RISM at the IAML 2014 Conference (Antwerp, Belgium)
The following presentations were held relating to RISM at the IAML 2014 conference in Antwerp, Belgium:
From the RISM Central Office
Klaus Keil (RISM Zentralredaktion, Frankfurt): New developments in RISM
Klaus Keil (RISM Zentralredaktion, Frankfurt): RISM report at the General Assembly meeting
Jennifer Ward (RISM Zentralredaktion, Frankfurt): RISM and social media
From RISM Contributors
Marie Cornaz (Bibliothèque royale de Belgique, Brussels): RISM in Belgium – past and present
André Guerra Cotta (Universidade Federal Fluminense, Niterói, Rio de Janeiro): Report on the First Brazilian Seminar of the Project Répertoire Internationale des Sources Musicales (RISM)
Hildegard Herrmann‐Schneider (RISM Tirol‐Südtirol & OFM Austria, Institut für
Tiroler Musikforschung, Innsbruck): Fr. Hartmann von An der Lan‐Hochbrunn OFM (1863‐1914): A Tyrolean Franciscan as a cosmopolitan musician and music history phenomenon
New developments in RISM
Klaus Keil, RISM Zentralredaktion
The RISM Zentralredaktion will tell you about the following developments:
1) New board of directors, 2) New release of the OPAC, 3) Potential uses of RISM’s open data (brochure),
4) MUSCAT, the new cataloging program, 5) A/1 and B/1 (1500‐1550) already in MUSCAT; expected to be in the
OPAC in late 2014, 6) Increased data growth through transferring data from other databases, 7) Other.
RISM report at the General Assembly meeting
Newly elected board of the International RISM Association:
Wolf-Dieter Seiffert, President
Andrea Lindmayr-Brandl, Vice-President
Laurent Pugin, Secretary
Klaus Pietschmann, Treasurer
Coopted members: Ulrich Konrad, John Roberts
Newly elected Coordinating Committee:
Daniel Boomhower (USA)
Armin Brinzing (Austria)
Marie Cornaz (Belgium)
Ewa Hauptman-Fischer (Poland)
Gottfried Heinz-Kronberger (Germany)
A new release of the RISM online catalogue was published in April. New features have been placed on all pages. On the search page you can use a piano keyboard for entering pitches for a music incipit search. The results list can be sorted by different criteria. Links to digital resources can be seen in the results list and in the record display.
The RISM database offers ca. 870,000 records, mainly of music manuscripts. By spring 2015, we will have added to it about 100,000 records from series A/I (individual prints) and about 20,000 records from series B/I (printed collections published between 1500 – 1550).
In the RISM advisory council session, possibilities to expand the RISM database more quickly were discussed. Many of the RISM working groups can not offer permanent positions for their contributors.
The revision of RISM sigla will be based on RISM C II and C III,1: 16 (European countries). The volumes have been scanned and were transformed to Word files, which were sent to the appropriate RISM working groups and IAML branches. Just 8 out of 16 files have been sent back. They will be published as soon as possible on the RISM and IAML websites.
IAML Italy proposed a RISM libretti project which was presented by Federica Riva in a special session. RISM will support this initiative and suggest it to the RISM working groups with the aim of establishing a real international project.
The development of a new cataloging program on the basis of MUSCAT is well underway. The RISM working groups will soon be involved when we provide them with a beta version. Comments are very welcome.
RISM is present in social media: Wikipedia, Facebook and Twitter.
Together with the other R-projects we took part on a conference in Cuba in March. After an initial conference in Beijing, this second joint event was very helpful in making contacts with librarians and musicologists in Latin America.
15 August 2014
RISM and social media
RISM has been moving in social media circles for about six years: in 2008 we began editing articles on Wikipedia, in 2010 we joined Facebook, and this past February we created a Twitter account. In this presentation I will outline what we have done to develop our online presence, attract new followers, and promote our services. One challenge has been how to balance our social media presence with our services and direct traffic to our website. I will also share best practices and strategies on how to manage the flow of information.
RISM in Belgium – past and present
Belgium is one of 36 countries worldwide that has actively participated in the RISM project since its beginnings. First, the paper will trace the history of RISM in Belgium, which participated in various RISM initiatives, for instance between 1993 and 1998, in the series A/II “Music Manuscripts after 1600” by creating a team associated with the Royal Library of Belgium, the Université Libre de Bruxelles and the Katholieke Universiteit Leuven. Then, the presentation will focus on the institutions which were particularly involved in the RISM project and those that are still active today. Finally, some prospects for the future will be considered.
Report on the First Brazilian Seminar of the Project Répertoire Internationale des Sources Musicales
André Guerra Cotta
This report focuses on the First Brazilian Seminar of the Project Répertoire Internationale des Sources Musicales (RISM), which was held in 18‐20 October 2012, at the Campus of the Universidade Federal Fluminense (UFF) in the city of Rio das Ostras, Rio de Janeiro. The paper presents the main contributions of the participants, the issues and cases discussed and a fair description of the conferences, round tables and others activities developed in the Seminar. It concludes with some guidelines for the consolidation of the RISM Brazilian Workgroup in connection with the groups of Portugal and Spain, in order to develop a greater articulation at the iberoamerican level, as well as in connection with the other “R” projects and the IAML branch in Brazil and Latin America.
Fr. Hartmann von An der Lan‐Hochbrunn OFM (1863‐1914): A Tyrolean Franciscan as a cosmopolitan musician and music history phenomenon
Father Hartmann von An der Lan‐Hochbrunn (b. 1863 in Salurn, South Tyrol, d. 1914 in Munich, St. Anna
Monastery) received his first music lessons at the age of six. When he was sixteen he joined the Franciscan Order in Salzburg. Like many other members of the order, he dedicated his life not only to service to the Church but most notably to music as well and he was an excellent organist and composer. However, Fr. Hartmann represents an isolated phenomenon: his influence as a musician was first felt in Tyrolean monasteries but ended up reaching beyond Jerusalem and Rome to New York, St. Petersburg, and Munich. Beginning in around 1900, he created a furor in concert halls around the world, particularly with his large‐scale oratorios; made headlines in the international press; and had personal contacts with the ruling houses in several countries, Pope Pius X, many prominent artists, and music institutions. Numerous works by Fr. Hartmann appeared in print with internationally renowned publishers.
To date, there has been no in‐depth study about Fr. Hartmann’s unusual life and extensive oeuvre. He was known as “the maestro” and from time to time traded in his Franciscan cowl for top hat and tails. His music‐related papers are preserved in the archives of the Franciscan Province Austria in Hall, Tyrol (A‐HALf): his diary, autograph music manuscripts, printed editions of his compositions, portraits of him, publisher pamphlets, advertising materials, personal documents, correspondence, concert programs and posters, his personal music library, and articles from contemporary music journals and the popular press in several languages. These sources, unusual in their consistency, scope, and unity, enable us to be able to draw an impressive, firsthand picture of Fr. Hartmann and the music scene in which he was active. A few of his compositions have been given cursory documentation in the RISM database. On the occasion of the 100th anniversary of his death in December 2014, this paper will present an overview of the sources named above for the first time. Based on this, we will follow the trail of how a Franciscan monk was able to achieve in his time such publicity—undreamed‐of today in the secular world— through his music at the beginning of the twentieth century.