learn the pitch tendencies of the instrument. Consequently, the performer will discover ways to study excerpts in-tune with other instruments that will not compromise for the shortcomings of the bass clarinet. Use of piano transcriptions will also aid with recognition of important moving lines, harmonic textures and rhythmic ostinatos that might otherwise be overlooked by score study and listening alone. Finally, many of the excerpt transcriptions provided are taken from several bars before the primary bass clarinet excerpt, unlike many excerpt books currently available. This provides bass clarinets a more contextual view of an excerpt by facilitating the need to count rests correctly and play solo entrances in the correct style and affect presented by the preceding orchestral material.

Diminishing Dreams

We received so many positive reviews of the 2022 Music and Moving Image Conference panel on silent or mute film music that we decided to publish Gillian B. Anderson's, Yukiko Yuden's, and Christy Thomas Adams's papers as is.Most 35 mm films produced in the first three decades of the twentieth century had no soundtrack printed on the moving picture media itself (hence the industry label “silent” to contrast with films with a soundtrack printed with the images). However, their projection or screenings were accompanied by live or recorded sound effects and music, making their presentation a performing art (anything but silent, but still not generally with any talking).1 It was, in fact, this absence of speech that led to the appellation “talkies” to early recorded-sound pictures.Together these three articles present an international picture of early film music practices. Anderson focuses on the synchronized relationship between accompaniments and pictures that connected the pathos formulae in the moving pictures with those in the music, establishing the foundation upon which all subsequent moving picture accompaniments were based. She documents the use of live synchronized accompaniments in large and small cities in the United States among the top directors, deluxe cinemas, and even regular solo keyboard accompanists.Yoden shows how the classification of “East Asian” (the pathos formulae for it) related to the actual characteristics of some East Asian music used in Japanese cinemas. She used “humdrum tools, a set of resources for computational music analysis, to analyze multiple pieces from a macro perspective.” Adams focuses on the amount of new information about Mascagni's score for Rapsodia Satanica that she discovered in music publisher Ricordi's archive. She documents how many copies were printed, how much they cost, how much Mascagni was paid, the process of score preparation, and the relationship between Ricordi and Cines, the producer and the Italian film industry in general.