Catalogue of Music Manuscripts

by Bonnie and Erling Lomnäs

Statens musiksamlingar
Stockholm 1995

Published together with Stiftelsen Musikkulturens Främjande

The book kan be ordered here.

Introduction

This catalogue presents all music manuscripts in the collection of the Foundation for Furthering Musical Culture as concisely and distinctly as possible. Only information deemed to be of primary importance for each manuscript (or group of manuscripts) has been included. The in-house card catalogue and computerized database mentioned in the Preface contain much additional information.

The main part of the catalogue is arranged alphabetically by composer. It contains all compositions of individual composers that we have judged to be of general interest. Works by persons less significant as composers as well as manuscript working copies are listed cursorily in the Appendices. The catalogue contains no physical descriptions proper of the sources, apart from the number of leaves-or, for manuscripts with works by more than one composer, pages-of music or text.

Forms of names and alphabetization generally follow The New Grove Dictionary of Music and Musicians. Names not present there are given in the spelling found in other relevant literature. The arrangement of the works under each composer varies, according to what seemed most practical in the individual case: the order should be obvious enough without further explanation or comment. In most cases, vocal music precedes instrumental, and within each group performance forces proceed from large to small. Fragments or sketches are entered with the main work whenever possible.

The vast majority of the manuscripts are autographs, that is, in the hand of the work's composer. Each source is identified as being either an autograph or a manuscript copy: if the latter, the name of the copyist is given when known.

Much time and effort have been spent on problems of attribution, and on identifying the various hands. To this end, we have enlisted the help of a number of European libraries and archives, which has always been willingly given. The French manuscripts (a mainstay of the collection) required studies at the Bibliotheque nationale and the Bibliotheque de 1'Opera in Paris. With regard to handwritings, a large sample is present in the Foundation's collection of letters, which greatly facilitated identifications. For the music, we have also examined illustrations in the standard literature, and drawn on anthologies such as those of Georg Schünemann, Hans-RudolfWiedemann and Agnes Ziffer, as well as Die Musik in Geschichte und Gegenwart. A number of Italian composers represented in the collection of Wilhelm Heyer (see below) could not be verified: in those cases Georg Kinsky's judgement was accepted without comment. Further work in this area is better left to specialists.

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