music libraries in eastern europe: a visit in the summer of 1961 (part ii)

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Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II) Author(s): Dragan Plamenac Source: Notes, Second Series, Vol. 19, No. 3 (Jun., 1962), pp. 411-420 Published by: Music Library Association Stable URL: http://www.jstor.org/stable/894346 . Accessed: 15/06/2014 19:04 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes. http://www.jstor.org This content downloaded from 195.78.108.60 on Sun, 15 Jun 2014 19:04:32 PM All use subject to JSTOR Terms and Conditions

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Page 1: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)Author(s): Dragan PlamenacSource: Notes, Second Series, Vol. 19, No. 3 (Jun., 1962), pp. 411-420Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/894346 .

Accessed: 15/06/2014 19:04

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

Music Library Association is collaborating with JSTOR to digitize, preserve and extend access to Notes.

http://www.jstor.org

This content downloaded from 195.78.108.60 on Sun, 15 Jun 2014 19:04:32 PMAll use subject to JSTOR Terms and Conditions

Page 2: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

MUSIC LIBRARIES IN EASTERN EUROPE A Visit in the Summer of 1961 (Part II)

By DRAGAN PLAMENAC

At the end of Part I of the present report I had reached the point where I was preparing to take leave of Poland and cross the border into East Germany. It was pointed out earlier (see page 225) that at the time of publication of Part I of this report another volume of the catalog of micro- films of musical sources issued by the National Library in Warsaw was expected in the near future. This volume has now become available.1 It seems advisable, therefore, to add here, before continuing our journey, a brief account of the material that has been made accessible in the new volume, all the more since the volume supplies answers to questions that had to be left unanswered in the preceding article. I am alluding to my inability-see page 220-to become better acquainted with the 16th- and 17th-century printed material surviving in the library of Gdansk. It had been my conviction, on the basis of a rapid review of the card catalog in the library, that a considerable number of works had been preserved. Happily, this opinion now receives a most emphatic confirmation from the new microfilm catalog, which includes a complete list of older imprints surviving at the Library. The collection numbers about 500 items, sacred and secular, among them rich holdings of Italian madrigals in 16th-century editions as well as important anthologies of the period such as 11 Lauro secco (1582), 11 Lauro verde (1583), and various collections published by F. Lindner (1585 to 1590). It is surprising, in view of the evacuation and repatriation proceedings during and after the war, that many works have been preserved complete with all their part-books. The following selected list of composers represented by individual works may give an idea of the size and importance of the collection: A. Agazzari, G. M. Asola, A. Banchieri, G. A. Bontempi (II Paride, opera score, 1662), W. K. Briegel, G. Capilupi, J. de Castro, G. P. Cima, G. Croce (6 works), A. Gabrieli (5 works), V. Galilei (the unique copy of the composer's 2nd book of madrigals, 1587), G. G. Gastoldi (6 works), R. Giovanelli (5 works), F. Guami, A. Hammerschmidt, H. L. Hassler, M. A. Ingegneri, O. Lassus (15 works), L. Lechner, C. Le Jeune, J. de Macque, C. Malvezzi, L. Marenzio (12 works), T. Massaino, J. Meiland, R. del Mel, Ph. de Monte (16 works), C. Monteverdi (Books 1, 3, and 5 of madrigals; Book 1 in an apparently unique copy of the original edition, Gardano, 1587), G. M. Nanino, G. Nasco, A. Orologio, Palestrina (11 works), C. Porta, H.

1Katalog mikrofilmow muzycznych II (Katalog mikrofilmow Nr. 9). Warszawa: Biblioteka Narodowa, 1962.

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Page 3: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

Praetorius, J. Regnart (7 works), A. Stabile, A. Striggio, O. Vecchi (6 works), G. de Wert (9 works).

In addition to old printed music in the Gdansk library, the new micro- film catalog lists material deriving from other Polish collections of lesser importance for the average reader and closes with a list of films of docu- mentary importance for Polish music history obtained from foreign libraries. Easily topping these items from foreign sources are two volu- minous 16th-century Polish organ tablatures which were destroyed during the last war and survived only in the form of microfilms made before the war for Harvard University's Isham Library. One of these manuscripts has been commonly known as the "Tablature of the Monastery of the Holy Ghost in Cracow"; it was kept before the war at the National Library in Warsaw, and a detailed table of its contents compiled by Z. Jachimecki may be found in the Zeitschrift fur Musikwissenschaft, Vol. II (1919-20), pp. 206-212, under the title "Eine polnische Orgeltabulatur aus dem Jahre 1548." The other was a part of the pre-war collections of the Warsaw Music Association; if I am not mistaken, this is the tablature that was used by M. Grafczynska as the subject of her 1919 doctoral dissertation at the University of Vienna. This unexpected survival thanks to microfilm reproduction would seem to constitute a strong argument in favor of micro- filming all musical material of importance on a broad international scale.

Since Greifswald, the first East German town that I wanted to visit, is situated on the Baltic Sea coast high in the North, I had hoped to use the shortest route connecting it with Poznan and to visit on the way libraries in the border city of Szczecin (Stettin). This plan, however, turned out to be impracticable since all travelers entering East Germany from Poland are required to cross the border at Frankfurt on the Oder and proceed to East Berlin.

The holdings of the Greifswald University Library suffered only from evacuation, since the town was not bombed. Books and manuscripts of greater value were sent out of town and part of them did not return after the war was over; among non-musical materials the entire valuable "niederdeutsch" collection of the library was lost. There is a handwritten catalog of manuscripts in five volumes which also includes the music manuscripts; in addition, there is a card catalog for more recent manu- script accessions. Printed music is inventoried in three handwritten volumes. A special catalog covers the "Bibliotheca Wolgastana" (or "Wolgastensis"), which contains the material surviving from the 16th

century; some items derive from the former monasteries of Eldena and Jasenitz. The best-known musical item in this part of the library had been a manuscript in four part-books bound together with the part-books of a

printed anthology of 1538-G. Rhau's Symphoniae iucundae . . . quatuor vocum (RISM I, 15388). The manuscript part of this item is listed in J. Wolf's Handbuch der Notationskunde I (1913), p. 451, under the shelf- number E b. 133. This is the number under which the source appears in

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Page 4: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

Vol. 2 of the Greifswald catalog of printed music; in the special catalog of the "Bibliotheca Wolgastana," however, the signature is BW 638-641. Only two of the part-books-Discantus (BW 640) and Bassus (BW 641)- are still in existence; the Tenor and Contratenor have been missing since the war. The Greifswald copy of the Rhau print, now incomplete, is not listed in RISM I. So far as this part of the collection is concerned, the loss of two part-books is not too important since there survive several complete copies in other libraries (one of them in Rostock, see below). More regrettable, of course, is the loss of two part-books of the manu- script portion of the collection. It contains works by Josquin, Carpentras, Benedictus, Cornelius, (pseudo-) Obrecht (the spurious Passio secundum Matthaeum), J. Galliculus, and Isaac, plus many anonymous compositions, some of which I could rapidly identify as works of Agricola and Compere. In the Bassus part-book are found additional ascriptions to Ant. Brumel, Pope Leo X, M. Eckel, and L. Senfl.

The handwritten portion of BW 640-641 seems to be the only interest- ing manuscript of older polyphonic music in the Greifswald library. Some of the modern scholarly material in the library-Denkmiiler series, Eitner Publikationen, collected works of musical classics, etc.-are rem- nants of the library of the former Institute of Musicology at the University; they were left behind in 1951 when the last representative of musicology in Greifswald left for Berlin and the Institute was abolished.

A brief stop in Stralsund, on the way from Greifswald to Rostock, allowed me to get a general view of this interesting town and some of its valuable old buildings. Time was too short, however, to visit the local A rchivbibliothek.

In spite of heavy destruction in the city of Rostock, the rich holdings of its University Library suffered no important losses as a result of the war. Here again, I was confirmed in my general impression that in most cases it was not the actual bombings that caused the greatest havoc among library materials but the circumstances surrounding their evacuation, storing, and return. The Rostock holdings were evacuated to farms in the neighborhood of the city and returned immediately after the cessation of hostilities; this fact accounts for the survival of nearly all the old musical material in the Library. The University, founded in 1419, is one of the oldest German institutions of higher learning. Its library includes one of the two principal collections of old music in the Mecklenburg region of East Germany, the other being preserved in the former residential city of Schwerin. The old portions of both collections derive in the main from the body of music once owned by the grand-ducal family of Mecklenburg- Schwerin. The collection in Schwerin suffered no war losses either; its musical holdings have been known for many years through Otto Kade's comprehensive printed catalog, Die Musikalien-Sammlung des gross- herzoglich Mecklenburg-Schweriner Fiirstenhauses aus den letzten zwei Jahrhunderten (2 vols., Schwerin, 1893).

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Page 5: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

Working tools at the Rostock University Library consist of an alpha- betical card catalog for printed music and a large handwritten volume listing practical music according to centuries, from the 16th century on. Shelf-numbers in this latter inventory start afresh for each century. In addition, there is a catalog of works on music. Here is a broad selection of important 16th-century items taken from the first section of the Rostock inventory of practical music arranged as to centuries:

E. N. Ammerbach, Orgel oder Instrument Tabulatur. Ein niitzlichs Biichlein, Leip- zig 1571 (Mus. 2);

J. de Castro, I1 10 libro di Madrigali a 3 v., Anversa, La Vedua G. Latio, 1569 (Mus. 6)

.. " " Chansons et Madrigales a 4 p., Lovain, Phalese, 1570 (Mus. 7); H. Chamaterb, I1 1° libro di Madrigali a 4 v., Ven., Gardano, 1561 (Mus. 8); J. Clemens non papa, Lib. 1 cantionum sacrarum 4 v., Phalese, 1567

2 " , . " " " " 1564

" 5 " 1568 " 6 " " " 1569 "7 " " " " 1567 (Crequillon)

(Mus. 9);

.

" " ". Missa 4 v. "Misericorde," " 1556 "Virtute magna," " 1557 "En espoir," " "

" " " " " 5 v. "Ecce quam bonum," " " "Gaude lux" " " "Caro mea" "Languir my fault" " 1558 (Mus. 43')

." " " " Septiesme livre des chansons a 4 p., Phalese, 1570 (Mus. 10); Sev. Cornet, Canzoni Napolitane a 4 v., Anversa, G. Latio, 1563 (Mus. 11); G. Dressier, XIX Cantiones sacrae 4 & 5 v., Magdeb., Kirchner, 1569 (Mus. 12) " " XC Cantiones 4, 5, et plur. voc., Magdeb., Kirchner, 1570 (Mus. 13) ." " Magnificat octo tonorum 4 & 5 voc., Magdeb., Kirchner, 1571 (Mus.

141-); N. Faignient, Chansons, madrigales et motetz a 4, 5, et 6 p., Anvers, la Vefve J. Laet,

1568 (Mus. 312; missing since 1959, not a war casualty); G. Forster, Ein Aussbund schiner teutscher Liedlein, Teil 1-5: Teil 1, 1560-61,

complete in 5 part-books; Teil 2, 1553, compl.; Teil 3, 1563, compl.; Teil 4, 1556, compl.; Teil 5, 1556, ATB only. (The valuable copy has recently been missing, but not through wartime action!) (Mus. 21);

F. Guerrero, Canticum B.M. quod Magnificat nuncupatur .. 4 v., Lov., Phalese, 1563 (Mus. 23);

Hortulus cytharae in duos distinctus libros ..., Lov., Phalese, 1570 (Mus. 27); J. de Kerle, Selectae quaedam cantiones sacrae 5 & 6 v., Norib, Gerlach, 1571 (Mus.

67'); 0. Lassus, Magnificat octo tonorum 6, 5 et 4 v., Norib., Gerlach, 1567 (Mus. 30)

.. " Cantiones aliquot 5 voc., Mon., Berg, 1569 (Mus. 311) " ." Viginti quinque sacrae cantiones 5 voc., Nor., Gerlach, 1570 (Mus. 32) ." ". Fasciculus aliquot cantionum sacrarum 5 voc., Mon., Berg, 1572 (Mus.

33); Liber musicus duarum vocum cantiones . .., Lov., Phalese, 1571 (Mus. 34); (Lupus Coregiensis) Symphoniae, seu . . . 5 voc. Melodiae super ... .Glareani

panegyricum de Helvet. 13 urbium laudibus, per M. Bar- barinum, Basileae, H. Petri, 1558 (Mus. 36);

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Page 6: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

Matth. Le Maystre, Geistl. und weltl. teutsche Geseng m. 4 & 5 St., Wittenb., Schwertel, 1566 (Mus. 37);

J. Meiland, Cantiones sacrae 5 & 6 voc., Norib., Neuber & haer. Montani, 1573 (Mus. 38);

MS Collection of 21 Masses (in 4 and 5 parts) by Berchem, Josquin, J. Walther, Galliculus, Mouton, Crequillon, Morales, Clemens non papa, Th. Kellner, Lupus, 5 p.b. (Mus. 40);

Missae tredecim 4 voc. (by Obrecht, Josquin, Brumel, Isaac, de la Rue), Norib., Grapheus, 1539 (Mus. 41);

MS Collection of 4-, 5-, and 6-part Psalms, Motets, etc. by Clemens non papa, Canis, Petit Jan, H. Finck, and Anon.; in choir-book form. Partly in poor condition. (Mus. 421-2);

C. Morales, Missarum liber primus, Lugduni, Moderne, 1546 (Mus. 431) .9

. . " liber secundus " " 1552 (Mus. 432) Praestantiss. divinae musices auctorum Missae decem, 4, 5, et 6 v., Lov., Phalese,

1570 (Mus. 44); G. D. de Nola, Villanelle alla Napolitana a 3 & 4 v. Libro 1°, Ven., Claudio da

Correggio (Merulo), 1569 (3 p.b.) (Mus. 45); (Joh. Otto-Hans Ott), Novum et insigne opus musicum 6, 5 & 4 v., Norimb., Gra-

pheus, 1537 (Mus. 46); J. Paix, Ein schin nutz und gebreuchlich Orgel Tabulaturbuch . . ., Laugingen,

1583 (Mus. 47) L. Paminger, Primus tomus ecclesiasticarum cantionum, Norib., Gerlach, 1573

(Mus. 481) ...

9 Secundus tomus ecclesiasticarum cantionum, Norib., Gerlach, 1573 (Mus. 482);

(Jac. Praetorius), Opus musicum excellens et novum ... 4, 5, 6, et 8 v., 1566 (6 p.b.). (Mus. 491-6) ;

Psalmorum selectorum a praestantiss. artificibus . . . 4, 5, et 6 v. Tomus primus, Norib., Montanus & Neuber, 1553; id. Tomus secundus (1553), tertius (1553), quartus (1554), 4 Vol. (Mus. 51);

MS Collection of Responsories and Motets by Crequillon, Senfl, Baston, Marsinus, Verdelot, Maillard, Morel, Archadelt, Corteccia, M. K6nner, D, A, T part-books only; B, 5a and 6" vox are missing. (Mus. 52);

A. de Rippe, Tabelature de Luth, in 6 Books, Paris, 1563. Book 6 contains "plusieurs chansons nouvelles mises en tabulature par A. Le Roy" (dated 1559) (Mus. 54);

A. Scandellus, Newe und lustige weltl. deudsche Liedlein m. 4, 5, und 6 St., Dresden, 1570, 4 p.b. only; Idem, Dresden, 1578; Va and VIa Vox contain the parts that are lacking in the older edition (Mus. 56, 56");

Selectae harmoniae 4 voc. de Passione Domini, Wittenb., Rhau, 1538, 4 p.b. (Mus. 60) ;

Selectissima elegantiss. gallica, italica, et latina in guiterna ludenda carmina, Lov., Phalese, 1570 (2 copies) (Mus. 58);

(Cl. Stephani), Beati omnes (Ps. 128), 6, 5, et 4 voc., Norimb., Neuber, 1569 (Mus. 59');

.

" 9 Cantiones triginta selectissimae 5, 6, 7, 8, 12 et plur. voc., Norimb.,

Neuber, 1568 (Mus. 592); Syniphoniae iucundae ... 4 voc., Viteb., Rhau, 1538 (Mus. 601); Luculentum Theatrum musicum .. ., Lov., Phalese, 1568 (lute tablature) (Mus. 61);

2A complete index of this unique Ms. copy of Praetorius's large collection may be found in L. Hoffmann-Erbrecht, "Das Opus musicum des Jacob Praetorius," Acta musicologica XXVIII (1956), 96-121.

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Page 7: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

Thesaurus musicus . . .8, 7, 6, 5, et 4 voc., Tomus 1, 2, 3. Norib., Montanus & Neuber, 1564, 8 p.b. (Mus. 62'-3)

(Mich. Voctus), Praestantissimorunz artificum . .. Missae cum 5 tur 6 voc., Wite- bergae, Schwertel, 1568 (5-part Masses by Lupus Hellinck, M. Le Maistre; 6-part Masses by Crecquillon, J. de Cleve and one Anon.) The collection is bound together with the part-books of the The- saurus musicus (see above) and may thus be the only complete copy of the work in existence. It is not listed in RISM I, p. 264;

(Mich. Tonsor), Selectae quaedam Cantiones sacrae . .. 5 voc., Norib., Gerlach, 1570, 5 p.b. (Mus. 631);

A. Uttendal, Septem Psalmi poenitentiales . . ., Norib., Gerlach, 1570, 4 p.b. (Mus. 64);

J. de Vento, Newe teutsche Liedlein mit 5 St., Miinchen, Berg, 1569, 5 p.b. (Mus. 65)

" " " Newe teutsche Liedlein mit 5 St., Miinchen, Berg, 1571 5 p.b. (Mus. 222)

" " " Newe teutsche Lieder mit 4 St., sampt zweyen Dialogen, Miinchen, Berg, 1571, 5 p.b. (Mus. 223)

" ." " Latinae Cantiones quas vulgo Motteta vocant, 5 voc., Mon., Berg, 1570, 5 p.b. (Mus. 671);

Joh. Walther, Magnificat octo tonorum 4, 5 et 6 voc., Jhenae, Chr. Rode, 1557 (Mus. 69)

." " Das christlich Kinderlied von D. M. Lutheri . .. in 6 St. gesetzt .. . Wittenb., 1568 (Mus. 701).

The sections of the Rostock inventory covering the 17th and 18th cen- turies ("Mus. saec. XVII" and "XVIII," respectively) are too extensive to be reproduced in full, but a few indications concerning this later mate- rial may be found useful. In moving from the 16th century into the later 17th and 18th the character of the collection changes very markedly. The accent is now on instrumental music, with French works of the early 18th

century particularly well represented. Here is a short list which will give an approximate idea of the material of this period that can be found in Rostock:

Dall'Abaco (12 Sonate op. 1, Concerti op. 5); Albinoni ("Trattenimenti armonici" op. 6); de la Barre (Pieces en Trio 1707, Pieces pour la Flfite, Liv. 1 to 6, 1710-14); Clerambault (Cantates frangoises 1709-26); Du Mont (Sonates); Heinichen (Trios, Sonate, Concerti); Hotteterre (Sonates en Trio 1712-15, Pieces pour la Fliute); Keiser ("Lucretia" 1705, Sonate 1720, Concerto); Kiihnel (Sonate o Partite 1698, Concerto for the Lute); various instrumental works by Marais, Masciti, Monteclair; Naudot (Sonates en Trio 1726); Pepusch (Trios, Sinfonie, Concerti); Pez ("Duplex genius" op. 1, Augsburg 1696, many other instrumental works); Senaille (Sonates a Violon seul, Liv. 1 to 4, 1710-21); Telemnann ("Seliges Erwagen des Leidens Christi" [Passion], written score, and many instrumental works in written parts).

Preserved are also three 17th-century lute tablatures listed in Wolf's Handbuch: the printed collection by Louis de Moy, Le petit Boucquet de Frise orientale, 1631 (Wolf II, 99); and the Mss. Mus. saec. XVII 18.528 and 18.54 (Wolf II, 105). The first of the two Mss. contains anonymous compositions, the other pieces by Vincent, Gumprecht, Mercure, Bechon, Gautier, Pinelle, Blancrocher, Du But, Merville, Strobel, and others. Safe. in another division of the library, is also the 15th-century manuscript Phil.

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Page 8: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

100,/2, known as the "Rostocker Liederbuch" and published in 1927 by F. Ranke and J. M. Miiller-Blattau.

When I arrived in Halle the Handel Festival in the composer's native city had just come to an end. This was regrettable, but I had at least been able to see one of the new East German productions of Handel's operas, A riodante, at the State Opera in East Berlin while passing through the divided city on my way to Greifswald. The Handel Festival had ended, but another one was just beginning: the celebration of the millenium of the city of Halle. (I had an opportunity of attending a performance of Wagner's Meistersinger that did not attain more than commendable provincial standards.) Participants and guests who had attended the Handel Festival were leaving the city, but I still arrived in time to meet Mr. William C. Smith, retired English music librarian and successor to W. Barclay Squire at the British Museum, who had come to Halle to receive the "Handel Prize" that had been awarded to him by the East German government. The Handel Festival, incidentally, included a per- formance of Rinaldo by an English ensemble which, in the opinion of local musicologists, was "a revelation" to the German audience with respect to editing practices and stylistic approach.

At the Musikwissenschaftliches Seminar of the University (Gustav Nachtigall-Str.) I met Dr. Werner Braun, docent and one of the foremost younger experts in the field of German 17th- and 18th-century church music. Dr. Braun showed me round the premises and gave me the required assistance in the use of the library, which had suffered no losses in the war. Its basic character is that of a working library but it also contains a valuable collection of older source materials such as hymn-books and church songs acquired many years before the war. The administra- tion is hard put to fill even a small part of the ever-broadening gaps in the library's holdings, its budget for new acquisitions amounting to 500 marks ($125.-) a year. This is of course barely sufficient to keep up subscrip- tions to the main periodicals. There is at the Institute, for example, a complete old run of the Rivista musicale italiana, but the library is not in a position to acquire the current issues; it has been unable to subscribe to the Journal of the AMS.

The card catalog at the Halle Seminar affords a comprehensive survey of local holdings of old music, including as it does the material preserved at the University Library proper, the Marienbibliothek (the music collection of the "Marktkirche," the principal church of Halle), and the Franckesche Stiftungen (the foundation of a "pietist" preacher of the early 18th century that became for a while very influential). The University Library and the Marienbibliothek contain extensive collections of old music; the Franckesche Stiftungen are less rich. Works preserved in the three col- lections are intermingled in the card catalog at the Seminar; those in the University Library are marked by no special symbol, while those in the Marienbibliothek are marked M and those in the Franckesche Stiftungen

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Page 9: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

F. Possibly the most valuable single old book on music in the catalog is a copy of A. Schlick's Spiegel der Orgelmacher und Organisten (1511), which has recently come to light in the Marienbibliothek (call-number R.III.98 qu.).' The only copy that had hitherto been known is in the Paul Hirsch Collection now at the British Museum.

Of old works of practical music in the three Halle collections named above the following may be mentioned: M. Altenburg, Cantiones de Adventu Domini 5, 6 & 8 v., 1620; G. Benda, a large number of church cantatas in written copies; S. Capricornus, Geistliche Harmonien 1659, Jubilus Bernhardi 1640, Opus musicum 1655 (all three works in M); Carmina vere divina 5 v., Niirnberg 1550; G. Dressier, Opus selectiss. sacr. cantionum 5 et plur. vocum, 1524 (M); A. Hammerschmidt, Geistliche Madrigalien 1641, Geistliche Symphonien 1642, Dialogi 1645, Geistliche Concerten 1649, Mus. Gesprache 1655, Fest-, Buss- und Danklieder 1658 (all in M); P. Hofhaimer, Harmoniae poeticae 1539 (M); Lassus, Selec- tiss. cantiones 1587 (M); T. Michael, Mus. Seelenlust, Part 2, 1637 (M); Liber quindecim missarum, Niirnberg 1539; Missae tredecim 4 v., Niirn- berg 1539; Modulationes aliquot 4 v. selectissimae, Niirnberg 1538; Selectiss. mutetarum . . . tomus primus, Niirnberg 1540; Novum et insigne opus musicum 6, 5, & 4 v., tom. 1, 2, Niirnberg 1537-38 (SATB); L. Paminger, Ecclesiastic. cantionum 4, 5, 6 & plur. voc. tom. 2, 1573; A. Pfleger, Psalmi, Dialogi et Motettae, 1661 (F); M. Praetorius, Musae Sioniae, Part 1-9, 1605-10; J. Rosenmiiller, Andere Kern-Spriiche 3-7 v., 1652 (M); S. Scheidt, Tabulatura nova 1624, Newe geistl. Concerten 1631 (both in M); J. H. Schein, Israels Briinlein auserles. Kraft-Spriichlein 1623, Opella nova I-II, 1627 (both in M); H. Schiitz, Mus. Exequien 1636, Symph. sacrae 2a pars 1647, Geistl. Chormusik 1648, Symph. sacrae 3a pars 1650 (all in M); J. Vierdank, Geistl. Concerten m. 3-9 St., 1643 (M). Some items of interest as background material for the life and works of Handel have been transferred from the University Library to the Hindel-Haus, the composer's family home, which was turned into a museum after the last war.

While in Halle, I felt I could not spend even a very limited time in the city without paying a visit to the "dean" of German musicologists, Max Schneider. Professor Schneider was as sprightly as ever, displayed keen interest in musicological happenings in this country, and inquired about his old friend Otto Kinkeldey. In spite of his advanced age and physical handicaps, he was making definite plans to travel to New York to attend the Congress of the International Musicological Society in September 1961. It is sincerely to be regretted that the trip had finally to be canceled for reasons of an entirely non-musicological nature.

3 See W. Braun, "Ein Hallesches Exemplar von A. Schlick's Spiegel . ." in Die Musikforschung VII (1954), p. 66. The work was first published by Eitner in his Monatshefte, Vol. I (1869); the most recent edition is by E. Flade (1951).

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Page 10: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

The city of Leipzig, because of its importance as a center of industry and communications, suffered far greater damage from bombing than the

neighboring Halle. Nonetheless, it may be affirmed-with certain quali- fications as in the case of the destruction of the valuable archives of the Breitkopf & Hartel publishing house-that losses of musical source mate- rial sustained by Leipzig libraries have on the whole turned out to be less important than they were thought to be at first. The two principal local

repositories of musical sources are the Musikbibliothek der Stadt Leipzig and the University Library. The collections at the Musikbibliothek (Ferd. Lassalle-Str. 21; Frau Schetelich, Herr F. Wolf) combine the musical

holdings of the Stadtbibliothek with those of the former Musikbibliothek Peters and a few private libraries, among them the sparse remnants of the former Breitkopf & Hartel Archives. There is a handwritten catalog in 33 volumes, partly thematic and arranged in alphabetical order. The catalog includes both printed works and manuscripts. Works by certain outstanding composers have been singled out to form separate volumes. The nucleus of the musical holdings of the Leipzig Stadtbibliothek stems from the private library of C. F. Becker (1804-1877); an old three-volume inventory of the Becker collection is still in existence. In addition, there is at the Musikbibliothek a card catalog that comprises one tray marked "Manuskripte" covering manuscript material deriving from the various component parts of the library ("Becker," "Poel. Mus." [i.e., the Poelitz music collection], etc.).

With respect to source material in the Leipzig Musikbibliothek, it seems useful to supply here information on some important manuscripts of the 16th and 17th centuries that entered the library as parts of the Becker collection, since references to these volumes in J. Wolf's Handbuch der Notationskunde are completely insufficient and P. Hauschild's recent list in MGG VIII (1960), 577 (art. "Leipziger Musikhandschriften") does not supply the respective shelf-numbers and thus makes identification of the volumes difficult for the reader:

11.2.51. German organ tablature of the 17th century. Composite volume consisting of four MSS bound together: 1. 13 Fantasies a 3, anon., dated at the end "March 19 to June 21, 1646"; 2. 7 Variations on "Wie schin leucht uns" marked S.S. (Samuel Scheidt); 3. Compositions by Buxtehude, Froberger, Cherll (Kerll), Pachelbel, Strunck, T. Merula, Frescobaldi, M. W. M.; 4. Compositions by G. W. D. Saxer, A. M. Brunckhorst, A. Werckmeister, and Anon.

II.5.32a. Bound together with the printed Discantus part of O. Lassus, Teutsche Lieder m. 5 St., Niirnberg 1583, are 34 folios of a MS containing sacred and secular pieces by H. Praetorius, Chr. Erbach, S. Calvisius, M. Vulpius, F. Weissensee, C. Berti[us], B. Ammon, and Anon.

II.5.32b. Bound together with a printed copy of Villanelle d'Orlando di Lassus ed altri, Rome 1555, is a MS in French lute tablature;

11.5.49. Bound together with the printed Altus and Tenor parts of A. Scandello, Weltl. Deudsche Liedlein, Dresden 1570, are 8, resp. 7 MS folios with compositions by Lassus, Meiland, and Anon.

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Page 11: Music Libraries in Eastern Europe: A Visit in the Summer of 1961 (Part II)

11.6.24. French lute tablature of the late 17th century with compositions by Gautier, Pinel, Dubut, Dupre, Gumprecht;

16.111.12. 2 Romanesca Suites, anonymous, in French lute tablature, dated 1681 and 1691, respectively;

11.6.15. German lute tablature, a large volume dated 1619 and known as "the Albert Dlugoraj Tablature Book" (cf. Wolf, o.c., II, 50 and Hauschild in MGG VIII, 577);

14.11.6. French lute tablature written ab. 1670 to 1680 with compositions by Emond, Du Faux, Gallot le Vieux, Gautier, Dupres d'Angleterre, Weyll, and Anon.

17.11.6. and 11.6.18. German organ tablatures of the 17th century with anonymous compositions;

11.6.19. German organ tablature dated "ex Vienna 1681" with Partite by A. Biber, Froberger, J. H. Schmeltzer, J. G. W., G. C. W.

11.6.6. Bound with copies of printed lute-books by Gerle (1552), Wyssenbach (1550), and Drusina (1556) are manuscript additions in French lute tablature with compositions by Hassler and Anon. (21 folios.)

Likewise preserved in the Musikbibliothek (on loan from the Stadt-

bibliothek) is Ms. 169, an early medieval codex of basic importance, con-

taining treatises by Regino of Priim and utilized by both Gerbert and Coussemaker.

At the University Library (Beethovenstr. 6) I was cordially received by the Director, Prof. Dr. Johannes Miiller, and given all needed assistance

by "Wissenschaftlicher Bibliothekar" Dr. Walter Eisen. I was particularly interested in getting first-hand information on some manuscripts belonging to the University Library and the Leipsiz Thomaskirche-the latter's having been at the University Library since before the war-which had only recently been reported "vermisst" in MGG VIII (1960), 575-577. The sources are: Univ. Libr. MS 1494, the 15th/16th-century mensural codex of Nik. Apel, an important collection of polyphonic music of the period; Thomaskirche MS 50, containing 16th-century instrumental compositions by Johann Walther; Thom. MS 51, the two part-books with 16th-century Masses, motets, and humanistic odes; and Thom. MS 371, the 14th-century Gradual of St. Thomas Church, which was published by Peter Wagner in 1930-32. It can now be stated that these volumes were returned by the Soviet authorities in March 1959 and that they are back on the shelves of the Leipzig University Library.

(To be concluded)

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