performance sets
TRANSCRIPT
Performance SetsAuthor(s): Malcolm JonesSource: Fontes Artis Musicae, Vol. 47, No. 1 (January-March 2000), pp. 49-50Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23509040 .
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REPORTS
and supported the development of Stafford
shire's MusicNet gateway to music re
sources aimed at users of public libraries. The catalogue of Westminster Music
Library's orchestral sets is also available. These and other initiatives can be found in the Imagination and Memory section of EARLWeb (http://www.earl.org.uk/earl web). EARL is also concerned to forge part
nerships at a strategic level across sectors
and domains, and music is an ideal subject for this. The consortium is involved with the eLib Music Libraries Online project, works closely with lAML(UK) and has re
cently supported the ENSEMBLE bid to the Higher Education Research Support
Libraries Programme. EARL looks forward
to contributing to the directory of music re
sources in UK libraries currently being compiled by LAML(UK).
For further information visit the website at http://www.earl.org.uk/, or contact
Helen Baigent, EARL Liaison officer on
Susi Woodhouse, EARL Development Manager: Membership and Shared
Services
Performance Sets
One feature of British music libraries over the last fifty years or so has been the estab
lishment of collections of sets of perfor
mance materials. While chamber music is
generally treated as part of the normal
stock and subjected to the standard loan
procedures, sets of vocal scores and or
chestral sets have received special treat
ment and have been made available for loan
on a flexible basis, depending on the per
formance schedule of the borrower, and are
also generally stored separately in the li
brary. Such sets have become a feature of
most university and music college libraries, and also of public library systems, where there is characteristically one collection per authority, often stored in a central building. There is, of course, extra work involved in
checking sets on issue, and especially on
return, but the service is highly valued. It is
no exaggeration to say that many amateur
49
music performances, as well as some pro
fessional ones, are only made possible
through this service. Indeed, it is effec
tively a national service, run through re
gional outlets, for although the stock is owned by individual libraries, there is a
very considerable traffic in inter-library
loans.
For the most part, the service is free, al
though some libraries have introduced
charges. Sometimes libraries are charged
as well as individuals, although those who operate a "free" service resist such
charges. Often a token scheme is invoked
to compensate the lender.
As early as the mid-1970s, the service was causing overload on some libraries.
Following the 1AML(UK) conference in
1972, a committee was set up, chaired by
Brian Redfern, which proposed some mea
sures to help. The Polytechnic (since Uni
versity) of North London, where Redfern lectured, and the British Library cooper ated to produce the British Union Catalogue
of Orchestral Sets (London, 1982). This has since gone to a second edition (Boston Spa, 1989), with a further supplement (Boston Spa, 1995) A future edition (not necessarily or only a printed book) is under considera
tion. As for vocal materials, which exist in
much greater quantity, the committee de
cided that a national catalogue was not then
feasible. Instead, the Regional Systems,
into which the UK library service is divided for interlending and cooperation, were en
couraged to produce their own union cata
logues. Most did, and some ran to more than
one edition. More recently, new editions
have been prepared on local personal com
puters. Since the advent of systems which will handle MARC on a PC, the opportunity has been taken to use this standard, and at
present the stock of four regions, and parts
of a fifth are covered in this format. The
long-term aim is to amalgamate these sepa
rate catalogues into a single national union
catalogue, available in various ways includ
ing the Web. Such a catalogue would need to be maintained, of course, but it would cut
down on the present time-consuming need
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50 FONTES ARTIS MUSICAE 47/1
to telephone other libraries when trying to
track down sets, and would enable a coop
erative acquisition policy to fill in the gaps.
Malcolm Jones
The Serge Prokofiev Archive
Before her death, Mme Lina Prokofiev, the
composer's widow, set up the Serge
Prokofiev Foundation, a charity registered
in the UK, the primary objective of which is to promote a deeper knowledge and under
standing of Prokofiev's music and life. In
1994, the Serge Prokofiev Archive was es
tablished by the Foundation at Goldsmiths
College at the University of London. The Archive holds a unique collection of private papers, correspondence, and photos, as
well as microfilms of music manuscripts,
books, scores, and audio-visual material.
This collection, the largest in the West, at tracts numerous national and international
visitors. The Archive's current project is
the publication of a complete catalogue of
Prokofiev's works and correspondence.
This project will involve the close collabora tion of scholars, libraries, and archives in
Russia, France, and America. The Archive's
Curator is Noëlle Mann.
The Foundation is planning the creation of a Serge Prokofiev Association with ajour nai available to members and the general
public. The academic and research pro
grammes for the Centre for Russian Music
at Goldsmiths College will be further devel
oped following the appointment of Pro
fessor Alexander Ivashkin, internationally
renowned cellist and specialist of Russian
twentieth-century music, in particular that
of Schnittke. For further details Noëlle Mann can be contacted at: The Prokofiev
Archive, Goldsmiths College, University of London, London SE14 6NW; Tel: +44 (0)20 7919 7558; Fax: +44 (0)20 7919 7255; Email:
This content downloaded from 62.122.76.54 on Mon, 16 Jun 2014 01:05:00 AMAll use subject to JSTOR Terms and Conditions