Full text of "Music Librarianship A Practical Guide"

026.78

60-031^3

reference
collection
book

kansas city
public library
kansas city,
missouri

MUSIC LIBRARIANSHIP

A PRACTICAL GUIDE

E. T. BRYANT

JAMES CLARKE & CO., LTD

33 Store Street, London, W.C.I
U.S.A.: Hafner Publishing Company

First published 1959

) ERIC THOMAS BRYANT, 1959

PRINTED IN GREAT BRITAIN
BY LATIMER, TREND AND CO., LTD

CONTENTS
PART I

PAGE

Introduction vli

I. Music Library Administration 3

II. Reference Books and Periodicals 55

III. Cataloguing 109

IV. Classification 141
V. Gramophone Record Libraries 184

Appendix I (Subject headings) 282

PART II

Introduction 289

VI. Instrumental Music 294

VII. Vocal Music 371

VIII. Miniature Scores 418

Appendix II (Index of works in Part II) 451

Appendix III (Music publishers) 484

Appendix IV (Instrumental tutors) 485

General Index 488

ILLUSTRATIONS

1. Part of Music Library Suite, Liverpool Public

Libraries frontispiece

2. A neat case for housing music scores, Ilford Public

Libraries facing page 34

3. Part of a Mozart Exhibition, Cincinnati & Hamilton County

Public Library 50

4. Magazine rack, Art & Music Department 100

5. Coventry's method of displaying gramophone records 230

6. Section of Music & Drama Department, Detroit Public

Libraries 260

INTRODUCTION

Librarians are well aware that the overproduction of books
extends even to publications relating to their own work; before
issuing yet another on a particular subject a writer should be satis-
fied in his own mind that there is need for it. There is no book in
print on music libraries and the last one was published just over
twenty years ago. Since then, and more particularly since the end
of the Second World War, considerable developments have taken
place in this part of our service. Furthermore, although there are
many public libraries with a special interest in and knowledge of
music, others admit to the need for information. The following pages
may also help those who are studying for various parts of the
Registration examination of the Library Association. Assistants who
are working for the optional part of the Final examination on "The
literature and librarianship of music" may consider this work too
elementary for their needs yet still find some useful facts. The most
important reason for this book, however, is that the public libraries*
music sections must be developed to meet an expanding demand.
The time has passed when it is possible to satisfy music-lovers with
a service created and maintained by a librarian who lacks musical
knowledge and is not prepared to accept advice in this field. This
intensification and expansion at one and the same time call for
greater specialization from public libraries and it is hoped that the
second part of the book will assist the development of music stocks
that are at present inadequate.

So far as I am aware this is the fourth British book to give
recommended lists of music, though its layout differs considerably
from its predecessors. The pioneer work was James Duff Brown's
Guide to the formation of a music library a pamphlet that had an
effect out of all proportion to its modest size. One may smile today
at some of the works distinguished by a double asterisk (those which
"should form part of every public library as a foundation") but if I

vii

Introduction

thought my own selections would stand up as well to inspection
some sixty-five years hence I should be extremely satisfied. After the
First World War, when Brown's pamphlet was out of print, the
Library Association suggested to Mr. L. R. McColvin that he should
prepare a memorandum on Brown's work; the result was Music in
public libraries: a guide to the formation of a music library, with select
lists of music and musical literature (Grafton, 1924). The selection
was much more generous than in Brown's work to which McColvin
made handsome acknowledgement. Then, in 1937 and 1938 appeared
the two volumes of Music libraries: their organization and contents,
with a bibliography of music and musical literature (Grafton), by
Lionel R. McColvin and Harold Reeves. These two volumes covered
an immense range of books and scores and have proved a trust-
worthy standby to a generation of librarians, and I freely admit my
own immense debt to that work.

Although this book has been written primarily for public lib-
rarians and their assistants, and from a British standpoint, it is
nevertheless hoped that colleagues in other types of libraries, and
librarians oversea, will find in it matters of interest and use perhaps
as a means of comparison with their own practice, or as an oppor-
tunity to formulate their own ideas on the topics discussed.

A highly enjoyable aspect of writing this book has been the
correspondence that has been entailed with many people, checking
facts and seeking information, help and advice. It says much for
their forbearance that several of these correspondents are now
friends. To all the people listed below, sincere thanks and acknow-
ledgements are offered for assistance given, always generously and
willingly. Because the manuscript has been several years in prepara-
tion, some people who have given help may have their names in-
advertently unrecorded here and to those I offer apologies and hope
they will forgive me. Finally, it must be stressed that I accept
responsibility for all opinions expressed (except for those in direct
quotation of others) and for any errors that have, despite the wealth
of assistance, crept into the text.

The manuscript was completed in the middle of 1958, but some
subsequent developments are given brief mention in the postscripts
to two or three chapters.

ACKNOWLEDGEMENTS

I am deeply indebted to many people, but my greatest thanks
must go to Mr. J. F. W. Bryon, Borough Librarian of Eccles,
Lancashire. In 1949 we were colleagues at Beckenham, Kent, and I
casually remarked one morning that I had thought, upon occasion,
that there was a need for another book on music Ubrarianship and
that 1 had vaguely considered doing something about it myself. Those
who know John Bryon will not be surprised at the result I was
prodded and persuaded into starting the work and received a con-
stant stream of suggestions, ideas, comments and criticism. Draft
versions have been torn to shreds, amended and retyped; no chapter
has been written less than four times and Chapters I and V have
each had more than eight versions. Despite his many other commit-
ments, Mr. Bryon has read practically all of them and without his
persistence and encouragement it is unlikely that the book would
ever have been finished. Its virtues, if any, are almost entirely to his
credit.

Another librarian who has read nearly all of the book, some of
it on several occasions, is Mr. C. H. Turner, Borough Librarian of
Woolwich, London. He most generously consented to act as critic
and has improved the arrangement and coherence of much of the
material to a marked degree. Mr. L. W. Duck and Miss J. Hickling,
Librarian and Sub-Librarian respectively of the Henry Watson
Library in Manchester, who also read most of the typescript, have
made corrections and suggested additional works that I had over-
looked. Their answers to queries have demonstrated both the
quality of the stock and the high standard of service in their depart-
ment.

The sections on music classifications have all been checked by
experts in the particular schemes, though the opinions expressed
remain my own. My factual accuracy is the result, therefore, of help
from Mr. J. D. Stewart (formerly Borough Librarian of Bermondsey,
and still actively engaged in librarianship) on Brown's "Subject"

Acknowledgements

ckssification; Miss Henrietta B. Schmitter (late of the Forbes
Library, Northampton, Mass.) on Cutter's "Expansive" scheme;
Mr. Edward N. Waters (Assistant Chief of the Music Division,
Library of Congress) on the L.C. scheme; Mr. Benjamin A. Custer
(Editor, Dewey Decimal Classification) on the 780 class of D.C.; the
late Mr. Henry Evelyn Bliss on his own "Bibliographic" classifica-
tion, and Mr. E. J. Coates (of the British National Bibliography) on
the B.C.M. scheme. The chapter on gramophone record libraries
owes much of its information on American practice to the magnifi-
cent help provided by Mr. Kurtz Myers, Chief of the Music & Drama
Department, Detroit PX. Other information in this chapter and on
the L.C. Catalog of copyright entries came from Mrs. Dorothy A.
Linder, Head, Music Section of the Copyright Cataloging Division
of the Library of Congress. As Miss Dorothy Amesbury she was my
first American correspondent, as long ago as 1937, and has remained
a most helpful friend ever since.

Many British librarians have given me information, and thanks
are tendered to Miss M. D. Liggett (Guildford) and to Messrs.
R. K. B. Aldridge (Huddersfield), H. K. G. Bearman (West Sussex
County), G. A. Carter (Warrington), R. J. M. Caul (Burnley), J. H.
Haiste (Rugby), K. C. Harrison (Hendon), F. G. B. Hutchings
(Leeds), E. Simpson (Coventry), the late B. Oliph Smith (West
Riding County), W. B. Stevenson (Hornsey) and B. W. Wray (late
Nottinghamshire, now Tasmania). In addition to these chief lib-
rarians (and others whose names I have certainly overlooked), I am
pleased to acknowledge help from Miss H. M. McGill (Manchester),
Mr. A. B. Craven (Leeds) and Mr. G. Shaw (Nottinghamshire).

In Part II, my chief acknowledgements must go to Mr. C. T.
Haddon and to Mr. H. P. Dawson. The former taught me at school
thirty-five years ago and has continued my musical education ever
since; to him I am particularly indebted for my enjoyment of
chamber music, for suggesting many items in miniature score and
for helping me with their suggested order of priority. Mr. Dawson
undertook the responsibility of checking the availability of certain
editions, the provision of publishers' names for certain works and of
the contents of certain volumes, and answered a host of queries.
This he has done for several years; I doubt if he has been able to
eliminate all my mistakes, but he has certainly done his best.

Permission to quote from my own writings and from those of
others has been freely and generously given by the Library Associa-

Acknowledgements

tion and Messrs. Grafton & Co., and also by the editors or publishers
of the AL.A Bulletin, The Assistant Librarian, The Library Association
Record, The Librarian & Book World, The Library Journal and the
Library World. The Deans of the Graduate Library Schools of Kent
State and Chicago Universities have allowed me to quote from un-
published theses submitted at those universities. Professor Otto
Luening was equally helpful, and no librarian could have had a more
cordial reception to requests of this nature.

Photographs have been immediately supplied upon request by
the librarians of Cincinnati & Hamilton County, Coventry, Detroit,
Ilford and Liverpool, all of whom have given me a choice of pictures;
the City Librarian of Manchester has allowed me to copy the rubber
stamp used to indicate the number of parts available for an orches-
tral work. The subject headings that form Appendix I are those that
appear in the catalogues of the Coulsdon & Purley libraries and are
quoted by permission as are the copies of catalogue entries from
Detroit's gramophone record collection.

Sections of chapters 1 and 5 of this book were extracted for use
in a paper delivered at Bristol to the United Kingdom Branch of the
International Association of Music Libraries in 1956; I am grateful
to the Branch for allowing me to use this material again. Miss
M. M. H. E. Ehrhardt of Widnes has given most practical help in
reading through the final typescript, amending errors and helping in
proof corrections. Finally, I must acknowledge my debt to Messrs.
T. E. Callander (now Chief Librarian of Croydon) and J. L. Wilson,
both of whom gave me great freedom in the selection of music at
Coulsdon & Purley and at Beckenham respectively. Some of that
practical experience is reflected in Part II of the book that follows.

E. T. BRYANT
Widnes
March 1959

PARTI

Chapter I

MUSIC LIBRARY ADMINISTRATION

Introduction

In 1950, Ralph. Vaughan Williams wrote: 1 "I am very glad to see
that in late years the public libraries have woken up to the importance
of music as part of our general culture. Many libraries have a good
collection of music scores, but as you yourselves know, much remains
to be done." It is the intention of this book to indicate what that
service might be, or what could be provided. The responsibility then
lies with the individual librarian and his committee members. The
provision of good music is one of our more rewarding activities and
an adequate collection should be an asset in any community.

Throughout the book reference is made to large, medium, small
and very small library authorities. The terms are elastic and perhaps
are not consistently used throughout but, generally speaking, the
authority serving a population of 150,000 or more in a reasonably
compact area is considered a "large" library, 75,000 to 150,000 as
"medium" and from 40,000 to 75,000 as "small". County libraries in
Britain often serve a wide area and the total population in the county
library area may be over half a million, yet with the exception of
Middlesex and Essex no single town in a county area is likely to come
within the "medium" category and very few in the "small" class. For
this reason, a brief section is devoted to County libraries later in the
chapter.

For ease of reference, each section has its own heading, but the
following are the major categories, in order: History and general;
Scores; Handling problems; Accommodation and equipment; The
Music Library; Staff; Other administrative problems. The chapter is
intended for both librarians and students.

HISTORY AND GENERAL COMMENTS

A catalogue of standard music deposited by vtay of loan in the War-

Music Librarianship

rington Library and Museum by Mr. Marsh was printed as an appendix
to the catalogue of books published in 1 850. It contained one hundred
and twenty-three items loaned by Mr. John Fitchett Marsh, Town
Clerk of Warrington, whose other claim to library immortality is that
he gave evidence before the Royal Commission of 1849; the report
of the Commissioners led to the passing of the first Public Library
Act in Britain. Liverpool, some twenty miles away from Warrington,
was apparently the second library to lend music, from 1859; the idea
slowly spread to other British libraries. Provision in the U.S.A. was
apparently first made by Brooklyn in the eighteen-eighties. Charles
AmTTii Cutter, at Northampton, Mass., wrote in 1896 : 2 "Following the
lead of Brooklyn, several public libraries have in the last decade put on
their shelves works of music to be circulated like books. As they have
reported that this has given their patrons great satisfaction, I seized
upon an opportunity which offered itself lately to buy on peculiarly
advantageous terms, the complete works in Breitkopf & Hartel's
well-edited and clearly printed editions, of Beethoven, Chopin,
Gretry, Mozart, Palestrina, Schubert, Schumann, Schlitz, and Johann
Strauss, 312 volumes in all. Lassus, Mendelssohn and Wagner (both
pianoforte and full score editions) will soon be added. I had already
picked up the Bach Society's edition of Bach, and the Handel
Society's edition of Handel, in 119 volumes, a few shelves of mis-
cellaneous music, and some of the publications of the Musical
Antiquarian Society, and the Plainsong and Medieval Music Society,
You will see that I have chosen for first purchase the standard com-
posers . . ." The population of Northampton, it should be remarked,
was less than 30,000.

Although starting some thirty years later, American libraries
quickly outstripped us in the size of stock and the provision of music
departments. The penny rate limitation in Britain for library expen-
diture meant that very little money was available for books, and
music with its limited appeal and need for expensive binding suffered
in consequence. Some enterprising advertising agents presented
bound volumes of music, interleaved with advertisements, to certain
libraries, which must have been both disconcerting and infuriating
to the performer. In 1893 James Duff Brown wrote his pamphlet on
the Guide to the formation of a music library. This "tract" has 4 pages
of text and 18 pages of recommended works, arranged under 35
headings with books and scores in a single sequence. It is obvious
from Brown's comments that many libraries at that time had no

Music Library Administration

music stocks and the pamphlet was intended as a spur, while the
subject lists were "to rectify . . . library formation on the happy-go-
lucky principle of selection by instinct instead of knowledge. . . .**
From this time music collections have grown steadily.

Potential users

The first and largest group of potential users is that of instru-
mentalists, who are usually amateurs. Although the majority of
these will be pianists, a few players of the violin, organ, 'cello and
other instruments may be expected. Second are the singers, either
soloists or members of a group, such as a choir or choral society a
dwindling section in most southern counties of England though still
important in such areas as Wales, Lancashire and Yorkshire, and
parts of Scotland where the old choral tradition remains strong. The
third group is usually the smallest but has an influence far out-
weighing its numbers; this comprises the music teachers who will
normally have their personal libraries but who should find the public
library valuable for its reference books and periodicals, for scores
not in their own collections and for recommendations to pupils.
Fourth, there are the learners who present a problem of policy upon
which every librarian must reach his own decision and this question
is discussed a little later. The listener, a person who may not play an
instrument (though often the unwilling recipient of music lessons in
childhood), or whose singing voice is untrained but who wishes to
borrow a score for fuller enjoyment of a particular performance is
the fifth important category of user. The novice may be able to do
little more than follow the words yet it is generally possible to get
some idea of the vocal line being sung from the position of the notes
on the stave. Those who have some training as singers or instru-
mentalists will obviously be able to follow a score with enhanced
pleasure and understanding.

Students have not been included as a separate (sixth) category
since many libraries will see nothing of the budding composer, con-
ductor, professional instrumentalist or singer, unless it be out of
term time when embryo professionals may descend on the library
with immediate demands for scores and textbooks, often quite out
of the way and unlikely to be in the library stock.

Why special treatment?

The advantages of a music department to professional musicians,
students and the host of people outside those very limited numbers
B 5

Music Librarianship

who have an interest in good music needs no stressing, yet it may be
justifiably asked why music should receive preferential treatment in
the matter of a subject department. There are two good reasons:
first, because music comes in very different shapes in books and
scores (as well as in different material if gramophone records are
included) and these related yet diverse forms present special prob-
lems of integration; and second, that interest in classical music is
growing at an appreciable rate and can (or should) provide scope
for one of our most valuable activities. On the first point, it is obvi-
ously desirable that the music section should be treated as a single
unit which can take into account the special nature of the problem.
On the second, good music may be ranked as a cultural force with
the best literature. Gramophone and radio have brought classical
music within the reach of a much greater audience than was imagin-
able fifty years ago, when many potential listeners had little if any
chance of hearing, at first hand, good music played well.

A separate department normally confines itself (at least in
Britain) to books, scores, periodicals and gramophone records. The
Henry Watson music library in Manchester has on display a number
of music instruments of historical interest but the provision of pianos
and gramophones that may be used by members of the public is still
virtually unknown in Britain. Dorothy Tilly (an Englishwoman who
was for many years Chief of the Music and Drama Department in
the Detroit Public Library) has written: 3 "A piano is essential for the
music department. Ideally, there should be two : a concert grand for
the auditorium; and a smaller grand or upright for the use of music
borrowers, housed in a sound-proof room adjoining the music
department/' Detroit has no piano and it would appear that very
few American libraries make this particular provision. In Britain, the
new Central Library at Plymouth includes a concert hall with a large
grand piano and a first-class sound reproducer for gramophone
records but is probably unique. The late Sir Walford Davies sug-
gested that public libraries should each have a sound-proof room,
while another American writer, Alice M. Martin 4 has suggested that
"If need be, it [i.e. the Music Room] can be part of the general
reading room, the scores and records being shelved with other books,
and the recordings being used on a portable phonograph which has
earphone attachments. Such a restricted situation is not at all un-
common, nor even necessarily undesirable." The pamphlet from
which that quotation is taken is still useful, though published in 1949.

Music Library Administration

For and against a separate music department

There can be no general agreement as to the size of a library or
the population served before a separate department is considered
desirable or necessary. Dr. E. A. Savage has inferred a minimum
stock of between 8,000 and 10,000 books and scores and a staff of at
least two members before a separate department, open similar hours
to the rest of the library, can be regarded as advisable, 5 Otto Luening
in his notable thesis 6 describes a model music library, and says: "It
is obviously not a practical goal for communities of less than 100,000
population. It might, however, be achieved through library co-opera-
tion under a regional unit of service."

A gramophone record library would greatly increase the need for
specialist staff and for separate accommodation. The matter is con-
sidered in some detail in Chapter V, where it is suggested that one
assistant cannot deal comfortably or adequately with more than 150
records daily unless routine work is to suffer. If there is no separate
department then staffing difficulties, inability to answer questions
outside one's own special sphere and similar problems may be much
less in evidence. There is still much to commend the alcove or
separate area in the general lending library. Such modest provision
is within the scope of a very small library if reasonable floor space is
available. Because so many British libraries are housed in old,
cramped and totally inadequate buildings designed to house book-
stocks a fraction of their present size, floor space is frequently at a
tremendous premium but this is not the place to argue the need
for a much higher rate of building new library premises.

An example of what can be done in a town of less than 50,000
inhabitants is provided by Rugby. There is a separate music section
which occupies the very limited area of some 170 square feet out of a
total of 2,900 for the entire Lending Library. The stock in the music
section comprises over 2,600 items including some 450 miniature
scores. Over 7,000 books and scores were borrowed by local library
users in 1953-4 and nearly 8,000 in 1957-8. There are many music
libraries elsewhere worth a visit ; in the medium-sized town category
one would include Burnley, Hornsey and Westminster; large towns
with excellent music libraries are Bournemouth, Ilford, Newcastle-
on-Tyne and Plymouth and there are others in all three categories.
The largest cities Edinburgh, Liverpool, Manchester and the like
have nearly all provided excellent music departments with adequate

Music Librarianship

qualified staffs but smaller towns cannot reasonably hope to provide
such a service. The librarian is likely to be more impressed by the
achievements of a colleague administering a system of approximately
the same size, and there are many libraries other than those men-
tioned above with excellent music collections.

Standards^ scope and exclusions

In Britain it has always been assumed that the legal power to buy
books, conferred on libraries under the 1855 Act extended to music,
and this view has never been challenged. A decision to provide music
is not enough; the equally important decision must be taken as to
the types of music to be provided. There is no set standard for public
libraries nor agreement as to what should be included. Even the
largest library would probably find it beyond its resources to
attempt to provide all things for all users. Even so, it would appear
that some agreed policy should be possible that librarians them-
selves should reach a decision as to what they can reasonably be
expected to provide in their stocks and what they feel should be
bought by the individual if required. Provision would increase in
range and depth as the population served grew larger; some types of
music (such as the ephemeral dance tune) would be considered out-
side the scope of any library. Other items whose musical standard
is sufficiently high but which cannot reasonably be expected to be
kept in the stock of a smaller library would perhaps be the responsi-
bility of the Central Music Library or those eight cities in Britain
with populations over 400,000.

The music collection, to be of permanent value, must be begun,
expanded and maintained in accordance with a definite plan modi-
fied from time to time in the light of public demand or by a change
of personnel. Any collection will reflect something of the interests of
the person in charge and that is not without advantages. A successor
will probably have slightly different interests and another facet of
the music stock may become slightly more prominent as a result. In
his book selection work the librarian should not overlook The
Musical Times and similar periodicals. The duty to read periodicals
devoted to music can always be delegated if the librarian so wishes.

The competent librarian will naturally do his best to make the
maximum provision possible but some types of music must be ex-
cluded and such exclusions should be consistent, if possible. The
problem of providing, or refusing to provide, tutorial books and

Music Library Administration

music must be faced. Books on harmony, counterpoint and musical
form are not in question but with instrumental tutors the borrower
is likely to require a copy for months unless interest dies quickly.
One complication is that tutorial books for wind and brass instru-
ments may include excerpts from half-forgotten sonatas and con-
certos that are useful for technical training when the student has
acquired a fair proficiency upon his chosen instrument. The series of
tutors by George Langey (published by Boosey & Hawkes) is of this
type. There are librarians who maintain a very large collection of
tutors so that teachers and pupils can try several and then perhaps
choose one best suited to their needs. Many smaller libraries do not
buy choral works such as the anthem, part-song and motet, partly
through handling difficulties with single copies, partly because a
choir is likely to require at least a dozen copies. Another general
exclusion in smaller libraries is orchestral parts. Orchestras, like
choirs, usually build up their own libraries; an expensive work un-
likely to be played more than once in a period of years may be hired
from the publishers. With many modern works the parts are not for
sale so that the library itself would have no option but to hire the
parts if local orchestras were supplied with music. Orchestras do not
normally make application to the local public library unless it is
known that scores and parts are in stock or can be borrowed through
the library without difficulty. The last general exclusion to be con-
sidered here is that of music for minor instruments (i.e. those rarely
learned by the amateur). Such music is only bought when there is
expressed demand; the librarian who buys music for the double bass
or bassoon will probably find that it receives very little use though
its utility may be increased by loan to other libraries upon request.
While these exclusions are fairly general among small and medium-
sized public libraries it is not suggested that they should be auto-
matic or a fixed policy. The only rigid line drawn (so far as is poss-
ible) should be that of musical quality and every effort made to
exclude the ephemeral work. A small library may receive orchestral
parts and scores from a defunct local orchestra and it will naturally
wish (even if not compelled under the terms of the donation) to
retain these works for possible use by other orchestras. Similarly sets
of anthems may be received as gifts and put into stock for loan to
other choirs in the neighbourhood. In this case, a system of interloan
could be organized between choirs, all copies being regarded as part
of a central pool and the library acting as headquarters and clearing

Music Librarianship

house. This is done most successfully at Burnley, for example.

Although music is written for so many instruments and com-
binations of instruments as well as for the human voice, the newly
started collection is often severely restricted in scope and experience
suggests that such limitation is justified. A collection of scores total-
ling less than a thousand usually includes vocal scores of operas,
musical plays, oratorios and the like; songs, music for piano (the
largest groups in the collection), organ, violin and violoncello;
miniature scores and perhaps the parts of a handful of chamber
music works. Such a collection is likely to answer the needs of the
great majority of our library users who wish to borrow music.
Instruments that have a lower proportion of players among musi-
cians, such as the viola or clarinet may possibly have two or three
local performers; for these, a token selection may have to suffice, to
be increased when local demand justifies and finances permit. This
is the sort of music that cries out for co-operative provision between
neighbouring libraries in order to increase the selection at no greater
cost to any individual library.

For orchestral scores, the dictum of Dr. Ernest Savage may be
recalled: 7 "I think the following rule is reasonable: in a small library
buy the miniatures of full scores by the principal composers; and in
the medium library the big scores of these composers, and all the
miniatures available. In the large library, such limitations are not
necessary." This might be considered a rather over-generous ap-
proach to full scores for they are normally extremely expensive and
often cumbersome. On the other hand, full scores are available for
many works that are not available in miniature form. Dr. Savage is
not, in general, in favour of the provision of orchestral parts; in his
view, the small library should also omit chamber music parts but
moderate provision should be made by the medium-sized library and
wide coverage by the large library. He continues: "A great part of
the collection will consist of vocal and piano scores or orchestral
works, solo-instrumental and vocal music, and especially chamber
music quintets, quartets, trios in which lies the strength of any
music department. Miniature scores of the most celebrated chamber
music are essential."

The provision of too many musical arrangements will weaken an
otherwise good collection. There is so much good original music for
the piano, for instance, that it is unfortunate, to say the least, if the
collection of piano scores proves to consist mainly of orchestral

Music Library Administration

works and operas arranged for the instrument. In the field of piano
duets and organ works, the arranger seems to be even more strongly
in evidence. There are certain instruments, such as the viola and
oboe, which do not have a large repertory of original works and the
collection will perforce have to be strengthened by the addition of
arrangements but this should be a last and not the first resort.

The selection should be made as wide as possible by the inclusion
of the lesser-known with the more familiar works ; the contemporary
with music written before the age of Bach. The librarian should
remember that a standard of selection that may be regarded as too
high is much preferable to the more common error of too low a
standard. Quite often libraries will provide inferior music while the
classics are missing. Librarians should not need to be told to buy
the best, yet money is often wasted on ephemeral music. I might
instance the piano selections from musical plays and films. These
rarely contain music of any real merit; indeed, only a small propor-
tion of the tunes become generally popular and after a few months
the great majority are completely forgotten. There are exceptions but
they are infrequent. It is not the public library's business to provide
this type of music until there is a really good basic stock of original
piano music and probably not even then. The smaller the section, the
higher should be the standard of selection.

Where a library as yet provides no music and feels that the time
has come to start a collection this may be done with a small cash
allocation, but it will probably result in a delay of several years
before the stock is sufficiently varied to be considered moderately
adequate. Pricing a varied and comprehensive collection shows that
music is not cheap but that an initial expenditure of 350 (at 1958
prices) plus 150 for binding would provide a good though limited
basis for future expansion and still satisfy a reasonable proportion
of normal demands for the more popular works in the general reper-
tory. American libraries would appear to have much happier possi-
bilities when starting a collection, for Greta Smith of the Enoch
Pratt Free Library in Baltimore has suggested: 8 "Individuals may
be encouraged to give money in memory of friends, an appropriate
bookplate marking volumes so purchased. ... A little friendly
rivalry in gifts is an excellent device to get a new music collection
off to a good start." That this is not just wishful thinking is shown by
Otto Luening 6 who writes, in his Music materials and the Public
Library: "Libraries acquire their music materials (as they do other

Music Librarianship

library materials) either by purchase or by gift. Apparently neither
source has, up to the present time, provided all these libraries with
the resources which they say they need in order to serve their com-
munities well. In reply to a question as to how they secured their
music materials, five of the nineteen libraries having record collec-
tions had bought all of them; three had been given their entire
collections. . . . The average indicates that about two-fifths of the
record collections were presented to these libraries. About forty-
three per cent of the scores were also given to libraries." With good
publicity, a British library might receive some small donations and
some scores no longer used by their owners, but gifts of money, new
scores or gramophone records are very rarely forthcoming.

Development of basic stock

Unfortunately, librarians with little or no musical knowledge
tend to have no settled policy for the music section however definite
their ideas in other fields. With music, as with other sections of the
stock, good supply will often create the demand. The present stock
may be fairly large but unless it provides a wide selection of scores
suitable for current demands, kept in good condition, its use will
probably be disappointing. A score should not automatically retain
its place on the public shelves until it disintegrates. If it is in some
demand and/or is a standard work, then it should be replaced if its
condition is poor; otherwise, it should simply be withdrawn. Many
public libraries carry a reserve stock of books in limited demand
which still deserve retention; this reserve should certainly include
music.

In fact, the first step towards building up a collection may well
be to remove a generous proportion of the present stock from the
public shelves; some to be replaced by more modern editions and
the rest to be retained in reserve, however makeshift the provision
for the latter may be. Generally speaking, the score that has not been
borrowed for at least twelve months should be regarded as a possible
candidate for withdrawal or reserve. Placing in reserve will admittedly
reduce its chances of use still further so that a check should be made
to separate, as far as possible, works which appear to have no per-
manent place in music history works by composers who rate but a
few lines in Grove or do not even appear. These volumes of music
may well be discarded though they should first be offered to the
Central Music Library in London and, if not required by that lib-

Music Library Administration

rary, perhaps to the nearest large city library. It is usually fairly safe
to dispose of arrangements (the orchestral works edited for perfor-
mance on piano or organ, etc.) unless the composer is of the first
rank. In doubtful cases the safest plan is to retain the work in reserve
stock. In areas that are cultural backwaters, the librarian may find
that even excellent standard works are not used, and there seems to
be no genuine answer to this most depressing problem lowering the
standard of selection is certainly not the solution.

When replacements and new editions are considered there are a
number of guides to show the librarian what is available though such
guides will not usually indicate the suitability of a particular edition
for library use. This is an aspect of music librarianship without a
textbook answer; only with wide musical knowledge and experience
can one be dogmatic about the "best" edition,, and even then still
invite the question: "Best for whom?" The general methods of
selection of classics for the library shelves, the choice between avail-
able editions of Shakespeare or Jane Austen, are also applicable to
music. When there is a choice, the librarian will generally tend to
adopt a cautious approach and choose an edition by a well-known
publisher, perhaps with an equally well-known editor and certainly
one that is well produced. Reputable publishers with an international
standing cannot afford to produce poor editions and, in Part II of
this book, only occasionally is a particular edition suggested in
preference to rivals because the standard of alternative versions is
almost equal. The first type of guide as to what is available is pro-
vided by the leaflets and catalogues of music publishers; these will
often indicate works that are new to the catalogue and also ones
which have been brought back into circulation after being out of
print. If a library considers it worth while to be on the mailing list
of a music publisher, this can usually be arranged without difficulty;
in any case, such brochures can frequently be obtained through one's
normal music supplier. There are some excellent second-hand
dealers who will willingly send their lists to public libraries.

Lists of new music publications with reviews are to be found in
many of the music periodicals discussed in Chapter II. Messrs. L B.
Cramer & Co. publish an excellent quarterly list of new music and
newly available reprints, arranged in classified order. Prices are
quoted but not the names of publishers, since the firm naturally
expects to supply items chosen from its lists. The very large music
library may find it worth while to approach the British Broadcasting

Music Librarianship

Corporation for its quarterly accession list of music. Many of the
works included are difficult to trace elsewhere. The virtually world-
wide selection quoted in each number of Fontes Artis Musicae pro-
vides a simple method of international coverage. Notes (also receiving
comment in Chapter II) is particularly valuable both for its coverage
of American publications and for the fact that its reviews are by
music librarians for their colleagues.

For years music librarians in Britain have complained bitterly
at the lack of bibliographical aids in tracing music scores and have
had to rely upon checks in a number of sources. The appearance of
The British Catalogue of Music in 1957, a quarterly cumulation of all
music accessions in the British Museum an equivalent for music to
The British National Bibliography for books is an immense stride
forward, and one for which much credit must be extended to the
United Kingdom Branch of the International Association of Music
Libraries. These volumes are limited, as B.N.B., to new works and
new editions; reprints are not normally included. They will provide
an excellent means of keeping a check upon current issues and, in
time, will be invaluable as a means of tracing works though the file
will not indicate if a score is still available. This, at last, gives British
librarians a service which is roughly equivalent to that provided by
the Library of Congress in its Catalog of copyright entries.

If music selection ingeneral is considered itis probably true to say
that here, more than in any other section of a public library stock, it
is customary to buy a very large proportion of works by people who
are dead. Contemporary composers represent only a small part of
the output of most publishers of serious music the classics provide
their "bread-and-butter". Works by the acknowledged masters
should be replaced as a matter of course when old copies wear
out. Sometimes the particular volume will be out of print; in others,
it will be advisable to replace by a different edition that has virtually
superseded the earlier. The Novello edition of the organ sonatas of
Rheinberger might be cited as a case in point. The editing (by Harvey
Grace) and the layout are generally superior to those of earlier
editions and should be preferred when new copies of any of the
twenty sonatas are bought.

If the librarian has little musical knowledge, the problem of
buying works by contemporary composers is one of very real diffi-
culty and in general it might be suggested that no such work should
be bought unless the reviews suggest it is likely to be of more than

Music Library Administration

passing interest, and the librarian has some confidence that library
users will borrow the work. This is particularly necessary where the
allowance for new music is very small, for works covered by copy-
right are generally much more expensive than those which are in the
public domain. However much one may desire to support a strug-
gling composer by adding to his royalties there seems little point in
buying, for example, a tuba sonata of some complexity when there
is not, so far as the librarian is aware, a single player of the tuba for
miles around. Though perhaps an extreme example it illustrates the
point. In general, the unmusical librarian who is unable or unwilling
to have any sort of assistance would be well advised to limit his
initial accessions to piano music (mainly solo but with a few duets
and some piano concertos, arranged for two-piano playing), solo
pieces for violin, for violoncello and for organ, some songs (for all
types and ranges of voice) and a number of miniature scores of the
more popular classics. The stock lists in the second half of this book
are intended to be of assistance here.

One of the results of a very conservative policy in selection is to
increase the demand, through the Regional System, upon the
Glasgows, Liverpools and Westminsters and their smaller brethren
whose collections are larger and more comprehensive than average.
This demand might be offset by some form of co-operative coverage
of music, a possibility discussed later in the chapter.

Buying second-hand music

Money can be saved, but it can also be wasted, by buying second-
hand music. This form of accession is not generally recommended
for the library that does not include a fairly expert music assistant
on its staff. There are certain firms which specialize in second-hand
music and who circularize lists of available scores to librarians. Such
reputable firms are generally reliable, but since they are experts the
prices asked may be regarded as being as high as the market will
accept, and one is unlikely to discover any outstanding bargains. On
the other hand, the librarian will not normally be asked for more
than a fair market price. This source of supply is most valuable for
filling a particular gap when a work is out of print or there are
difficulties in obtaining a copy through normal sources in this
country. If purchase is made with the idea of increasing the size of
the music stock at a reduced cost, a check should be made whenever
possible on the current price of a new copy, for second-hand copies

Music Librarianship

may sometimes be quoted at prices little less than that to be paid for
new ones when the library discount is taken into account.

In the normal way it is not worth trying to buy music at general
auction sales. The physical condition of the music is often poor and
a high proportion of it not suitable for public library use. Those
works that are worth adding are all too often the ones which are
already represented in the stock. It does sometimes occur, however,
that a sale is known to include works that the library would be
pleased to have. In such a case it may be possible to secure a real
bargain as music usually fetches very low prices in the auction room.
This paragraph, it should be clear, refers only to the sales of furniture
and effects and not to specialized sales of music. Music may also
usefully be bought, on occasion, from private individuals who are
local residents.

Second-hand music must be carefully collated; the last sheet
would seem to be a frequent casualty and flimsy string parts can
easily be lost. The bottom corners of a well-used score tend to
become dog-eared, pages are likely to get torn with hasty turning
over and fingering and marks of expression may have been indelibly
entered on the printed page. Music that has been treated in this way
or which has been extensively repaired should be bought only when
there is no other apparent possibility of getting the work in better
condition. Loose binding is of less importance, for the librarian would
automatically send the score for rebinding before placing it on the
open shelves and any weakness in the publisher's binding may lower
the purchase price. The library user who marks a library copy and
who fails to remove the marks neatly before returning the copy is a
pest of the first order, and the librarian should try to set a good
example to his patrons by ensuring that no music reaches the shelves
with pencil marks of this nature.

This section can be summed up in a single sentence: Don't buy
second-hand music unless you know just what is being bought; have
a good idea of its current market value and check its physical
condition.

Keeping the stock fresh

In a small public library the problem of providing adequate
variety for the music borrower is as difficult as with any other
section of the stock. Limitations of space and shortage of money for
new accessions must result in a fairly small and slowly changing

Music Library Administration

stock; this is a sound reason for a higher rather than a lower standard
of selection compared with the larger system. No work should be
bought that cannot be envisaged as a permanent asset to the stock,
be it two years or thirty-two before it is in sufficiently poor condition
to be withdrawn. This may appear to assume clairvoyant powers in
the librarian but is not really so.

It may be possible as suggested in the previous section to eke out
funds by the judicious purchase of some second-hand items but there
is no satisfactory answer to the problem of maintaining and enlarg-
ing a music stock without enough money being available. It has been
suggested that a certain percentage of the book fund should be ear-
marked for music, and where there is a separate music library a
fixed allotment is highly desirable. The smaller the stock, the more
obvious the new accessions become and, if shelf space is very
limited, an attempt should be made to compensate for this, as far as
possible, by the provision of generous shelf space in reserve. Limited
display room should not be made the excuse for reducing purchases
to the lowest possible level, neither should the economy of buying
albums of works rather than single items blind the librarian to the
fact that requests will often be for works that are not available in
albums but which must be bought singly, if at all. In brief, the small
library authority has a difficult task in maintaining a good and
adequate stock of music that will constantly attract music-lovers,
unless there is a readiness to spend regularly upon the section.

If the space for scores is very limited then the stock should be
changed at intervals to give some of the works in reserve an occa-
sional spell upon the open shelves. A number of seasonal works,
such as those written for Lent, Christmas, Easter, etc., may well be
removed from the shelves for nine months each year and their places
taken by some of the items in stock, providing always that the
physical condition of the latter justifies this temporary promotion.

The library system with branches should find it much less difficult
to keep the stock fresh at its different service points. On balance it is
probably better for each branch to have its own small nucleus stock
of works that are in constant popular demand (those suggested for
first choice in Part II of this book are recommended), particularly
piano music. There are, however, good arguments against branches
having any permanent music stock but to consider instead all scores
as part of a general pool which serves the whole library system.
Unless the branch is a large one it may be difficult to increase the

Music Librarianship

stock beyond the nucleus, when the position becomes similar to that
which faces the small authority without branch libraries. With no
permanent music stock in the branch or a skeleton selection kept
rigorously within definite limits, music can be loaned from the
central library stock or a central pool for several months at a time.
Where each branch has no permanent stock, all music accessions,
including duplicate copies, will be added to central stock or central
pool. Where a work is worth duplicating it is often worth getting a
different edition for the second copy where this is possible. There are
some cases, of course, where one edition is much superior to its
alternative in which cases duplication of the original edition is fully
justified. Where songs or song albums are to be duplicated the second
copy should be bought for a different voice range, or in a different
translation where the original is in a foreign language. Duplication
should not be carried out automatically and without thought but the
desirability of an alternative edition should be considered whenever
there is such a choice. With some works it is possible to add four or
five different editions and to justify such a variety without difficulty.

Unit exchanges

For the municipal system with three or more branches and for
the county library branch, the interchange of stock can be organized
on a much more formal basis by the creation of music "units". This
system has been used successfully (for books as well as for music) in
the Coulsdon & Purley libraries since 1938. A "unit" consists of a
convenient number of music scores (experience suggests eithertwenty-
five or fifty) which circulate as a collection from one service point to
another, remaining at any particular library for a set period, usually
six months. In this way a music score will be seen on the shelves at
all libraries of the system in turn and so has an improved chance of
achieving regular use than if it is in the permanent stock of one
library. It is undesirable that units should include duplicates of items
already in stock as this means that at least once in its perambulation
of branches the unit copy will duplicate that already in stock while
the other libraries in the system have no copy. If the scheme is
adopted, it may be thought advisable to limit the circulation of units
entirely to branches, omitting the Central Library, though this would
seem unnecessary unless the stock of units is limited to duplicates of
scores already at the Central Library. It may also be advantageous
to call in from the branches all works not considered as basic or

Music Library Administration

nucleus stock and to allocate these returned scores to units so that
they will circulate, in time, to every library in the system.

If a union catalogue is maintained, a particular score is shown as
part of "Unit jt" and some sort of simple indicator would show both
staff and public the current situation of each particular unit. Where
there is no union catalogue, the entries for each work can travel with
the scores for insertion in the branch catalogue during the time that
the unit is stationed there, or a record can be kept at the central
library in order to allow a particular score to be traced quickly. The
unit itself should consist of a varied selection of different types of
music. While collections will probably be mainly instrumental, each
should contain some vocal works and it might be desirable to include
a few miniature scores. Larger branches would probably have three
or more units in circulation at one time; the smallest branch should
have at least two, or a replacement unit should be sent before the one
due to be called in is taken from the shelves. This will prevent the
music stock from disappearing entirely from public view from time
to time. Further details of the scheme can be found in an article by
its originator, T. E. Callander, in The Library Association Record for
June 1938 (pages 256-7).

The size of the system and of the individual music stocks should
decide if the central library or any particular branch or branches
should be excluded from the scheme. Where all libraries in a system
have large music stocks the costs of administration and transport
may be considered too high for the potential benefits to music-lovers
using the library service.

Binding music

The problems of purchase and selection are closely related to that
of binding. Because of its size, music binding is relatively expensive.
Miniature scores are, naturally enough, much cheaper to bind but
their slightness makes them a bad bargain in the eyes of many
librarians and so there is a tendency, for economic reasons, to bind
as many miniature scores as possible together. This can be successful
to a limited degree if restricted to related works such as Beethoven's
first six string quartets (numbered opus 18, numbers 1 to 6) but it
can also cause difficulties. Two patrons requiring different works
that are bound in the same volume cannot be satisfied at the same
time. On the other hand, a collection of very slim scores, many with
spines that are too narrow to carry titling, is difficult to keep in order

Music Librarianship

and troublesome to search for one particular item. Longer works, or
volumes containing the scores of two or three related works, may
provide guide-posts when searching for a single slim work. Scores of
oblong format with the top edge greater than the height should not
be bound other than singly because of their tendency to warp.

It is the custom in some libraries for all music to be sent for re-
binding before it is put on the shelves, except for the occasional
volumes that are issued in stiff covers by the publisher. Unless there
is a loose insert (as with some Heugel and Boosey & Hawkes minia-
ture scores) or separate parts (as with violin and piano sonatas,
chamber music and the like) it will be possible to allow selected
scores to circulate in the publisher's casing before rebinding is
necessary and the original covers will often add a pleasant touch of
colour to the shelves. Slim items of sheet music offer a number of
alternative methods of treatment. First, the music may be sewn into
a stiff brown paper or similar cover and the work arranged in a
vertical file in composer or class order. This is an effective and
economical method but suffers from the drawback that the casual
library user is unlikely to work through a file in order to find some-
thing of interest; some librarians may consider this an advantage
rather than a drawback. More serious is the defect that only one
person can use the file or a single drawer at a time. It also means that
this vertical file provides a separate sequence away from the other
scores. The second method is to sew the music into a stiff manilla
cover. Libraries can do their own casing by this method, purchasing
the manilla in sheets and sewing with binders* thread. Music rein-
forced in this way can be shelved in the normal sequence but is liable
to be overlooked since it has practically no thickness of spine and
individual items can easily be misplaced on the shelves.

Where the volume is a little more substantial it may be sent to a
library binder for a variant of what has generally become known as
the "picture book" type of binding. The score is bound between stiff
cardboard covers, with the original covers pasted on the outside and
given a coat of laminated plastic. This allows the original cover to
be retained and provides a surface that is grease and damp resistant.
A strip of linen is used to reinforce the joint between board and score.
Since "picture binding" involves oversewing which prevents the paper
from remaining open and flat the method must be adapted slightly
(at a somewhat higher cost) and is called by one binding firm the
"quarter-flat" type of binding. The maximum thickness of a score

Music Library Administration

that can be treated by this method is three-eighths of an inch; above
this figure the score will require the normal type of rebinding.

"Quarter-flat" binding costs come between those of manilla and
of cloth or leather and the method also may be regarded as an inter-
mediate one. Years ago it was customary for all music to be bound
permanently in quarter-leather but only a minority of scores is usually
so treated today. With regular use the paper of a score would be
dirty and not fit for retention whilst the leather was still firm and in
its prime; where the leaves stayed clean from lack of use, the leather
on the spine tended to shrivel and flake and become unattractive in
appearance. Where frequent handling does not occur to keep the
leather in sound condition, one of the recognized preservatives
should be brushed on from time to time. During the past twenty to
thirty years, quarter and half-leather have been replaced to an
appreciable extent by cloth which is usually adequate and has an
equally long life. This may be the place to mention that music is
apparently the one type of non-fiction binding for which British
public library binders have no agreed scale of charges among them-
selves, so that librarians are well advised to compare price schedules
before deciding where to send music for rebinding.

An impressive saving in the cost of binding can result from the
use of the unsewn or "perfect" method. Many librarians dislike this
intensely but first-hand experience over a period of years has convinced
me of its adequacy in selected cases. Prices are considerably below
those ruling for rebinding by the normal sewn method and librarians
may find it a useful experiment to try a small batch as a sample,
choosing works that are likely to receive frequent use and carefully
avoiding any printed upon a coated paper.

When a work requires parts for more than one performer, as in
chamber music, the normal method is to bind the thickest part, if
there is one, in the usual way, but with the spine of the binding
widened in order to provide a pocket inside the back cover to accom-
modate the other part(s), which are cased in manilla or limp cloth.
Alternatively, all parts may be sewn separately in limp covers and
the binding itself consist simply of a case or box to house the in-
dividual parts. The "binding" will have the usual details of com-
poser, title and classification on the spine and will contain the book-
card, date label, etc. Whichever method is used, a note should always
be written or stamped on the date label or book-card to the effect
that there are x parts in the pocket or pockets, as a missing part may
c 21

Music Librarianship

render the others useless. Where the work is a brief one, with a single
or double sheet only for the solo instrument and a piano accompani-
ment of little greater thickness, it is often possible to use a manilla
folder with a rear pocket made by stapling a piece of manilla inside
the back cover and having the solo part covered with a transparent
laminated or sprayed-on plastic or else covered by a paper or card
cover. This is simple and most economical.

Dr. Ernest Savage 9 suggests that: "The lettering (always in the
language of the title) on thin volumes should be up the spine, but
across the spine wide enough to take legible titles." This is likely to
meet with general agreement except that the use of the original title
should not be made when it is a formal one, i.e. for a symphony or a
sonata and similar works when English is much to be preferred to a
title in French, German or other language. For operas and other
vocal works, symphonic poems, etc., the use of the original title is
usually justified. The title on the spine should agree with that used for
cataloguing purposes and this matter is dealt with at some length in
Chapter IV. Librarians as a body are much happier with titling up
the spine, than down; the British Standard recommended practice is
in general agreement (B.S. 1544: 1949).

It is the custom in some public libraries to bind works of a
particular type in the same colour, e.g. all piano solos in red, all
operas in green. This results in large blocks of colour on the shelves
which may be useful in the identification of a work but it is possible
that a sufficient variety of colours may be unobtainable to carry out
the plan without limiting the colour classification to very broad
categories indeed. Liverpool uses two colours only, red and blue, for
instrumental and vocal works and attempts no further sub-division.
A colour scheme may fail through use of different cloths by different
binders; even the same firm may vary its colours to some degree
through minor differences in dyes. A guaranteed range of colours
will apparently result in a somewhat dull selection, as at Bristol. I
would strongly recommend a variety of colours in binding, partly
because I am not in favour of shelves of books all bound in the same
colour and partly because the provision of scores in publishers'
bindings and in the "quarter-flat" type of rebinding is incompatible
with a set colour scheme. There is a compromise that should satisfy
both schools of thought, though it adds to the expense of binding.
This is to affix to each score a small strip or circle of coloured cloth
at an agreed height from the base of the spine. This allows the eye

Music Library Administration

of an assistant to run quickly along each shelf and discover at once if
any score is mixed with members of another category, gives the same
assistance to patrons that is claimed for a colour scheme of binding,
yet still retains the brightness and attractiveness of variety.

Where there is a music librarian on the staff, listing and checking
music binding is naturally his or her responsibility. Particular care
must be taken to ensure that correct instructions are given to the
binder and that the details of required lettering are precise. This may
seem elementary, yet Dr. Otto Kinkeldey has told American lib-
rarians that: 10 "I could quote you several instances of otherwise well-
ordered libraries in which you could have found the several instru-
mental parts of a chamber composition handsomely and securely
bound together." I have seen copies of violin concertos, in British
libraries, with the separate violin part bound in with the piano accom-
paniment thus completely defeating the object of issuing a separate
part for the soloist. When two or more items are bound together in a
single volume there should always be a strong and easily apparent link
between the individual items, e.g. songs should always be by a single
composer and preferably for a particular type of voice. The spine
title should either list the individual items or, if room is insufficient,
be given a generic title that covers the contents, such as "Songs for
soprano", "Piano pieces from op. 10 and op. 12". In the chapters of
Part II of this book indications have been given of those cases where
it seems suitable to bind separate items into a composite volume.
The separate items in such a volume may not all be printed on pages
of the same size; the single volume is of unorthodox appearance,
though perfectly practical, and the binder will need to be warned
against trimming too closely the sheets of the largest item in the
volume. This problem does not arise when the works or a selection
of them by a single composer are published in album form.

The music department in county libraries

County libraries often serve large populations scattered over a
very much wider area than any municipality serving an equivalent
number of people. Some county branches are larger than the central
libraries of some very small authorities but the general picture is of
small units of population receiving full or part-time service from a
limited number of permanent branches, of villages and small clusters
of houses served by mobile libraries or else by centres run by volun-
tary "librarians", and there is a consequent need for a much greater

Music Librarianship

flexibility in service than is required in the municipality. The county
library headquarters may not be open to the public particularly if
situated in a town that provides its own municipal service. It is
probable that a large proportion of the music stock, certainly mul-
tiple copies of anthems, orchestral parts, etc., and works of which
the county has but a single copy, will be kept at headquarters. Per-
manent branches sometimes have music stocks of their own though
it is contrary to general practice in the counties to recognize any
stock as being permanent at any one branch. The "unit" system,
discussed earlier, offers many advantages to the county that has a
number of full-time branches.

Whether the branch music stocks are large or non-existent,
requests for loans of books and scores come regularly from local
residents who may write direct to headquarters and have their
requests satisfied by post or who may make their enquiries through
their nearest service point and have the copy sent there for collection.
Societies will usually apply direct to headquarters though loans may
be made through the nearest branch.

Because county libraries come within the local Education service,
the County Music Adviser may help officially or unofficially with
stock selection, enquiries outside the abilities of the headquarters
staff, and as a liaison officer between local music societies and schools
and the library. This may be admirable, yet for the service to flourish
to full advantage requires a music librarian and every county library
serving a population of some 150,000 or more should have this post
on its establishment. The music librarian would control purchase,
location and duplication of stock, would integrate the service with
educational activities both in the selection of stock and in co-opera-
tion with schools, classes and choirs. A well-chosen stock has its
influence upon all groups, particularly when the music librarian is
recognized as a valuable guide to the choice of work for performance,
for he can persuade groups to raise their standards and to attempt
unfamiliar works that they might well shun in the normal way even
if their existence was known. On his side the librarian will learn what
types of music to provide to satisfy the different groups within his area.

With so much scope for a dynamic approach it seems unfortunate
that only two or three counties should have the post of music lib-
rarian on their establishment. In one Midland county such an
appointment has been an unqualified success and, with an assistant
of the right calibre, the same results could be achieved elsewhere.

Music Library Administration

Most county library headquarters are housed In cramped and
adapted buildings but efforts could be made to provide a separate
music section; in any design for new premises the provision of a
music library should be considered a necessity, even where the head-
quarters are purely administrative and not open to the public.

Co-operation

Since the Second World War a number of the Regional Systems
in Britain have introduced various forms of subject specialization
under which particular libraries are responsible for purchasing books
published on particular subjects. All these Regional schemes, what-
ever their other differences, agree in excluding music. Libraries still
buy new scores regardless of those bought or in stock elsewhere, and
there is no guarantee that a newly published work will be available
in at least one library within the Region on the other hand, twenty
librarians may have decided to buy the score. Some libraries partly
remedy the shortages and limitations of their own stocks by taking
out subscriptions with the Henry Watson Music Library in Man-
chester and/or the Liverpool Music Library. Requests for multiple
copies of a work, or for a score not in the local stock that is not
thought a justifiable purchase, can then be forwarded to one of these
large libraries with a very strong likelihood of a satisfactory response.

That some scheme of co-operation is desirable is obvious from the
following figures, which were kindly supplied by the then Honorary
Secretary of the North-Western Regional Library System in 1954
(Mr. Charles Nowell). In 1953 there were 840 requests for music
made through the Regional system: 570 of these were satisfied
within the Region but no less than 270 (or 32 per cent) were not
159 of these unsatisfied requests were for multiple copies of a work;
and since the National Central Library does not accept requests of
this nature, only the remaining 111 enquiries were forwarded. The
N.C.L. was unable to satisfy 68 (or 62 per cent) of these enquiries.
Out of the year's 840 requests, therefore, only a total of 613 were
satisfied and this in a Region that includes both Manchester and
Liverpool and such other good music libraries as Bolton and Burn-
ley. Requests forwarded to the National Central Library are passed
on by that library to the Central Music Library in Westminster for
satisfaction and if that library cannot help, then the request is circu-
lated among the other public, university and special libraries in the
normal manner. This large percentage of failures is disturbing but is

Music Librarianship

not quite so bad as it might at first appear, nor is the Central Music
Library nearly so weak a link as the figures would suggest. The late
Mr. NowelTs letter stated that "a very high proportion of music
requests lack information. They are more vague than requests for
books." For this, individual librarians are to blame. In addition,
requests are made that are impossible to fulfil. Music-lovers hear
works on the radio and request the scores, but many of these are in
manuscript only and have not been published or are not available for
general loan. A tremendous corpus of music is out of print and is
never likely to become available again. Whereas Warrington's collec-
tion was started in 1850, the Central Music Library is a post-war
innovation, opened in 1949, and despite the inclusion of several large
important private libraries and Westminster's own impressive music
stock, its coverage is still small compared with what it could be or
would like to be. A tremendous amount of earlier music is to be
found in the British Museum but that cannot be borrowed under
any circumstances, and a student is not always able to go to the
Museum to study the work on the spot or to afford the price of a
photostat copy of a work running to more than a few pages.

An answer to part of this problem would appear to be possible
both at local and at regional level. When a librarian is considering
the purchase of any out-of-the-way music, it might be well worth his
while to check with neighbouring libraries which perhaps already
have the work in stock and would be prepared to lend it. By co-opera-
tion in this way a small local group of libraries can aim at a wider
coverage than would be possible in any one of them. The idea can
be carried further with the suggestion that some attempt should be
made at Regional level to include music in any subject specialization
scheme. There would appear to be two possible basic methods. A
library would agree to collect all works and editions as published of a
particular composer or composers; or, it would agree to buy all
scores issued for a particular instrument or group of instruments.
The larger libraries would need to accept responsibility for the more
important or voluminous composers or for the more popular instru-
ments or collections of instruments; the smaller library would collect
the works of a minor master or the music for an unusual instrument.
The publication of a separate cumulation of new music scores in the
British Catalogue of Music has partly removed one of the main
problems, that of discovering just what new music or new editions
are available in this country.

Music Library Administration

Music in the junior library

While many children learn music, in one form or another, it is
probably safe to say that the majority do so under protest. Where
there is a feeling that practice is a burden, young musicians are not
very likely to use the music scores provided in the library but there
are always those children who will. Piano music, together with
smaller selections of violin, violoncello and recorded music and also
some vocal music should be provided. This last will include nursery
rhymes, settings of verses by A. A. Milne, Lewis Carroll, etc., carols
and similar works. Where such a collection is inadequate for the
needs of a particular child, the logical course is to send him or her
to the adult music section.

Music intended for the use of children should, naturally, be
reasonably simple but simplicity and the third-rate should not be
confused. There are thousands of pieces allegedly portraying fairies,
elves, gnomes and the like at different activities but the greater part
of this material has practically no musical value.

Standards should be as high as in the adult library; music by
recognized composers should be provided and selection should be
made by the music librarian, though the children's librarian ought
to be consulted. The reverse process is not recommended. The
greatest composers have written music within the compass of many
children; the music librarian will know suitable pieces while the
children's librarian may be completely unaware of their existence.
Books on music and biographies of composers should also be chosen
in co-operation ; the music librarian will know if the work is factually
accurate while the children's librarian can tell if the book is written
and presented in a manner likely to appeal to children; she will also
check on the typography, illustrations and general layout of the
book.

Local activities and local musicians

Music should have its own place in local history. There are
amateur operatic societies, local choral societies, local groups, bands,
orchestras and soloists who achieve a reputation that may become
national or even international. All of these come within the scope of
the local collection and the music librarian may well be the best
person to obtain relevant material. Programmes of concerts held in
the area provide useful information about artists and can give useful

Music Librarianship

background material if any of those mentioned on the programmes
later achieve fame. Such programmes have their own place in the
social history of the town indicating something of local taste at any
given time.

For the local composer treatment should be as generous and
comprehensive as for the local author; the public library should
collect and retain all available material. The composer may be a
very minor one but if the local library does not attempt to accumu-
late as much material as possible it is tolerably certain that no one
else will. Charles Avison (1710-1770) might be quoted as an example.
He is a little-known British composer of the eighteenth century and
the finest collection of his works and material about him is to be
found in the public library at Newcastle-on-Tyne, his home town.

Music periodicals

If possible, music periodicals should be displayed adjacent to the
music section or music shelves; where there is a music library in a
separate alcove this is almost automatic policy. Most music periodi-
cals include reviews of new music scores, books on music and of
gramophone records of standard music. Comments on some of these
periodicals and the scope of their reviews will be found in Chapter II.

HANDLING PROBLEMS

These wiU vary immensely with the type of music or its physical
format. A volume of Chopin Waltzes causes no real difficulty ; it is of
reasonable bulk, will rebind conveniently and can be treated almost
exactly as a normal book except that it will require higher and deeper
shelf space. Not all music is so convenient for the librarian and some
of the more usual problems are briefly considered in this section.

Piano concertos and two-piano works

Some piano concertos are published in versions arranged for solo
piano. The pianist, in such an arrangement, plays both the solo and
the orchestral accompaniment with the score adapted for the limita-
tions of two hands. The more usual and popular version is that for
two pianos. One pianist plays the solo part, i.e. he plays exactly the
same score as that used by a concert(o) pianist. The orchestral part
is arranged for piano and this reduction is played by the second
pianist.

Music Library Administration

Music written for two pianos is a very different matter though
obviously there are certain basic similarities. Generally, the com-
poser regards the two pianists of equal standing whereas with the
concerto the solo part is normally considered paramount. It is per-
fectly possible (with two copies) to play piano duets at two pianos
but quite hopeless to attempt two-piano works as a piano duet, since
both players may be required to use a wide keyboard range. For this
reason the two types of music should be classified separately (though
preferably at adjoining places) : in practice, as is demonstrated in a
later chapter, the makers of classification schemes have rarely under-
stood or made allowance for the important separation of two-piano
music from piano duet music.

There is generally little point in attempting to play one part of a
two-piano piece without its complement so that the two parts should
be bound separately but housed within the same cover and auto-
matically issued together. With piano concertos and similar works
for piano and orchestra there are many people who get enjoyment
by playing the solo part and, when the solo pianist is given a brief
rest by the composer, continue to play the accompaniment which is
usually indicated in small notes or is shown in parallel staves below
that of the solo part. When the soloist re-enters, the domestic pianist
returns to his part; the result being that such a one-man performance
will bear some similarity to that played from a solo piano arrange-
ment of the concerto. It will be less satisfying to any listener since
the pianist using the two-piano arrangement will probably continue
to play the solo part even when the melody is being given out by the
orchestra; the arranger of a solo piano version would ensure that
the melody was given adequate prominence here. So, although two
copies of a concerto will be needed for performance at two pianos it
may be thought best to bind them separately rather than include
them in one cover. This would allow two separate pianists in different
localities to enjoy themselves attempting the solo part. It should also
result in fairly even wear on the two copies; when housed in the
same cover the second copy is likely to receive much less wear than
the first. The disadvantage of the complete separation of the two
scores is that the user with two pianos, and a partner to play the
orchestral score arrangement, may find that only one copy of the
work is on the shelves and so have to wait until the second copy is
returned.

Music Librarianship

Orchestral parts

Orchestral parts should be filed in pamphlet boxes or manilla
folders; for convenience each work should be housed separately. On

VI. V2. Va. Vo. C.B. Pis. Fl. Ob. O.A. Ol. Bn.

H. Tr. Trb. Tuba. Timp. Tamb. P. Cym. Harp GI. Pf.

A.T.B.

the inside cover of the container should be pasted a printed label (or
a rubber stamp may be used instead) which quotes the various
instruments of the orchestra in the same order as that generally used
in publishers' catalogues. A space or box is shown against the name
of each instrument and in this is inserted the number of copies held.
This assists quick checking upon issue and return and identifies
which parts (if any) are missing. It also helps conductors or secre-
taries of local orchestras who can quickly see if there are sufficient
parts for their members.

It is advisable before issuing orchestral parts to reinforce the
edges with linen tape or similar material. It is also desirable to check,
upon return, that marks of phrasing and bowing, etc., which may
have been inserted by the conductor, have been satisfactorily
removed.

Anthems, madrigals, etc.

Sets of copies of short choral works can be filed similarly to
orchestral parts, in boxes or folders. Only one work should be filed
in a box; if this is uneconomic, then there should be some connecting
link between works sharing the same folder the obvious one would
be that of composer. For works in small demand the simplest and
cheapest filing plan is to pack the set in cardboard and brown paper
to exclude dust. A tag should be attached to each parcel showing the
composer, title and number of copies. This method is only economical
for the work in request not more than once or twice a year; more
staff time is lost in packing and unpacking than would pay for a box
or folder.

While some of these works can be issued as supplied by the pub-
lisher ? items difficult to replace or likely to receive regular use, can

Music Library Administration

have the spine strengthened with linen tape, may be sewn into brown
paper covers for added strength or laminated or sprayed with plastic.
One method may be standard in a library, or each item considered
on its merits and treated accordingly.

Sheet music

Music which occupies but a few pages is sometimes avoided by
librarians because of handling difficulties. The matter is discussed
more fully under the heading "Binding music" (p. 20). Briefly,
suitable works may be bound together to make a single volume, or
single items can be treated by sewing into stiff manilla or paper
covers, or else laminated or sprayed with plastic. If a work is likely
to be very rarely in demand and so warrants minimum expenditure,
the spine can be strengthened with linen tape and the copy filed. No
opinion is ventured on the general argument between those who
prefer box files and those who use vertical filing. The former method
is more portable and allows more readers to consult an extensive
system at the same time; the latter has the advantage of requiring
less floor space, though some libraries make the best of both systems
by using box files and storing them in cupboards or on open shelves
beneath the ordinary shelving since this space is usually regarded
as too low for normal public use. Local circumstances and personal
preferences may be allowed to influence the decision as to which
method to use.

Biographies, fiction

These are questions of an entirely different type from others dis-
cussed in this section and are related to the problem of music classi-
fication. They are also administrative problems whether to shelve
books on music and musicians with musical scores or to leave them
with other biographies, autobiographies and novels. Since it is diffi-
cult to write a life of a composer without some reference to his music
and because music-lovers are the people most likely to be interested
in these lives, it is recommended that such lives be shelved with the
rest of the books on musical history. The case for fiction is weaker
though the Library of Congress scheme, for instance, does make
provision in its schedules for such novels to be classed separately.

Music Librarianship

ACCOMMODATION AND EQUIPMENT

Location

The question of the location of a separate music library or of a
music section in a general library is an academic one for many lib-
rarians but in cases where some choice is available certain factors
should be taken into account. The situation preferred should be in a
quiet part of the library. There should be room for tables and chairs
at which students can read music periodicals and browse. Where the
library loans gramophone records, the collection should (where
possible) be located in the same section. If music shelves and public
accommodation are simply part of the ordinary home-reading
department, the preferred position allows adequate oversight from
the staff enclosure and should also be related to the daily traffic of
the department.

Space required

It is difficult if not impossible to make hard and fast rules about
this; it depends upon the available stock, the services offered, the
provision or omission of a sound-proof room, etc. Rugby's public
library may again be cited as an example. The floor space allotted is
170 sq. ft. (and could be more with advantage). There is 50 ft. of
shelving for music scores, 35 ft. for miniature scores, 22 ft. for music
books available for loan and 12 ft. for reference books. All sections
lack breathing space but no one of them is noticeably shorter of
space than the others. The librarian himself would particularly like
more space for reference books in order to display them to better
advantage. The proportions allotted to the different sections of
music stock can vary immensely; in Widnes, for example, the figures
are 42 ft., 8 ft., 24 ft. and 8 ft. of shelving respectively. Once again,
more room would be welcome in all cases but only books on music
(which include biographies) are seriously lacking in space. The big-
gest and most obvious discrepancy between the two figures is that
allowed for the shelving of miniature scores; Rugby has an out-
standingly good collection for a library of its size, while at Widnes
there is room only for some 400 scores which may be regarded as
average for a library in the 45,000 to 55,000 population group, unless
there is a gramophone record library when the desirable number of
miniature scores is appreciably higher.

It is equally difficult to quote statistics or averages for reserve

Music Library Administration

stock shelving. If the public shelves are obviously insufficient yet
space precludes their expansion then a large reserve should be built
up. Even the library with space to spare on its music shelves should
have some sort of stack for the scores that need to be kept but whose
physical condition is no advertisement for the service. The only
generalization that can be made is that music is usually certain of a
long life so that it is best to plan for more stock space for scores than
might appear necessary at first sight in comparison with the size of
stock in other classes. Bound vocal scores will average about 15 to a
foot of shelving, instrumental at about 24 for piano and organ solos
and 16 for violin and other works, with a second part in a pocket for
piano accompaniment. Chamber music parts will require about an
inch of shelf space per work.

Shelving

The need for special shelving for scores is self-evident. Some
librarians prefer adjustable shelving because of its flexibility but the
extra cost may not be justified. If fixed shelves are provided, a distance
of 14 in. between shelves will be sufficient for nearly all sheet music
to stand upright, and a depth of 12 in. should be equally adequate.
Because bound music tends to be awkward to handle and is heavy
in bulk, upright partitions should be provided at frequent intervals;
a minimum of 6 in. and a maximum of 10 in. between such partitions
is recommended. These divisions, both with wood and metal
shelving, should extend flush to the front edge to minimize possible
damage to the scores. As with ordinary bookshelves, it is advisable
to restrict the upper and lower shelf limits; the lowest shelf should
be about 18 in. from the floor and the top shelf about 63 in., allowing
three shelves to the case.

Miniature scores present their own problems and the simplest
solution is to provide a special set of shelves, about 9 in. high and
some 7 in. deep. This will be suitable for the great majority of scores
of this type although there are a number (such as the Vaughan
Williams symphonies and some of the Hawkes "pocket" scores)
which are too tall for a 9-in. shelf and would have to stand on their
fore-edges or be shelved separately. Floor space will be required for
vertical files if sheet music is stored in this fashion; where pamphlet
boxes are preferred, special shelves may be required and the boxes
bought to a standard size. It has already been mentioned that some
libraries, rather than waste the space between the floor and bottom

Music Librarianship

shelf make the front panel hinge so that the space under the shelves
becomes a cupboard. Orchestral parts and sets of anthems are usually
kept in reserve. Shelving for gramophone records is discussed in
Chapter V.

If the music library is housed as a separate department its
catalogue will be there also. Where the collection is obviously
separated from the remainder of the lending stock but is not an
independent department it may be thought an advantage to have the
appropriate sections of the catalogue adjoining the books and scores.
With a classified catalogue this would simply entail the removal of
the appropriate subject entries en bloc; with a dictionary catalogue a
similarly self-contained unit would be easily available if the catch-
word "Music" is used before all subject headings for scores, but a
check of subject headings would be needed for books on music. It
would be much more difficult to extract individual entries for com-
posers and writers on music and there are definite advantages in
leaving such entries in the normal author sequence.

Staff enclosure

With a separate department it is unfair to expect readers to use
the main desk for the issue and return of scores, while gramophone
records require ample room to allow individual checking of discs for
scratches and other damage. If provision is made for patrons to
listen to gramophone records adequate oversight is essential, though
this depends in part upon whether the staff or patrons actually
handle the discs.

Periodicals, biographies, reference books

If the library has a separate music department then such works as
reference books, biographies and the periodicals devoted to music
will automatically be shelved in the department rather than in the
other sections of the library. If the music collection has a separate
alcove or a reasonably self-contained part of the home-reading de-
partment then a table and chairs might usefully be provided for
the use of patrons.

THE MUSIC LIBRARY

Though the separate music library is the ideal, its provision is
expensive and its implications should be considered before establish-
ment. Earlier comments have suggested that such provision, to be

Music Library Administration

justified, postulates a local population of 100,000 or more together
with a stock of some 8,000 books, though both figures can be lower
if gramophone records are included for public use. A separate
department requires a music librarian and at least one assistant.

The music library may permit gramophone record recitals to be
held though a library hall may be a more convenient venue. The
department may be used for discussion groups, etc., at times outside
normal opening hours, while the provision of a radio or television
set would permit selected programmes to be heard or seen by a
group and discussed afterwards.

Hours of opening present a problem. If the library is to be open
for similar hours to those of the general lending library a staff of
two will be inadequate without assistance; three people at least will
be needed for the department to be entirely self-contained except for
holiday periods and absences through sickness. Late evening hours
of opening are likely to preclude the possibilities of gramophone
recitals and "live" music and similar activities; early closing will be
to the disadvantage of the local library user. Where gramophone
records are loaned it should be stipulated that records must be
returned ten or fifteen minutes before closing time to allow checking
of the condition of each disc to take place.

The hours of opening are naturally affected by local demand and
use. It may be said that, in general, American libraries are very much
more generous in this way than those in Britain. The music library
at Boston, Massachusetts, is open from 9 a.m. to 9 p.m. each week-
day and from 2 p.m. to 6 p.m. on Sundays. British libraries may open
as early in the day but generally close at 7 p.m. or 8 p.m. (and earlier
on Saturdays) and do not open on Sundays.

STAFF

A high proportion of librarians and assistants seem to have a
liking for classical music and some knowledge of it; this is true both
in Britain and the U.S.A. Alice Bryan's The public librarian^ 1 has
some pertinent information upon this point, for she attempted to
discover the vocational interests of librarians by means of a test
devised by Edward K. Strong, jr., Professor of Psychology at Stan-
ford University. The median ratings for fifty-four professional men
showed the highest preference for "Musician", though Miss Bryan
cautiously points out that this surprising result might not be general

Music Librarianship

if a wider sample was taken. Since musician is excluded from the
choice of professions for women no comparable figure can be given.
A strong interest in music among British librarians of both sexes is
indicated by the answers given in Landau's Who's who in Librarian-
ship since nearly 400 qualified librarians out of the 2,000 or so
listed give music as a major interest. Such a high proportion seems
incompatible with the equally high proportion of inadequate music
stocks in our public libraries. A personal impression is that few public
libraries lack at least one staff member who is interested in classical
music and all professional members of the staff should be able to
answer simple and direct queries.

Recruitment, standards and qualifications

The post of Music Librarian should automatically be on a pro-
fessional grade, and choice may have to be made between a person
with library qualifications but without a degree or diploma in music
or one with a music qualification but no library experience; only in
the very well paid is it reasonable to expect both. My personal pre-
ference is strongly in favour of the appointment of a Chartered Lib-
rarian whose musical knowledge should grow with experience. The
musician without library qualification is much less likely to be satis-
factory as a general rule unless he or she has already had public
library experience. Without such experience the librarian may be
slow in learning the normal routine, be of limited value if required
to assist in another department in case of emergency and, most im-
portant of all, may prove to have no aptitude for music librarianship.
On the other hand, the Chartered Librarian ought to know, by the
time this qualification is achieved, whether work in a music library
is likely to make a strong appeal; the music librarian without library
qualification is unlikely to be able to move to another department of
the system.

The foregoing paragraph must not be taken as an attempt to
decry the assistant who possesses a music diploma such as the
Licentiateship of the Royal Academy of Music but this and other
similar qualifications are gained as either teacher or performer
within a very limited field. It does not prove a good knowledge of
music outside that specialty or that the possessor has the ability to
become a good music librarian. Dr. Kinkeldey 18 may be quoted on
this point: "In the first place, and above all else, a music librarian
should be a good librarian. I mean by that, that he or she should

Music Library Administration

be a person adapted by nature and temperament to general library
work. So far as systematic training goes, he or she would have
received a large part of the knowledge which we expect of anyone
who is connected with a library. A music librarian who is not
thoroughly acquainted with the organization and operation of a
general library as we know it today, who is not reasonably familiar
with the methods of book selection, ordering, classifying, cataloguing
and circulating as practised today, who feels that his work is a do-
main in itself, and who is disinclined to make his work fit smoothly
into the larger mechanism, is more likely to do more harm than all
the good a great special knowledge will bring. I do not believe that
it is possible to exaggerate the importance of this point." It would
be less than fair not to state that there are other illustrious music
librarians who feel that subject knowledge should come first and the
technique of Ubrarianship should be assimilated by experience. Such
persons would often go further and deny that the reverse is true, for
they consider that the necessary knowledge of music implicit in a
good music librarian is most difficult to acquire.

The post of Chief of the Music Division or Department is one of
acknowledged responsibility and status in the United States, particu-
larly in the large library systems. The holder of the post will always
be a graduate, though music may not necessarily have been either a
major or minor subject in the degree studies. Irrespective of country,
the post in any library calls for a fair knowledge of music history, an
ability to read music and a willingness to increase musical knowledge
both in width and depth throughout one's working life. In addition,
both Doctors Savage in Britain and Kinkeldey in the U.S.A. stress
the need to have a good working knowledge of French, German and
Italian. The poor linguist can often manage to translate title pages
and publishers' catalogues with a limited vocabulary acquired by
experience plus the aid of a dictionary but this cannot be regarded
as really adequate for the good music librarian. An ability to read
and transliterate the Russian alphabet to a degree sufficient to
catalogue a title-page correctly is an added qualification.

Dr. Kinkeldey is firm on this ability to read foreign languages,
for he has said: 13 "Although we say that music is a universal lan-
guage, the foreign vernacular with which it is often associated is a
great stumbling-block to the linguistically deficient musician. ... In
fact, the librarian who wishes to rely for his knowledge on journals,
histories, encyclopaedias and dictionaries in English only cannot go

D 37

Music Librarianship

very far." On performing ability he added: "It does not seem to me
to be necessary that a music librarian should be a good performer
or composer. To be sure, one who sings well and plays an instrument
well and one who is able to create an actual musical composition, is
more likely than another to understand the peculiar nature of the
material in his charge as a librarian. But he may be a wholly adequate
librarian without these accomplishments. On the other hand, a
reasonable acquaintance with musical theory in the widest acceptance
of the word; a knowledge of its principles and technical terms is a
fair requirement. A music librarian who did not recognize a fugue
when he heard it, or saw it on paper, or who did not know the
meaning of the term double counterpoint, would be as useful as a
literary librarian who did not know the difference between an epic
and a sonnet. . . ."

Status and salaries

The preceding section has indicated that the music librarian
should possess a library qualification, a music qualification or, best
of all, qualification in both fields. In addition he should have a
working knowledge of two or more foreign languages and a good
general musical background. "Such people are not to be found in
the hedgerows; they must be sought after and retained by satis-
factory salaries and proper opportunities." Thus Mr. McColvin
wrote in 1937, 14 but the present reality can only be regarded as
depressing.

The best-paid music librarians in British public libraries are all
graded below certain other specialists though it may be claimed that
the technical demands made upon them are equally high. Almost
invariably the post is on the lowest professional scale; this is accept-
able in a small or medium-sized library but can hardly be regarded
as encouraging in a city with a population of nearly 300,000. It is
surprising to find that British music librarians are well qualified and
enthusiastic as a whole; one feels that it is more than our profession
has deserved.

Taking the financial reward as a yardstick (and while not ideal,
it has many merits) it can be seen that music librarians in Britain
have a low status indeed. Prospects of promotion within the field are
extremely slight since nearly all the posts are paid on the professional
minimum. The great majority of the posts have been created since
1945 but a large number of openings with very little chance of a

Music Library Administration

better-paid post in a large library is of little value to the assistant
with ambition.

The American scene looks very much brighter to the British
librarian, though much more dismal at first hand. There are enough
music librarians for them to have their own Association which may
be regarded as good for status and common interest and enthusiasm.
Large cities pay the chief of the Music Department an annual salary
of 5,000 dollars or considerably more and this represents a far
greater reward than is at present possible in Britain, even allowing
for the differences in living standards. The Music Library Association
maintains a personnel file for employment opportunities ; an honorary
officer apparently acts as a link between music librarians who wish
to move and libraries that have vacancies. A number of music lib-
rarians are well known in the musical life of the U.S.A., appear in
radio and television programmes, write books and articles and
generally keep the profession in the public mind.

Otto Luening, in general agreement with other writers, suggests
the following criteria for qualification and knowledge ; 6 "The ideal
music librarian has had both library and musical training, is com-
munity minded, and is able to work effectively with community music
leaders, musicians, and music-lovers. A person with all these quali-
fications is hard to find. It is of primary importance, however, that
the music librarian be community-minded and have the ability and
knowledge to meet and discuss music with professionals and laymen
alike. Such a person need not have had both types of specialized
training to be a music librarian, although one or the other is neces-
sary. In a few towns which have had an active musical life for some
time, an active adult education programme, and well-conducted
school and college music courses, the library music department is
often widely used in spite of inadequate leadership." But, Luening
continues: "Because the salaries paid music librarians are so low,
many qualified persons do not enter this field, or if they do, often
leave it before they are fully trained. Thus, the ideal music librarian,
as described above, is difficult to find, and once found, to hold. And
those who do work successfully in these positions must either have
some private income or be so idealistic about public service that they
are willing to make considerable financial sacrifice to participate in it."

In-service training

In public libraries that possess a separate music department,

Music Librarianship

junior assistants should automatically work in it for a short period
under the supervision of the music librarian, on the assumption that
training will include duty in each of the system's specialist depart-
ments. Such training must not be regarded as obviating the need for
regular assistants to take charge when the music librarian is off duty
or absent. It has already been stated that a staff of three is the
minimum for a library to be open the normal hours (between fifty
and sixty per week) but the staff may be limited to two plus part-time
assistance from other departments a method that has both advan-
tages and disadvantages.

Assistants allotted to permanent duty in the department should
naturally be those who have shown interest and aptitude during their
training period and not those who cannot be found suitable posts in
other departments. These apprentice assistants will make mistakes
that are obvious to the knowledgeable enquirer, but the keen and
interested junior will learn rapidly.

Training facilities outside the library

There are no real training facilities for music librarians in Britain.
The full-time library schools have insufficient demand to run special
courses and the potential vacancies for music librarians are so few
that tutors cannot be expected to lay special stress on the biblio-
graphical tools of music. At present, the best solution would seem
to be for the interested assistant to spend some time in one of those
libraries that have a separate music library and a qualified music
librarian in charge, such as Edinburgh, Liverpool, Manchester or
Westminster. The expense of sending the assistant to one of these
libraries for three or four weeks would be well repaid in an improved
service in the home library within a very short period.

At present there is a further step available for the assistant who
has passed the Registration examination of the Library Association.
Part 3 of the current syllabus for the Final examination is entitled
"Subject approach to the literature of the Arts and Sciences", and a
section, 3(f), is devoted to "The literature and librarianship of
music". This examination should not be beyond the capabilities of
the assistant in the public library who has had the opportunity and
interest to devote time and study to the music section. The assistant
living or working within easy reach of London is fortunate in that a
course on music librarianship is held about every other year, under
the auspices of the North-Western Polytechnic. For assistants out-

Music Library Administration

side the Home Counties there is a correspondence course for the
examination, devised and edited by Mr. J. H. Davies, the Music
Librarian of the British Broadcasting Corporation.

The L.A's Final examination, part 3(f), is probably not really
adequate for the music librarian but is sufficient for the assistant
who is in charge of the music section in a library with no established
post for music or gramophone librarian. It is possible, though diffi-
cult, for the professionally qualified librarian to study for a music
qualification in his spare time. None of the accepted music diplomas
or degrees really covers the best range of subjects for a music lib-
rarian. In discussion at the first Week-end Conference of the United
Kingdom Branch of the International Association of Music Lib-
raries it was suggested that the most suitable degree syllabus for the
music librarian is that of Bachelor of Arts at Durham; unfortunately,
this is an internal degree only though the same university accepts
external candidates both for its Bachelor and Doctor of Music; these
are much less useful to the music librarian since they are intended
for performers and teachers. A possible answer to this problem
would be the creation of a Diploma in Music Librarianship, to be
the joint responsibility of the Library Association and the U.K.
Branch of the International Association of Music Libraries. A
qualification of real standing, designed for this particular field, might
well help to raise the status of music librarianship and could provide
a most useful and helpful course for the qualified librarian who
wished to specialize in this aspect of our work.

Despite the much higher number of librarians and assistants in
the U.S.A. and the incomparably greater number of openings in
music libraries,, the problem of training has not been satisfactorily
solved in that country. An article by Anna Harriet Heyer, then of
the North Texas State College, entitled Where to train in music
librarianship 15 illustrates the point. Five years later, in 1956, the
position was not appreciably better. Mr. Edward N. Waters, Assis-
tant Chief of the Music Division of the Library of Congress, in
response to an enquiry on this point wrote in his letter: "For a
number of years there has been a keen interest in the United States
in advancing the cause of special library education. Unfortunately,
not very much has been done about it, the real reason (in my opinion)
being a conflict of demands which so far has defied solution. This
conflict arises from a feeling that the prospective librarian must
acquire library training first and the opposite view that he must

Music Librarianship

acquire his subject training first I incline very strongly to the second
point of view."

"The American Library Association accredits the Library schools
in America, but these schools in turn cannot institute special curri-
cula unless the number of students makes them economically
feasible. ..." This is a problem related to that facing our own library
schools.

Music library organizations

In Britain there is but one organization that caters in any way
for the music librarian and that is the United Kingdom Branch of
the International Association of Music Libraries, which includes
both individual and corporate members. Its membership is spread
over the whole field of music librarianship, with representatives of
national, university and public libraries, and also from music schools
and the music trade. Public librarians are in a distinct minority so
that the assistant from this type of library will get a useful corrective
to any parochial viewpoint. Because the numbers are small, rather
less than 150 at the time of writing, most of the meetings have been
held in London.

The I. A.M.L. produces the periodical Fontes artis musicae twice
yearly, and the U.K. Branch is one of the contributors to this journal,
which receives comment in Chapter II. The Branch was also partly
responsible for the inauguration of The British Catalogue of Music.

The Music Library Association makes an interesting contrast.
It was founded in 1931 "To promote the development of music
libraries; to encourage studies in the organization and administra-
tion of music in libraries", and has a membership of over eight
hundred. Nearly all American music librarians and many profes-
sional assistants in music libraries belong to the Association which
also includes a number of non-librarians people in the music pub-
lishing and recording industries, for instance, who provide a valuable
leaven. The M.L.A. is divided into "Chapters" for geographical
convenience; the Los Angeles, San Francisco, New York and
Washington are the most active simply because the concentration of
members is heaviest in those areas. Here, on a wider scale, is a
repetition of one of the difficulties facing the U.K. Branch of the
I.A.M.L. There are usually two national meetings annually; one
is traditionally held in association with the annual conference
of the M.L.A., while the other is usually independent though it

Music Library Administration

may coincide with a national meeting of a kindred organization.

The M.L.A. has over a dozen standing Committees, each dealing
with a specific topic such as Copyright, Library Training and a
Survey of Library Resources. A committee of the M.L.A. prepared
a draft code for music cataloguing much of which was subsequently
incorporated into the Library of Congress rule 9 and the A.L.A.
Cataloguing Code rule 12. The professional journal of the Associa-
tion, ambiguously entitled Notes, is outstanding for its comprehen-
sive reviews of new books and scores; this periodical is given more
detailed mention in Chapter II. The very strength of the M.L.A.
perhaps accounts for the small number of American members of the
I.A.M.L.

It seems improbable that there will ever be a sufficient number of
music librarians in Britain to make possible a British version of the
M.L.A., and the U.K. Branch of the International Association of
Music Libraries is therefore playing a double role, and playing it
well,

OTHER ADMINISTRATIVE PROBLEMS

Music tickets, charging methods

It used to be common for public libraries to issue, upon request,
special tickets for use with music books or scores only. This practice
is now almost obsolete owing to the continued trend towards fewer
restrictions on book borrowing. Libraries that do issue special tickets
for music have to ensure that their use is limited for that specific
purpose and the most effective method would seem to be the adop-
tion of a different coloured manilla or cloth from that for other types
of ticket. Where the issue of students', subject or other supplementary
tickets is adequate (to bring the total available to a reader up to five
or six, with a higher figure on request if a satisfactory case is made)
the need for separate music tickets is non-existent. With photo-
charging, Dickman or other methods which allow unlimited book
borrowing, the problem does not arise.

It is unusual, both in Britain and the U.S.A., for ordinary library
tickets to be available for the loan of gramophone records ; the circu-
lation of discs is normally restricted to special tickets. This is
considered in Chapter V.

Generally speaking, charging methods for books and scores will
be exactly similar to those for other types of material. It is some-
times difficult with unbound music to find a suitable place for the

Music Librarianship

date label and pocket, where these are used, but the problem should
not be insoluble. Volumes that include separate parts in a rear
pocket, etc., will take longer to issue and discharge because of the
need to check the presence of loose parts at each transaction.

Issue statistics

A separate music library will naturally keep its own statistics,
probably in some detail. Where the music section is part of the
general home-reading department there is still good reason to count
music issues separately. It is simple enough to provide an extra
column for class 780 (or its equivalent in other schemes of classifica-
tion). If the figures are sufficiently large, then a case for a subject
department of some type is strengthened; if they are small in relation
to other use, then development and expansion of the section may
well be indicated. There are examples of good collections receiving
much less use by the local public than is deserved by the quality and
range of the music provided, but this is not frequent. If the number
of books and scores is quoted separately, a comparison with the
stocks and amount of borrowing in other libraries is easily made.
There is a possible discrepancy here, for some libraries count the
loan of 20 copies of an anthem to a choir as "1 issue", while others
inflate their figures by counting such a loan as "20 issues" ; arguments
can be found in favour of either method.

Stationery

In general the music department will use standard stationery; a
specially printed or duplicated request form may be useful, however,
to ensure that readers' requests are answered correctly and satis-
factorily. When a book is requested and the reader knows the correct
author and title, few problems are likely to arise; but if an assistant
notes that a patron wants Beethoven's seventh symphony, without
further details, several points arise needing solution. Does the reader
want a miniature score, an arrangement for piano duet or for organ?
If the request is for Verdi's Nabucco is it a vocal score that is re-
quired? Will the enquirer be satisfied with a score showing the
original words only; does he want an English translation or does he
require both the original Italian and a translation? Such problems
can be frustrating if not correctly answered, and this type of query
is very common. A special form would help to eliminate most of
these possible alternatives. There are arguments both for and against

Music Library Administration

such a form being completed by the enquirer or filled In by the
member of the staff answering the enquiry. The type of form sug-
gested is that devised and used in Eccles P.L. (and since copied and
used in a number of other libraries). The reverse of the form, for
staff use only, is used as a record of the steps taken in order to
prevent duplication of effort in answering the query. Several of the
questions on this particular all-purpose form 16 can serve a useful
purpose with music requests:

Level Introductory/Elementary/Intermediate/Advanced/

Research
Language. German/French/Spanish/Italian/ . .

while the questions relating to music only are:

Music score. Vocal/Miniature/Instrumental/Full/Parts/
Arranged for

Rules and regulations

There would seem to be no particular need for different rules
and regulations for the music section, except perhaps for the loan
period. For individual users the standard, normally fourteen days, is
probably sufficient and renewal is no more or less difficult than for
any other book borrowed from the library. For societies and choirs
the position is different since the sets of scores and parts are generally
borrowed for the work to be learned and/or performed, and so may
be required for a matter of weeks or possibly months. Most libraries
that supply copies in bulk make due allowance for this. West Riding
County, for instance, allows a maximum loan period of eight months
without renewal and after that time the copies may usually be re-
newed for a further lengthy period. There is also the proviso that
works on long loan may be recalled before the expiry of the period if
necessity dictates. If fines are charged for bulk loans, special rates
are necessary as the scale would be prohibitive if levied on each
individual copy. Separate rules and regulations will be required for a
gramophone record library.

The very large music library will normally accept reservations for
bulk loan of copies some months ahead of the actual date required.
This will help both the society and the music librarian. For a prac-
tical method of making the necessary arrangements and for the pro-
vision of a scheme that allows for some copies only of a work to be

Music Librarianship

loaned, readers are referred to an article by Mr. Leonard W. Duck in
The Library Association Record for April, 1950 (pp. 118-20) entitled
"The multiple issue system in the Henry Watson Music Library".
Every library, whatever its size, will normally accept reservations for
individual items in its stock.

Publicity

There is, as a long-term policy, only one really successful type of
publicity and that is an adequate, effective and well-administered
music library. Satisfied users are our best and cheapest advertise-
ment. It is useless, and indeed detrimental, to attract music-lovers
to the library by any means of publicity unless we are sure that we
have a fair chance of satisfying their legitimate needs. Outside publi-
city should be shunned until the section has not only a good basic
stock but also a few less-popular works that are likely to interest the
music-lover whose personal library includes the basic works in the
fields in which he is interested or for whom the standard repertory
has become a trifle hackneyed. The pianist who is well acquainted
with the works of the major classical composers for the instrument
may well be attracted by the works of a minor master or a modern
writer with whose compositions he has no first-hand acquaintance.

Printed material provided by public libraries for the music section
may be divided into three categories. First come the catalogues of the
complete music stock; these may be printed in a single volume or in
a series of smaller handbooks, each covering a particular section of
the music stock. Secondly, there are the leaflets, pamphlets and hand-
books devoted to parts of the stock works which may well resemble
the handbooks mentioned in the previous sentence. Thirdly, lib-
raries may provide lists of recent accessions or special publicity
material to celebrate an occasion such as the centenary of a com-
poser's birth, etc. Both librarians and students would be well advised
to see as many different types of publication as possible, to compare
the variety of information given, the general appearance and layout,
and to judge for themselves the probable impact upon the music-
lovers for whom each list is intended. If at all possible some similar
American lists should also be examined; the standard of paper and
of printing is frequently very much superior to that employed in
Britain.

The largest printed catalogue of music issued by a public library
in Britain is probably that of Liverpool; it is an invaluable check list

Music Library Administration

and reference aid, if a little pedestrian in appearance. Newcastle-on-
Tyne has also issued a catalogue of most of its music collection, but
in the form of a series of slim volumes ; these are excellent for content,
layout and typography and are most strongly recommended as a
model. Entries include the name of the publisher, often a vital piece
of information to an enquirer. Because the average user of a county
library service can see but a small fraction of the entire stock, printed
or duplicated catalogues may be regarded as almost a necessity for
counties. The standard is usually lower than would seem desirable,
though there are some good sectional lists such as the printed ones of
Nottinghamshire and the duplicated ones of West Riding which
include a special catalogue of Brass Band Music (arranged under
composer and with a full title index).

Sectional lists published for stronger sections of the music stock
or for types of music in most general demand are fairly common.
They need not be too elaborate and if sold for a small sum may
well recover much of the original cost. Good printed lists of minia-
ture scores, for example, have been issued by Baling and Hove. Any
library possessing 250 or more miniature scores would be justified in
publishing such a hand list; if the collection is divided between
central and branch libraries a note on allocation would be useful and,
as stressed earlier, the name of the publisher should always be
quoted. The information concerning any individual item should
always be sufficient for it to be identified beyond doubt. A far smaller
collection than 250 scores would justify the publication of a list of
organ music, for instance. To ensure its reception by people for
whom it is intended the information should be provided together
with a printed or duplicated letter and sent to the organist of every
local church. The list would include the library's holdings of organ
scores, books on the instrument and possibly biographies and auto-
biographies likely to be of particular interest. Lives of Bach and
Cesar Franck would be examples; H. C. Coiles's life of Sir Walford
Davies a less obvious choice. The library's collection may be too
small to interest the occasional full-time professional musician though
he may still consider it of sufficient merit to recommend his pupils to
use it. Similar lists could be sent to local teachers of the piano and
violin, to members of local choral societies, orchestras and gramo-
phone societies.

Lists of recent additions are required by the larger library whose
music accessions warrant this publicity. The quarterly bulletin pub-

Music Librarianship

listed by Manchester Public Libraries is possibly the best of this type
of publication. As for anniversaries, centenaries and special occa-
sions, they are frequent and can provide the necessary excuse to draw
patrons' attention to the holdings of the library in different fields of
music. The bicentenary of Mozart's birth resulted in some dozens of
lists, with an outstanding example produced by Sheffield. Such an
event does not occur every year but the Promenade Concert season
of the British Broadcasting Corporation, a local music festival or
some other suitable event should not be difficult to find. Two pro-
visos only must be observed that the special lists are not produced
so frequently that they become ineffective in their task of drawing
attention to a part of the library's holdings, and that there is enough
relevant material in stock to make the list worth preparing. A small
but well-produced list should be within the capacity of the very
small library and it is probably worth the expense of building up a
section of the music stock in order to make the list one that will
attract music-lovers.

A simple and permanent display may be made of music due for
performance on the radio during the week ahead. Once users become
used to the idea the selection should receive regular use providing
that the scores displayed are checked daily and items broadcast
during the previous twenty-four hours removed and returned to the
ordinary shelves and any other available works added for the week
ahead. Such a scheme is operated in a number of libraries, including
Eastbourne, and appears to justify the time and trouble taken.

In addition to this semi-permanent display, occasional ones
would be made for particular local activities, concerts, anniversaries,
etc. A notice-board should also be shown in a music library display-
ing posters of forthcoming concerts that are taking place within
reasonable travelling range of the town (or of festivals that may be
visited during holiday periods), prospectuses of gramophone societies
and similar local groups, perhaps an "amateur exchange" to put
instrumentalists and vocalists in touch with one another with a view
to combining forces and, of course, notices of any musical functions
that are being organized by the library itself. Accessions lists, already
mentioned, may prove a useful reminder to users of the scope of the
collection as well as providing information to individuals of addi-
tions to their own particular sphere of interest. The small and
medium-sized library would probably find one or two lists a year
sufficient; there is no point in producing them more frequently unless

Music Library Administration

there is a large number of accessions. If the library produces a general
bulletin of recent additions, then music should naturally be included.
Where there is a separate music library it should receive individual
mention in the annual report.

Otto Luening's ideal of what a music library should do is as
follows : 6 "The department maintains a bulletin board for programme
announcements, musical news, events, contests, scholarships, and so
forth, and makes book lists in connection with concerts, new musical
motion pictures, and radio broadcasts. It also prepares reading and
listening lists for groups of clubs and for general distribution to all
library agencies in the region. The library sends out music on inter-
library loan whenever this is feasible.*' British libraries, at least,
participate in the last of these suggestions even if too many do not
follow the other practices mentioned.

A library with space and sufficient local interest may consider
the idea of an exhibition of music and related material. It is not
usually difficult to borrow suitable items for display, and ideas may
be obtained from an illustrated article by an American librarian,
A. Beverly Barksdale 17 , which provides much useful information to
anyone staging such an exhibition, under the headings Planning,
Procuring, Presenting and Promoting.

Extension work

There are a number of British libraries which hold gramophone
recitals in the building, thus providing excellent publicity for both
gramophone record library and the music section. The recitals may
be given by a member of the library staff, by outside lecturers or by
a combination of both. Busy city libraries have found lunch-hour
concerts popular (Holborn provides an example) but evening meet-
ings are the general rule. A well-printed or duplicated brochure for
the series of lectures (Hornsey may be cited as an outstanding
example here) and notices announcing each individual recital should
provide an audience of adequate size and interest. Many British
gramophone societies use the local public library as their head-
quarters; frequently the librarian is the secretary of the society,
which may provide its own record reproducer stored at the library.
Ruislip offers an example of this, but the opposite occurs at Bolton
where the library authority provides both accommodation and an
excellent gramophone record reproducer but otherwise has no direct
connection with the local gramophone society.

Music Librarianship

Library activities need not be limited to gramophone record
recitals. It may be possible to arrange listening or discussion groups
in which a radio programme or a gramophone record is heard and
is then the subject of group comment. On a more ambitious scale the
library can provide "live" concerts, in the building or at some other
more suitable venue such as the local Town Hall. Bolton, for
instance, engages first-class artists who attract large audiences
despite the town's proximity to Manchester and all the music-
making that goes on in that city. Croydon gives a regular series of
mid-week lunch-hour concerts, again with performers of high
quality. In this case the Chief Librarian guarantees a commercial
concert agency a sum against losses on the concerts, and this sum
provides the maximum amount that the corporation will be called
upon to pay at the end of a season. Plymouth's new Central Library
possesses a delightful auditorium with a concert grand piano and
first-class gramophone reproducing equipment; here again, the lib-
rary is fulfilling a real need with both live and recorded concerts.
Manchester's Henry Watson Library has given some "At homes"
with singing and instrumental music provided for the enjoyment of
library users and some excellent publicity in the Manchester Guardian
the following morning. Libraries may well be able to give young local
musicians a chance to display their talents in public. Concerts of any
kind are usually free unless a charge for admission is made under the
provisions of a local Act.

American librarians appear to have a far greater awareness of the
need for extension work on a wide scale. Two American music lib-
rarians, George R. Henderson and Dorothy A. Linder, who were
Chief and Assistant Chief of the Music Division in the Washington,
D.C, Public Library at the time they wrote, gave some idea of what
extension work can mean when they suggested that: 18 "It means
emerging from the library building and taking the music division
into as many activities as possible." Their proposals include record
recitals and community singing (to be led by the music librarian) to
be given before open-air film shows; the possibility of projecting a
copy of the score on to a screen by means of a film-strip during the
performance of a recorded work (as is apparently done in Phila-
delphia) 19 ; the need for the music librarian to be prepared to act as a
public speaker and to give book reviews to interested groups. In
addition the authors suggest library-sponsored radio broadcasts and
feel that the librarian should serve on local music committees. No

To face page 50

Part of a Mozart Exhibition, Cincinnati and Hamilton County Public Library, 1956

Music Library Administration

indication was given of how many libraries actually undertake any
of these suggested activities.

Denver's music librarian writes programme notes for the local
symphony orchestra; British amateur orchestras might be glad of a
similar service. The concert notes for the Halle Orchestra are often
written by Leonard Duck, Librarian of Manchester's Henry Watson
Library to supplement those of his predecessor, the late John F.
Russell. Brief notes of a similar character are occasionally contri-
buted to The Radio Times by J. H. Davies, the Corporation's Music
Librarian. Where there are music festivals held locally, opportunities
for the music librarian should certainly occur.

Finance

In Britain the discount on sheet music has apparently been pro-
gressively reduced. James Duff Brown wrote in 1893: 20 "When
ordering music it will often be found of some advantage to approach
the publishers directly, especially if the selection made from the list
of one firm runs into a respectable amount. Discounts ranging from
25 to 50 per cent will generally be allowed on a fair order, and all
the bother of employing an intermediary will be saved." Between the
two World Wars it had become the custom to order from a music
dealer and public libraries were allowed the same discount as that
granted to professional musicians and music teachers, i.e. 2d. in the
shilling. This "professional" discount has now disappeared and
British public library suppliers have agreed to standardize the dis-
count offered to public libraries at 10 per cent (with some exceptions
for foreign importations), the same reduction given by booksellers.
The only major difference is that it is not necessary to have music
suppliers included on the licence issued to public libraries by the
Publishers' Association for the discount to be operative. In the
U.S.A. there is no standard rate of discount, and a library gets the
best terms it can which may be very good indeed.

A public library will have its stock and its records (catalogues,
accession file, etc.) insured and the figure should be checked every
two or three years to ensure that the cover is adequate. It must be
borne in mind that music is expensive, binding costs represent a
much higher figure than in other departments and that the provision
of catalogue entries is often much more difficult and time-consuming
(and therefore more expensive) than average. For these reasons the
department should have a rather higher sum allotted for its annual

Music Librarianship

needs for books and binding than might appear equitable at first
sight.

Conclusion

This chapter has attempted to show the need for a well-developed
music section, even in the very small library. It has also given some
suggested answers to certain problems that are likely to arise
though there may well be other questions that have not been con-
sidered in this chapter. Finally, one point must be stressed again.
Money spent on good classical music is never wasted, even though
it may be a very slow process to persuade the right sort of potential
user to come and take full advantage of the services offered by his
public library.

FOR FURTHER READING

Students are advised to check the files of 'Library Science Abstracts
for resumes of articles dealing with different aspects of music library
administration in a number of countries. For a brief outline of music
librarianship written for the non-specialist, the British reader would
do well to read "Musical scores and recordings" by the distinguished
American music librarian, Vincent H. Duckies of the University of
California, in Library Trends for October, 1955 (pp. 164-73). A
number of quotations have been taken from the Library Journal of
1st November 1951, a number devoted to music and the theatre.
This, too, is most informative and interesting.

McCoLViN, L. R,, and REEVES, Harold. Music libraries, v. 1 (Graf-
ton). 1937.

Though the first chapter only is specifically relevant here, no
interested reader will fail to read the other chapters that precede the
lists of books. The whole work has done an immense amount of
good for music librarianship both in Britain and the U.S.A.

MOORE, Miss G. A library of music scores (Library Association

Record; February, 1949) pp. 45-8.

This article gives an interesting picture of the Music Department
in a large county library. It emphasizes the seasonal nature of demand
by choirs, orchestras and classes, and gives brief details of some of
the administrative methods used.

Music Library Administration

SAVAGE, E. A. Special Ubmrianship (Grafton). 1939.

This book reprints some papers and articles by Dr. Savage. The
student will find "Special librarianship in public libraries" (pp. 24-
35) and "One way to form a music library" (pp. 63-84) of both
value and interest. The approach is often unorthodox, it is certainly
challenging, and Dr. Savage could not be boring if he tried. For those
who have not access to this book, the articles may also be found in
The Library Association Record for November and December 1937,
and for October 1935 respectively.

REFERENCES

1. The Library Assistant. August-September, 1950, p. 111.

2. Charles Ammi CUTTER. Report for 1896 (Forbes Library, North-
ampton, Mass.).

S.TILLY, Dorothy. [You and your music;} maintenance costs. (New
York: Library Journal; November 1st, 1951), p. 1774.

4. MARTIN, Alice M. The Music Library physical considerations
(Chicago: University of Illinois Library School Occasional papers, no. 2,
September 1949) [mimeographed].

5. SAVAGE, E. A. Special libraries. (Grafton, 1939), p. 32.

6. LUENING, Otto. Music materials and the public library; an analysis
of the public library in the field of music.

7. SAVAGE, E. A. Op. cit. 9 p. 65.

8. SMITH, Greta. [You and your music;] Selection and purchase of
music. (New York: Library Journal; November 1st, 1951), p. 1775.

9. SAVAGE, E. A. Op. cit. 9 p. 71.

10. KJNKELDEY, Otto. Training for music librarianship; aims and oppor-
tunities (Chicago: A.L.A. Bulletin; August, 1937), p. 461.

11. BRYAN, Alice I. The public librarian (New York: Columbia U.P.,
1952), pp. 124-6.

12. LANDAU, Thomas, ed. Who's who in librarianship (Cambridge:
Bowes, 1953), pp. 257-60.

13. KlNKELDEY, OttO. Op. Clt.

14. MCCOLVIN, L. R., and REEVES, Harold. Music libraries, xv. 1
(Grafton, 1937), p. 47.

15. HEYER, Anna Harriet. Where to train in music librarianship (New
York: Library Journal; November 1st, 1951), pp. 1786-8.

16. BRYON, J. F. W. Subject enquiries (Librarian & Book World;
January, 1954), p. 2.

17. BARKSDALE, A. Beverly. On the planning and arranging of music
exhibitions (Washington, D.C.: Notes; September, 1953), pp. 565-9.

18. HENDERSON, George R., and LINDER, Dorothy A. Library music
echoes in the community (New York: Library Journal; November 1st,
1951), pp. 1741-7.

E 53

Music Librarianship

19. KONATSKY, Harry L., and COHN, Arthur. Now they see as well as
hear (New York: Library Journal; June 15th, 1949), pp. 965-8.

20. BROWN, James Duff. Guide to the formation of a music library
(Library Association, 1893), p. 3.

[Unless otherwise indicated, the place of publication is always London.]

Chapter 11
REFERENCE AND PERIODICALS

There are hundreds of reference books on music of varying age,
scope and quality. There are also dozens of periodicals dealing with
different aspects of music. A limited number of the major works in
English together with a selection of periodicals are described for the
aid they provide towards the selection of music and gramophone
records. Nearly all the reference books should be in the stock of the
medium-sized library which may also usefully provide a selection of
the periodicals.

The exclusion of works in foreign languages is deliberate since
these are normally found only in the largest libraries, while their
value must be limited for the great majority of the public. It is prob-
able that a French dictionary of music, for example, will contain the
best articles on French composers and will also include information
on any musicians whose international reputation is not sufficiently
high for entries to appear in British, American, German and other
music dictionaries but who are regarded by their compatriots as of
some standing. A selection of important music reference books in
French and German is to be found listed between pages 346 and 356
of the seventh edition of Guide to reference books, by Constance M.
Winchell (Chicago: American Library Association, 1951) and also
in Appendix I of Schirmefs guide to books on music and musicians . . .
which receives separate consideration in this chapter. Students
should consult both sources.

This chapter is, in fact, primarily for the student but the librarian
could find the section on bibliography, for example, of value; the
notes and comments on periodicals might also provide assistance
since these publications are included (as mentioned above) mainly
for their value as sources of reviews of books, scores and records.
Periodicals such as Organ., important in their chosen field but
omitting book reviews, are not discussed.

The first part of the chapter deals with reference works under the

Music Librarianship

following headings: (a) General dictionaries and cyclopaedias;
(b) Special dictionaries; (c) Bibliography; (d) History; (e) Opera;
(f) Vocal music; (g) Chamber music, and (h) Gramophone records.
The second part of the chapter considers the periodicals alphabetic-
ally.

(a) GENERAL DICTIONARIES AND CYCLOPAEDIAS

Though music dictionaries and encyclopaedias may vary con-
siderably in size the scope and arrangement is usually much the
same; the primary difference is in the amount of detail and the pro-
vision (or lack) of bibliographies. The usual contents include
biographies of the more important composers (though the Harvard
dictionary of music specifically excludes biographical entries) together
with full or condensed lists of their works, and possibly brief notes
on minor composers and other people (such as musical publishers
and impresarios) who have some importance in the history of music.
There are also definitions of musical terms, descriptions of instru-
ments both current and obsolete and perhaps some epitomes of opera
plots. All dictionaries of this type will show some degree of national
bias in the choice of subjects for entry and in the relative lengths of
entries. For this reason alone British librarians should try to include
in stock at least one non-English work to act as a balance or correc-
tive to the obvious choices of Grove, Scholes, etc. For small and
medium libraries the choice is likely to be an American work but
larger libraries might consider the inclusion of a foreign encyclo-
paedia such as Blume's Musik in Geschichte und Gegenwart which is
considered by many to be the most truly international in scope but
which obviously needs a working knowledge of German to be of
real value.

When possible, students are advised to compare entries for the
same composer or topic in different dictionaries. Not only will this
bring to notice differences in treatment, scope, method of entry, etc.,
but may also serve to underline differences of a more material nature.
Dates of birth and death of particular composers, for instance, are
not always identical in different dictionaries.

BLOM, Eric. Everyman's dictionary of music, 2nd edn. 1954. (Dent)

The first edition of this work was published in 1946 in what was
then the standard Everyman format; in the intervening period the
publishers Introduced a new format for this famous series by in-

Reference Books Periodicals

creasing the page size slightly. The second edition of this dictionary
has this advantage which results In a volume that Is easier to handle
than Its predecessor and whose pages have a less cramped
appearance. The amazing amount of Information Included Is the
more remarkable when one considers the limited size of the single
volume and there are some features that are not easily discovered la
much larger works though these items have normally been incor-
porated Into the latest edition of Grove whose editor Is the compiler
of this smaller dictionary. Entries for composers Include forenames,
full date and place of birth and death, brief biographical details and
a condensed list of the most important works. Major composers are
given adequate treatment : the entry for Mozart, for example, cover-
ing well over a page. Some compression is achieved by the frequent
use of abbreviations, as might be exemplified by the following extract
from the entry for Joseph Lanner: "Anxious to cond. an orch. he
began by getting together a stg. 4tet, in which J. Strauss, sen., played
va." In addition to the normal entries expected in a work of this
type there is a generous sprinkling of title entries. There is also a list
of national anthems showing (when known) the authors of the words
and composers of the music; entries under literary figures showing
which works have been used by composers (the entry for Shake-
speare requires more than two pages); an entry for works that have
been inspired by paintings, etc., and a useful list of "Collective
works".

Details for performers are usually very limited and entries for
those still living are restricted to executants with a national or inter-
national reputation. Students should note that the alphabetical
arrangement is on the "nothing-before-something" principle and
attention is drawn to this in the work's preface. This reference book
is particularly useful in the small library which has a quick-reference
selection only and not a separate reference department. The work
contains no illustrations nor quotations in music type.

BLOM, Eric, editor. Grove's dictionary of music and musicians, 5th

edn. 1954. 9 vols. (Macmillan)

This is undoubtedly the best-known British musical dictionary. Sir
George Grove was the first Director of the Royal College of Music
and he contributed a number of articles and the preface to the first
edition which appeared in 1879 in four volumes. The second edition
edited by J. A. Fuller-Maitland, was published between 1904 and

Music Librarianship

1910. The third and fourth editions were published in 1927-8 and
1940 ; in each case the editor was H. C. Colles. The fourth edition was
a corrected reprint of the third, with the addition of a fifth (supple-
mentary) volume. The current edition is of much greater length than
its predecessors, as its number of volumes indicates, and is a radically
revised work in which the type has been completely reset. Articles,
generally, are longer than in previous editions and the editor has
included many subjects that are new to the dictionary.

Entries are arranged in a single alphabetical sequence and there
is no separate index though a limited number of cross-references are
provided in the text. A list of contributors is given at the beginning
of the first volume; against each name stand the initials that are used
to identify the writer at the end of each article. There is also an index
of initials to allow users to identify quickly the particular writer of
any article without the need to work through the list of contributors.

"Grove aims at being encyclopaedic and universal. Whatever a
user who possesses a general musical knowledge, or hopes to acquire
one, may seek in these pages he may reasonably expect to find, if not
under its own heading, then with the aid of a cross-reference that
will guide him to what he wants." That is a high claim but it seems
to be a justified one. The dictionary contains information upon
composers, performers (many of whom are still living and active),
musical instruments, form, etc. Light music and jazz receive very
limited treatment but there are entries for composers such as George
Gershwin and Eric Coates. Music is not confined to that of the
western world for there are long contributions on "Indian music",
"Indonesian music" and the like. Articles vary in length from a few
lines to over thirty of the work's double-columned pages. For major
composers the entries are divided into two parts: the first is limited
almost entirely to biographical detail, while the second is devoted to
compositions. Lengthy articles have captions at the top of each page
to assist quick reference; for instance, page 300 of the first volume
has as its heading "BACH (J. S.): Conditions at Leipzig", and on
page 301 "BACH (J. S.): Disputes at Leipzig". The entries for the
great majority of composers are rounded off by the inclusion of a
list of works arranged in classified order, and a bibliography.
Previous editions usually arranged compositions by opus number
but the new method is probably better for most enquiries.

In addition to those entries that one would normally expect to
find in a dictionary of this type mention should be made of references

Reference Books and Periodicals

from librettists and poets. Shakespeare receives nearly five columns
of small type and the entry indicates the many songs written to Ms
lyrics, incidental music to his plays, operas based on Ms plays, etc.
There are also unorthodox topics in Grove such as "Postage stamps"
and "Gestalt psychology" (which occupies well over seven pages)
and similar subjects that are not normally included in comparable
works.

Despite the greatly increased size of the current edition some
pruning has been done : Mendelssohn, for example, being treated at
less than half the length deemed necessary in previous editions, while
the searcher for information on broadcasting is referred to the article
in the supplementary volume of the fourth edition. A regretted ex-
cision Is that of the incipits of Haydn's symphonies. Earlier editions,
in fact, continue to have appreciable value for the information they
contain which has been subsequently deleted. This is particularly the
case with minor composers and performers whose diminishing im-
portance has denied them entry in later editions. Only very rarely, as
in the example quoted earlier in this paragraph, is there a reference
from the current edition to an article in a previous edition; this may
be regarded as a weakness. Bibliographies are of much greater length
than in previous editions and include periodical references as well as
books. By means of an appendix in the last volume these biblio-
graphical references are extended to include articles published in
1954, which is some two years later than those included in the main
body of the dictionary.

The editor's preface is divided into the following headings: The
general plan; the contents; language; the alphabet [i.e. alphabetiza-
tion]; revisions; display [i.e. the method of setting out individual
entries]; references; transliterations; plates; acknowledgements.
"Language" comments upon the fact that the dictionary is in the
English language and has a natural bias towards English composers.
It also attacks some modern American musical terms that derive
from continental ones, particularly German; it may well be this
section that has caused at least one American critic to complain of
the "chauvinism" of this edition. This preface is followed by a
second a reprint of that of Sir George Grove to the first edition
and this is the only remaining item by the original editor. At the
other end of the set, in the ninth volume, are two appendices.
Appendix II, already mentioned, is a bibliographical one, while
Appendix I provides a chronology of composers. Every composer is

Music Librarianship

entered both under the year of his birth and death (when either or
both can be found) and also for each tenth birthday from the age of
20 onwards. Thus, the chronology for 1705 begins: "Aldrovandini,
40; Bach (J. S.), 20; Fischer (J. C), c.40" and later entries for that
same year show, for example, that Lohner died on the 2nd April at
the age of 59. Births are indicated by an asterisk and deaths by a
dagger. At the conclusion of these entries for each year are similar
entries, in smaller type, for contemporaries in other fields of art such
as painting, architecture and literature. It is possible that this appendix
derives from a similar one in each volume of Dent's Master Musicians
series since Eric Blom is also the editor of that series.

There are some music illustrations in the text (though one could
wish for many more) and a few plates, some coloured and the
remainder in monochrome. These have been reduced in number
from previous editions mainly by the excision of portraits of musi-
cians, though this is partly offset by an increase in the number of
illustrations relating to musical instruments both current and
obsolete.

Neither title entries nor opera synopses are included. The latter
would have increased the bulk of the work appreciably without
materially adding to its value since there are numerous specialist
works available. Finally mention should be made of a number of
corrections of errors published in The Musical Times for November
and December 1955, and students are strongly advised to read the
important articles on "Libraries and collections" and "Periodicals,
musical".

SCHOLES, Percy. The Oxford companion to music, 9th edn. 1955.
(O.U.P.)

Except for the opera synopses the whole of this work was written
by the author; this is an amazing feat in these days of specializa-
tion. The first edition was published in 1938 and the Companion can
claim, on the number of copies sold, to be the most popular work of
musical reference ever. Though intended for the amateur music-lover
rather than the professional musician, the latter will still find facts of
interest in topics that are not to be found in similar works, e.g.
Organ of Corti, Scampata, etc.

Long articles are divided into numbered and titled paragraphs.
This assists discovery of a particular aspect of a subject and also
allows the author to provide specific cross-references (e.g. LAROON,

Reference Books and Periodicals

see Street music., 2). In some cases, such as Opera, the minor headings
are enumerated at the beginning of the article. Entries under com-
posers give forenames, year of birth and of death (but not the day
and the month) and a statement of his age at the time of Ms death, a
useful device to save the reader mental arithmetic. These entries give
a brief biographical outline but no list of works and, generally speak-
ing, offer appreciably less information than can be found in the
Everyman volume discussed a few pages back. There are several
hundred illustrations arranged six or more to each plate together
with a number of portraits of famous musicians drawn by Batt
(Oswald C. Barrett). These are particularly noteworthy for the
authentic detail of the backgrounds, the results of much painstaking
enquiry and research by the artist.

The opera synopses are arranged in the general sequence under
their English titles; works included are those found in the average
British repertory including the "Savoy" operas of Gilbert and
Sullivan. Scholes' style is extremely readable and beguiling, spiced
with an attractive humour; this work, more than any other dictionary
of music, can be read for pleasure as well as for information. The
field covered is somewhat wider than might perhaps be expected and
the article on "Ragtime and jazz" has been considered as the best
on this subject in any music encyclopaedia, though it is only fair to
add that many jazz enthusiasts have complained that the author
obviously knows nothing about the topic.

The second edition of the work, published in 1940, included a
list of books on music; this was later published separately as A list of
books on music in the English language (O.U.P., 1940) but has unfor-
tunately been out of print for some years. In order to avoid resetting
the type when the third edition was published the second edition
was reprinted together with an appendix which contained some new
entries together with further information for some subjects already
included in the main body of the work. Where an article had been
amplified in the appendix, the original entry was marked with an
asterisk as an indication to the reader that further details could be
found in the appendix. War-time stringencies and those that existed
during the rest of the nineteen-forties and early fifties saw the method
continued. The fifth edition saw the inclusion of a second appendix,
similar to the first, and reference to this from the main body of the
text was by means of a dagger. It was not until the publication of the
ninth edition that the material was again consolidated into a single

Music Librarianship

sequence and the opportunity was taken at the same time to do a
certain amount of rewriting.

In order to attract an even wider public, The concise Oxford
dictionary of music was published in 1952. Though this is generally
an abridgement of the Companion it adds some 3,500 entries to cover
living musicians, critics, etc., who are excluded from the parent
work. Mention should also be made of the same compiler's Junior
companion to music which is intended for users between the ages of
eight and sixteen, with perhaps a bias towards the upper ages.

THOMPSON, Oscar, editor. The international cyclopedia of music and
musicians, 7th edn., edited by Nicolas Slonimsky, 1956.
(Dent)

This work was originally published in the U.S.A. in 1938, the
same year that The Oxford Companion to music first appeared, and
like the British volume achieved a second edition in 1940. This
second edition was reprinted in 1942 and issued in Britain; this is
the one usually found in British libraries. Later editions, under the
editorship of Nicolas Slonimsky, show only slight revisions and no
major recasting.

The names of one hundred contributors, mainly American and
British, are listed at the beginning of the book. This list is followed
by a second which details the more important contributors and the
articles for which they have been responsible; Eric Blom, for instance,
is shown as the author of the articles on Richard Strauss, Arthur
Sullivan and Vaughan Williams. These special articles are easily
identified in the body of the work, for each is started on a fresh page
and has the name of the subject and the author of the article printed
in an appreciably larger fount than that used for ordinary contribu-
tions. This unconventional arrangement is apparently made to
reinforce the editor's declaration that "the articles are for reading,
not merely for reference". As with the other dictionaries considered
in this section, all entries are in a single alphabetical sequence and
there is no separate index.

Each article on a major composer is followed by a calendar of the
events of his life and a complete list of his works; the latter is sub-
divided into classified groups for easy reference. Where the composer
is apparently considered by the compiler to be of lesser importance
only the major works are listed while little-known figures have brief
articles on their lives and no list of works.

Reference Books and Periodicals

An unusual feature of this work is the large number of title
entries. For example, under Fountains of Rome (Fontana di Roma) is
an outline of Respighfs programme for the music detailing the
movements, date of first performance, etc. The entry for Respighi
himself has a brief introduction by the editor, a long article by one
of the Encyclopaedia's expert contributors on the composer's life
plus the calendar and classed catalogue of works.

Certain articles, such as the one on Folk music, are the compila-
tion of several contributors each of whom deals with a particular
aspect of the subject. The authorship of each part of the article is
indicated in all composite entries by the provision of the author's
name or initials at the end of the section which he has written. A
limited number of articles contributed by a single writer are also
signed; unsigned articles are presumably by the editor. The work has
no plates and illustrations in music type are very few. Cross-refer-
ences are occasionally lacking and are sometimes faulty. There is a
brief article, for instance, on the King's band of music which concludes
with a useful list of "Masters of musick" (usually called in Britain
"Masters of the King's [or Queen's] musick") from 1660 to the date
of publication but there is no reference in the main sequence under
"Masters of musick". The whole work has a fairly strong, declared
American bias which adds to its usefulness both inside the U.S.A.
and in other countries. In the United States it is probably the most
popular general music encyclopaedia while outside it gives informa-
tion on many American composers and works that are untraceable
in British, French, German encyclopaedias, etc.

There are three appendices. The first gives synopses of some 200
operas, arranged alphabetically by title. The list contains some sur-
prises; in addition to the routine works that could be expected (such
as Faust, The Barber of Seville, and similar works from the standard
repertory) there are synopses oflvanhoe (Sullivan), The King's hench-
man (Deems Taylor), Lady Macbeth of Mzensk (Shostakovich) and
Natoma (Victor Herbert), to mention but four examples that do not
appear in Kobbe. The second appendix is a pronouncing guide to
the names of composers and to titles. The third consists of a biblio-
graphy of some 3,500 books confusingly arranged in a single sequence
of authors and subjects. Individual entries normally quote author,
title, publisher and date. Cross-referencing is again occasionally
faulty. For example, there is a reference under "Borodin" to
"Abraham" where the latter's biography of the Russian composer is

Music Librarfanship

listed. On the other hand, Cecil Gray's life of Peter Warlock has no
similar reference from Warlock. Entries are made for Warlock's
book. The English ayre, and for Philip Heseltine's Frederick Delias,
without any reminder to the casual or uninformed user that the two
books are by the same author. Such shortcomings are few and are
of little importance in such a long and useful list which is particu-
larly valuable in its coverage of American books. Students are
particularly recommended to read Dorothy Lawton's article on
"Dictionaries of music" and C. S. Smith's on "Libraries of music"
and to compare them with the similar two articles in Grove.

A smaller, cheaper but still important American one-volume
work is Harvard dictionary of music, by Willi Apel (Cambridge,
Mass.: Harvard University Press, 1944) with some 800 pages of text.
The author's declared intention is ". . . to provide accurate and
pertinent information on all musical topics and that it is addressed
to the musical amateur as well as to the student and scholar. To
reconcile the different, if not conflicting, interests of these three
groups has been one of the chief concerns of the author." The
dictionary is unconventional in omitting all biographical articles,
but otherwise is on similar lines to the other works included in this
section of the text. Generally speaking, articles are fairly brief; there
are few illustrations in music type and the major articles have short
bibliographies appended.

(b) SPECIAL DICTIONARIES

BARLOW, Harold, & MORGENSTERN, Sam. A dictionary of musical
themes. 1948. (Benn)

BARLOW, Harold, & MORGENSTERN, Sam. A dictionary of vocal
themes. 1955. (Benn)

These two American works (originally published in New York
by Crown in 1948 and 1950 respectively) are in two complementary
parts. In the first half of each volume are single-stave excerpts (i.e.
the theme is quoted without harmony or accompaniment) varying
in length from three to ten bars; the themes are arranged first under
composer and then under the actual work. In the second half is the
"notation index" by which it should be possible to identify any of
the themes quoted. The earlier volume limits itself to orchestral and
instrumental music and will be described first. All the works indexed

Reference Books tind Periodicals

in It have appeared In recorded form in the U.S.A. and probably in
Britain also.

Composers are arranged alphabetically by surname; forenames
and the years of birth and of death are shown. The works indexed are
also entered in alphabetical order and not in a chronological or
classified sequence; the themes are quoted in the order in which they
make their appearance in the particular work. For example, the
opening of Elgar's Pomp and circumstance march no. 1 is shown as
"theme 1"; the trio (better known in its vocal form as Land of hope
and glory) as "theme 2". To the right of these two melodies are the
index numbers E 38 and E 39 respectively. A fresh sequence of
numbers is begun for each letter of the alphabet, so that Elgar themes
are numbered from E 1 to E 79, George Enesco items from E 80 to
E 103 and those of Franz Erkel from E 104 to E 107. The next com-
poser indexed is Manual de Falla, so themes from his work begin a
fresh sequence starting at F 1. At the top left-hand corner of each
page is listed the name(s) of the composer(s) represented and on the
right are the running numbers of the themes on that page, so that
page 178 shows "Elgar-Enesco" and "E 77-95" respectively.

In order to index the various tunes all are treated as though they
were written in the key of C. The time value of the notes is ignored;
for the purpose of the index long and short notes are of equal impor-
tance and no differentiation is made. To exemplify the result one
may cite the Elgar trio mentioned in the previous paragraph. Though
actually written in the key of G major it is indexed as "C B C
D A G E 39". Normally the first six notes of a theme are given in
the index but a duplication between the notes of two or more tunes
may cause a longer entry to the point of difference, with a maximum
entry of eleven notes.

This excellent dictionary suffers from two obvious drawbacks;
the user must be able to understand music notation sufficiently to be
able to write out the tune or to work out the notes in it (and there is
a "transposition key" to assist in the task of rewriting the theme in
the key of C), and secondly the enquirer must start the tune on the
same note and beat as the compilers if he is to run it to earth in the
index. With most tunes the starting note is definite enough but this
is not always so, particularly when the theme is a subsidiary one that
appears in the middle of an orchestral movement This is fortunately
an infrequent problem and for the librarian or enquirer whose
musical knowledge is up to the standard indicated the dictionary is a

Music Librarianship

wonderful instrument for identifying tunes, as I have personally
found.

The range of composers represented is extremely wide; for in-
stance, such comparatively unfamiliar names as Aubert, John Bull,
Platti, Paradis and Locatelli are indexed in addition to the obvious
classics. The representation of contemporary American composers
is excellent though many of them and their works are still unfamiliar
in Europe. The dictionary's limitation to works that had, at the time
of compilation, appeared on disc has produced some strange results
upon occasion. Minor works may occasionally be found with major
ones omitted. The holy boy of John Ireland is included but his more
important Mai Dun does not appear since it was not available on
gramophone records at the time of the dictionary's compilation.

The Dictionary of vocal themes "includes the salient and remark-
able themes from operas, cantatas, oratorios, Lieder and art songs,
as well as many miscellaneous vocal pieces not belonging to the
above categories". In this volume over 8,000 themes, together with
their words, are quoted. There is a separate index of first lines and
of titles in addition to the musical index. Folk songs are included
only where the music has been edited and arranged by a recognized
authority such as Bela Bartok or Vaughan Williams.

In compiling this dictionary the two musicians found the gramo-
phone record repertory of the period insufficient for their purpose
the long-playing record was only just in the market when the work
was written, or that complaint would not have been valid for more
than two or three years so that works that are found with some
regularity in recital programmes, though not then available on disc,
are included. Many of these extra items have subsequently appeared
in recorded form, but recital programmes governed the choice of
items to be included in the case of composers such as Bach, Handel,
Schubert and Wolf. The inclusion of the complete vocal works of
these and some other important composers in the field of vocal music
would have resulted in a volume that would have been twice the size
of the actual dictionary. The listing of the individual themes is
carried out in simpler fashion than in the earlier volume. In this
newer work each page starts with the first theme lettered "A", the
second "B", and so on. The notation index then simply refers to a
page number followed by the appropriate letter of the theme. Because
of copyright difficulties a number of works are indicated in the first
half of the book by blank staves (tunes from Porgy and Bess, Merrie

Reference Books and Periodicals

England, etc.) but the missing tunes are duly indexed in their proper
places. Listing the notes only in the key of C, it would seem, does not
infringe the copyright.

The two volumes may be regarded as parts of a single work, and
the need for such an index has long been recognized but no really
satisfactory solution has been provided until these two particular
indexers came together. The time and labour involved was obviously
immense and music-lovers owe a large debt to the authors. It may
be mentioned that Harold Barlow is well known as a conductor in
the U.S.A., and his name has appeared in Britain on some 78 r.p.m.
recordings in that capacity.

The British Catalogue of Music (The British National Bibliography).

This annual was first issued in 1957; it is published in three
interim issues (covering January to March inclusive, April to June
and July to September), supplemented by a bound volume which
cumulates the three issues and adds information on works published
during the last quarter of the year. At the time of writing the annual
subscription for the three paper-bound numbers and the annual
volume is 4. The catalogue is officially described as "A record of
music and books about music recently published in Great Britain
based upon the material deposited at the Copyright Receipt Office
of the British Museum, arranged according to a system of classifica-
tion with an alphabetical index under composers, title, arrangers,
instruments, etc., and a list of music publishers". In addition to the
Council of the B.N.B. the following bodies are quoted as associate
publishers: the Music Department of the British Museum, the U.K.
Branch of the International Association of Music Libraries, the
Music Publishers Association and the Central Music Library.
"Published in Great Britain" includes foreign music imported into
Britain under single-agency arrangements by which a single firm
handles all (or mutually agreed) works of one or more foreign
publishers.

This catalogue therefore covers somewhat similar ground in
Britain to that of the Library of Congress in the U.S.A. whose
Catalog of copyright entries is considered below, but there are some
important differences. First, because of differences in copyright laws
of the two countries the British work limits itself to published music

Music Librarianship

while L.C. includes unpublished music also. The second and most
important difference is that the London publication is arranged in
classified order while main entry in the Washington work is under
title. Thirdly, B.C.M. lists books in a separate sequence, L.C. in the
same sequence as the scores; fourthly, the B.C.M. index precedes the
main tables and is extremely full while L.C. has a name index only
which follows the main entries; fifthly, B.C.M. entries give no
indication of what new material has been incorporated into a work
to allow a fresh copyright registration to be made and L.C. does.

As mentioned in the previous paragraph, the index is found
before the main body of the work and contains in a single sequence
fairly brief entries for composers, arrangers and editors, titles, series,
authors of works and also subjects with their appropriate class
marks. All entries (but not references) show the classification symbol,
and the index entries for authors and composers also give the serial
number allotted by B.C.M. Since the books on music will already
have appeared in the normal weekly B.N.B. catalogue, the same
number is quoted on its reappearance in B.C.M. to avoid confusion;
for music scores the annual sequence starts at 50,000. Thus in the
index to the first interim issue, Hugo Leichtentritt's Music of the
western nations is quoted as B57-1234 which is the number allotted
to this book earlier in the year when it first appeared in the weekly
list published by the British National Bibliography. The next item in
the index to this issue is Kenneth Leighton's Concerto for violin and
small orchestra and its number (B57-50243) at once indicates that
the item is a score and not a book. Running numbers are allotted,
not according to the date received in the Copyright Office, but by the
work's place in the classified sequence; this means that for each
quarter's accessions the individual works are first classified, then
arranged in classified sequence and given numbers as they appear in
this sequence. This results in the first item appearing in the April to
June issue taking the next number to that given to the last item in the
January-March issue, though some weeks may have elapsed between
actual dates of deposit of the two works.

The general arrangement and layout is very similar to that used
in B.N.B. which must obviously be regarded as the parent work.
One important difference is that the height of the page is not quoted
but that the score is shown as 8vo, 4to oifol. for works up to 10^ in.
in height, between 10J and 12 in., and over 12 in. respectively; this is
much less satisfactory than the more precise measurement given for

Reference Books Periodicals

books in B.N.B. The abbreviation 4< oW.** is used for works whose
width is greater than the height, and "s.sh^ is used for a single sheet.
Authors and composers are listed in accordance with British Museum
practice,, which means that all forenames whether used or unused
are quoted except for certain composers, such as Mozart, for whom
a popular form is chosen. B.C.M. tries to quote full names, in-
dicating those not generally used by Inclusion within brackets, e.g.
Dolmetsch, Carl [Frederick], but this is not consistent because B.C.M.
relies upon the B.M. entry which gives no indication as to which
of the composer's forenames are actually quoted on the title-page.

Two examples are quoted to show the method of entry and the
information given:

MS Works for
MSG SUITES.

VAUGHAN WILLIAMS, Ralph

Folk songs of the four seasons: a suite for small orchestra

arranged from the cantata of the same name by Roy Douglas.

London, Oxford U.P., Piano-conductor 7/6. C 1956. 24 pL 4to.

(B57-50151)

Prices of orchestral parts on application.

VT Oboe

VTP-~OBOE & PIANO
VTP/T VARIATIONS

WORDSWORTH, William Brocklesby

Theme and variations for oboe and piano. Op. 57. [Score

and part]. London, Lengnick, 4/-. C 1956. 2pt. 4to. (B57-
50285)

The classification scheme used is one specially prepared for use
with this catalogue and is discussed in Chapter IV. Although no
separation is made between domestic issues and works of foreign
publishers imported under agency arrangements (as is made in the
L.C. publication), works are generally quoted under the original
publisher, so that the catalogue is completed by a useful list of
publishers together (when appropriate) with their English agents.

The British union-catalogue of early music, printed before the year
1801 ; a record of the holdings of over one hundred libraries
throughout the British Isles. Editor: Edith B. Schnapper.
2 vols. Butterworth. 1957.
F 69

Music Librarianship

The preface is careful to explain that although this work repre-
sents the stock of many British libraries in its particular field, repre-
sentation is not confined to British composers nor are foreign
publications excluded. Some 60 per cent of the items listed are in the
stock of the British Museum so that this national library's catalogue
was taken as a starting point, with its two volumes of Catalogue of
printed music published between 1487 and 1800 and now in the British
Museum, published in 1912 and with the supplement published in
1940.

The general arrangement of Schnapper is alphabetical by com-
poser; volume 1 covering the letters A-K and the second volume the
remainder of the alphabet together with a title index for anonymous
songs. Not only does this work contain scores, it includes music
which appeared in books or periodicals; liturgies which bear the
name of a composer or editor are also within its scope. Under each
composer the titles are arranged alphabetically and at the end of
each entry appears the appropriate symbol or symbols to indicate
the library or libraries that hold the work. The great majority of the
hundred or so libraries whose collections are included are national,
university or colleges of music. About one dozen are public libraries
and there are one or two special collections such as the Shakespeare
Memorial Library at Stratford-on-Avon and the Bedfordshire
Archaeological Society's library.

For fairly prolific composers a classified arrangement is adopted,
entry under each heading being alphabetical, so that for T.A. Arne
there are six major headings and some sub-divisions, as under:

1. Sacred music.

2. Operas, cantatas and dramatic music:

(a) collections;

(b) single works.

3. Songs, glees, etc.:

(a) collections;

(b) single works.

4. Instrumental works.

5. Doubtful and spurious works.

6. Appendix.

An actual example of an entry may be taken from the third
section of Arne's works "Songs, glees, etc., (a) collections"; the
volume is entitled "British Amusement":

Reference Books and Periodicals

British Amusement. A favourite collection of songs sung at the
publick gardens. . . . Book I. Thompson and Sons: London
[c. 1762]. fol. M.

It can be seen that the form of entry follows that of the British
Museum fairly exactly, particularly in the somewhat vague descrip-
tion of size. The final "M" indicates that the only available copy
reported is to be found in the Manchester Public Library. Another
example may be taken from the same composer:

Love and wine in alliance, etc. [Song]. jR. Falkener: London.
[c. 1717] s.sh. fol. Le.

The location here is that of Leeds Public Library and the music
consists of a single sheet. The third example is for an anonymous
work, entered under title:

On a primrose bank. The Blush [Song], [c.1750]. s.sh. fol. L.

Here the only copy known is in the British Museum. The title
index at the end of volume II of Schnapper contains an entry for
"The Blush". When one considers the arrangement of entries under
the heading "Psalms" something of the remarkable range of the
work is revealed since there are no less than twenty-five sub-headings,
starting with "Polyglot" and then proceeding alphabetically from
"American", "Bohemian", "Czech", "Dutch", "Dutch and Eng-
lish" and "English" through to "Romansch" (which has three divi-
sions) and "Welsh". Under each head the arrangement is chrono-
logical; if entries for the same year share the same title, then arrange-
ment is by size. A typical entry for a psalter is :

8. French. Les psaumes de David, mis en rime frangoise, par

C. Marot & T. de Beze. Anthoine Cellier: Paris. 1645. 12. L.

The final example is given for an instrumental work in order to
show the method of cross-referencing. Under Haydn, the sub-divi-
sion III is for instrumental music, which is again divided: (a) is for
Symphonies and overtures, 1. Collections:

[B. & H. I No. 53, II No. 7]. Haydn's celebrated overture, etc.
See infra; Single works.

From these examples it is hoped that students will have gained
some idea of both coverage and method of entry. The value of the
work to musicians of many types is likely to be very great (at the
time of writing the volumes are too recent for absolute certainty on

Music Librarianship

this point). Musicians and students will now be able to discover
quickly the whereabouts of copies of works that they wish to study;
if the distance is too great it is possible, in many cases, to obtain a

microfilm of the score or the part required. Part of the potential
success of this work must depend upon the possibility of supplements
and lists of corrections. The methods of compilation were perforce
far from ideal and it seems likely that there are a fair number of
errors, while several libraries will have discovered fresh items in
their collections since the catalogue went to press. The more complete
the coverage, the greater the value of the work.

DAJRRELL, R. D., compiler. Schirmer's guide to books on music and
musicians: a practical bibliography. 1951. (New York:
Schirmer.)

This most important work should be in the stock of all libraries.
Main entry for a work is usually made under the subject and there
is a list of "Major subject headings" given at the beginning of the
book. Author entries are mainly references to the appropriate sub-
ject^) but are included in the same sequence, in the usual American
dictionary-catalogue method. The author entry becomes the main
one for autobiographies and for collections of essays that do not
conveniently classify under a single heading. Examples may make
the arrangement clearer. For example, under the name of Gerald
Abraham is entered Design in music, a collection of essays; because
it is a main entry, the pagination, publisher, date and price are
quoted. This entry is followed in the catalogue by a number of See
also references, beginning with "Beethoven 3. Quartets (1942).
LOO", and "Borodin. Biography. (1927). 4.00" to "Tchaikovsky
2. Music of (1946). 3.00". Looking at the entries for Beethoven, it is
found that they are divided into three categories 1. Letters, own
writings; 2. Life; 3. Works. Under this last section is found the
entry for "Abraham, Gerald. Beethoven's second-period quartets.
79p. mus ex, paper. Oxford 1942(1943). 1.00", and this is followed
by the compiler's note "Musical Pilgrim" series of analyses: Op
5P, 74 & 95. For companion booklets, see below: Fiske, Hadow. These
examples will indicate the use of abbreviations to save space, and
also show that notes and explanations are given. Annotations are
avoided except for such phrases as "A standard work".

It is hoped that the examples quoted have given some idea of the
quality and usefulness of the book. Entry has normally been limited

Reference

to works in print at the time of compilation but a number of impor-
tant out-of-print works are included. Under certain headings the
compiler has noted standard works that are either o.p. or not easily
available. These standard works are not necessarily written in Eng-
lish, but works in other languages are relegated to Appendix 1 (see
below). Prices quoted are those ruling in the U.S.A. at the time of
going to press. See also references are shown immediately under the
subject heading and precede entries for individual books. Thus
"BARBERSHOP (Ballads, Singing) 1 ' is followed by: "See also: Amateur
music, Community music. Popular music, Songbooks" before the
entries for the two books on the subject of the heading.

The main body of the work is limited to books in English though
reference is made as required to foreign books (e.g. under "Lute" is
the reference "See: esp App la (Cabos)", and under "Mussorgsky"
is "Note: Standard works apparently O/P . . . include the letters &
documents (1931, in Russian). . . .") There are two Appendices; the
first consists of five lists, arranged in each case alphabetically by
author (and not by subject) of books in French, German, Italian,
Spanish and Latin. Appendix II has two sub-sections, Juvenile bio-
graphies and Miscellaneous juveniles. The former lists collective
biographies under the authors, followed by a sequence of individual
biographies of musicians arranged under the names of the bio-
graphers. The second section lists all other works considered suitable
for younger readers and includes fiction (so that one finds such works
as Kitty Bame's Musical honors) and a variety of topics exemplified
by The child's book of musical instruments and The story of sound.

The author is perhaps best known for that pioneer work, the first
edition of The Gramophone Shop Encyclopedia of Recorded Music,
and has written for this Schirmer guide an introduction and an ex-
planation of how to use the work that should be required reading
for all librarians and assistants. These two sections contain an immense
fund of good sense, humour and useful information, while one cannot
but admire a writer who ends his "How to use" instructions with
the heading "How to proceed when you reach a seeming dead end".

DUCKLES, Vincent, & NICEWONGER, Harriet, compilers. A guide to
reference materials on music, 3rd edn. 1955. (Berkeley:
University of California.)

This work is shown as Syllabus no. 344 in the "University of
California Syllabus series". It is generally referred to as "Duckies and

Music Librarianship

Nicewonger" but this third edition has added Minnie Elmer's name
as a third compiler. The work is in typescript and includes 649 items,
many of which are individual articles in various periodicals. The
compilers promise an annotated edition in due course and this
should be an invaluable tool for every reference library.

The items are divided into eleven headings, as follows: I, Dic-
tionaries and Encyclopedias; II, Histories and Chronologies; III,
Yearbooks; IV, Guide to historical musicology; V, Biblio-
graphies of musical literature; VI, Bibliographies of music; VII,
Catalogs of important libraries . . . ; VIII, Catalogs of important
collections of musical instruments; IX, Histories and Bibliographies
of music printing and publishing; X, Discographies and XI, Biblio-
graphies of Bibliographies. Several of these headings are divided,
the largest number of subordinate headings occurring with section
VI L General; 2. Current; 3. Bibliographies of collected editions
of music; 4, Histories and bibliographies of early music; 5. Biblio-
graphies of early music in modern editions; 6. Lists of music for
performance.

Obviously enough, the number of entries under individual head-
ings varies considerably. Books and periodical articles are entered in
a single sequence as the following examples show:

642. COOVER, JAMES B. A bibliography of music dictionaries.
Denver, Denver Public Library, 1952. 81p. (Bibliographical Center
for Research. Special bibliographies, no. 1.)

643. DEUTSCH, OTTO E. "Music bibliography catalogues." In
The Library, 23: 4 (March 1943) p. 151-170.

This latter entry is completed by the symbols "Z 671 L 59 ser.4
v. 22-23" which is presumably the University of California's press
mark. Similarly, under Clough & Cuming's World Encyclopaedia of
Recorded Music the first volume (which also contains the first supple-
ment to the work, though this is not indicated here) carries the
class mark ML 156.2 C 57. There is also a footnote in this section
"See also 'trade' catalogs of the various record manufacturers".

Very few libraries indeed will have in stock all the items listed in
this bibliography but the smaller library will find it valuable to know
what is in existence while the student should find the forthcoming
edition, when published, a very useful work indeed.

THE Music INDEX (Detroit, Mich.: Information Service Inc.) 1949-

The work is published monthly with an annual cumulation pub-

Reference Books and Periodicals

iished as a bound volume. On the cover of each volume is a sub-
title: "The key to current music periodical literature" and this may
be taken as an adequate description of the work. The first number
was for January, 1949, and indexed 41 periodicals, all of them pub-
lished in the English language. Both individual articles and book
reviews were indexed and by the end of the first year the number of
periodicals included had grown to eighty, including examples in
French, German, Italian and Danish. During 1950 the coverage was
still further extended to 120 periodicals and this larger number in-
cluded publications from Holland, Sweden, Mexico, Chile and Aus-
tralia that had previously been omitted. Since that time the number
of works indexed has remained fairly constant at about that figure.
The first bound volume used letterpress printing but subsequent
years have used the photo-offset method which was claimed (in 1951)
to speed production though the annual volume still seems to suffer
a time-lag of some eighteen months. The 1949 volume contained 308
pages and by 1954 this had increased to 581.

The arrangement is that normally used in American publications,
i.e. dictionary; authors, subjects and titles are arranged in a single
alphabetical sequence. A specimen subject entry is:

ALPENHEIM, ILSE VON

Use von Alpenheim. Mus OPINION 77: 520-1 June 1954

This entry, which indexes the review of a vocal recital, is folio wed
by a title entry for "Althalia. See HANDEL, GEORG FRIEDRICH".
The reference, as can be seen from the first example, is to
the name of the periodical (shown by an abbreviation), the volume
number, page(s) on which the article is to be found and the date of
issue. At the beginning of each volume is a list of abbreviations used
for the individual periodicals, e.g. :

INT FOLK Mus COUNCIL JL Journal of the International Folk
Music Council. Maud Karpeles, secretary. International Folk Music
Council. 12 Clarence Gardens, London, N.W.3, Eng. 10/- annually.

INT MUSICIAN International musician. Leo Cluesmann, ed. &
pub. American Federation of Musicians, 39 Division St., Newark 2,
NJ. $1.00 monthly.

Naturally enough, various modifications have occurred during
the years, particularly in the field of subject headings. These have
been amended and expanded as required and also in the light of
users' reactions. One might quote as example the case of music

Music Librarianship

history. From 1949 to 1953 inclusive all articles on the history of
music were entered directly under the appropriate century "Nine-
teenth century", "Twentieth century", etc. In 1954 all these headings
were grouped under the general heading "History" with sub-divi-
sions each of which was still provided with its own see also references.
For instance: "Twentieth century. See also CONCRETE Music;
ELECTRONIC Music; EXPRESSIONISM; IMPRESSIONISM; MODERN
Music". Book reviews were originally indexed under that heading
only, but from 1951 a second entry was made under the subject of
the book. Obviously enough many headings will need many sub-
divisions "LIBRARIES" has a host of such divisions by place, etc.,
California, England, France, and so on.

Because of its excellent coverage and its uniqueness this work
should be in the stock of every large library yet only a handful of
British libraries subscribe. Its tardy appearance each year is a draw-
back; its cost (25 dollars in the U.S.A. which apparently becomes
15 in the United Kingdom) is also a deterrent. There are occasional
inaccuracies, as are almost certain to occur in a publication of this
nature (one may quote the appearance in headings from 1951 on-
wards of "Sir Benjamin Britten" though this may well prove to be
judicious prophecy) but none of these points can detract from the
very real importance of this work and the very solid achievement
that it represents. The value of the Index makes one realize afresh
how unfortunate it is that it was only started in 1949. There must be
a tremendous amount of earlier literature that loses most of its
potential value because it is not indexed in an easily accessible form;
this thought alone reinforces the need for continued and increasing
support for the Music Index.

UNITED STATES LIBRARY OF CONGRESS: CATALOG OFFICE, Catalog
of copyright entries, 3rd. series. 1947-

Printed catalogues for copyright registrations have been produced
since 1891. The first volume included a section for music and this
series covers the period July, 1891, to June, 1906. The second series,
known as the "New series", was entitled Catalog of copyright entries',
the music catalogue was part three of the set. The third series was
inaugurated in January 1947 and retained the same title, but the
music entries are now Part 5. There are two issues each year, cover-
ing the first and last six months. Until the end of 1956 there were
three separate sections to Part 5: published music (5A), unpublished

Reference Books and Periodicals

music (SB) and renewal registrations (5c) and each issue cost one
dollar fifty cents for the first two parts and one dollar for the third.
The public librarian is primarily interested in published music so
that this description and comment is limited to part SA, while the
changes that took place in 1957 are detailed later. Part SA included
three categories, EF, EFO and EP; the two former are for music
compositions published abroad and the latter for those published in
the U.S.A. The catalogue is therefore intended primarily as a printed
record of material deposited with L.C. for copyright purposes and
its uses for librarians are incidental. Yet these uses are great, since
the enquirer could find composer's names and dates, conventional
titles of works, suggested subject headings and discover works of a
particular genre in the classified list. It is, in fact, an invaluable
finding and check list.

The catalogue includes music scores, selected books and pamph-
lets about music, and musical dramas. It is divided into four parts
a Name list, a Title index, a Classified index and a Claimant index.
The first lists deposited works under the composer (in the case of
music); the second is an alphabetical sequence of titles, showing both
the conventional title used by the L.C. in its own catalogue together
with the title actually printed on the title-page; the third is a diction-
ary arrangement of subjects while the last sequence lists the copy-
right owners of each work and so provides a source of addresses of
music publishers all over the world.

Though further examples are quoted later, a specimen entry at
this point may be useful for the British librarian or student who has
not seen this particular publication :

CHOPIN, Frederyk Franciszk, 1810-1849
[Preludes, piano, op. 28. Selections, arr.]
Preludios ; para guitarra por Francisco Terrega. NM : arrange-
ment. Union Musical Espanola, Madrid; 9 Sep 30; EF21452

Main entry is made under the composer whose name is entered
in accordance with L.C. rules ; transliteration of Russian names often
varies considerably from that normally used in Britain. If the work
deposited happens to consist of an excerpt from a larger work, then
a conventional title is provided in order to relate the item to other
excerpts and to the parent work. Should the title not agree with
L.C. practice, then a conventional title is provided. In the example
quoted above it will be seen that not aH of the opus 28 Preludes have

Music Librarianship

been included in the transcriptions and the conventional title makes
it clear, first, that the original works were written for piano and
secondly, that this particular volume is limited to selections from
that particular opus. The remainder of the entry follows, generally
speaking, normal cataloguing practice. The publisher's title is quoted,
followed by the names of the authors of the words, joint composers,
editors, etc. Imprint shows the place of publication and publisher,
except in those cases where the publisher is also the copyright
claimant when this information is shown later in the entry, i.e. in
the copyright statement following the symbol.

The fourth item is an indication as to whether a work is published
in score and/or parts, and the pagination. Fifthly comes the series title
when this is considered to be a useful aid to the tracing of the work.
The medium is quoted, when necessary, as the sixth item. Seventh is
the price, as printed on the copy, and this is followed by the names
of any authors whose names are included in the copyright applica-
tion but whose names do not appear on the music itself. These are
usually arrangers who have been engaged by publishers to make
special arrangements of works; are paid an agreed sum and full
copyright rights are retained by the publisher. The next possible item
concerns previous registration, while the tenth is most important
it indicates the new matter included in a work upon which the actual
copyright claim is based assuming that this new matter is not
clearly indicated in the title. In the example quoted above the new
matter is the arrangement of a piano score for solo guitar. In all
entries the initials "NM" preceded this statement. Eleventh is the
internationally accepted copyright symbol, a small capital "c"
within a circle. The twelfth item is the name of the copyright claimant
followed by the place and date of publication. This may be years
earlier since the Library of Congress has a statement in its rules on
delayed deposits which reads: "The Office will accept deposits for
full-term registration at any time during the copyright term of 28
years after first publication" ; it should be noted that copyright dates,
however, from first publication and not from date of deposit. If the
work is an unpublished one, the date of registration at the Copyright
Office is used instead of the date of publication. The last item is the
copyright registration number. Each issue of the Catalog includes a
statement as to the number of copyright registrations of published
music, and separate figures are quoted for domestic issues and those
published abroad (the EP, EF and EFO categories).

Reference Books and Periodicals
Two further examples are quoted of main entries;

CHAIKOVSKH, Petr ITich 1840-1893

Sing ye praises to the Lord; S.A.T.B. unacc, edited and arr.
by Noble Cain, English version by Noble Cain. Score (8p)
2Qc. NM: editing and arranging. Boosey & Hawkes Inc.,
New York; 19 Aug 55: EP93835

VAUGHAN WILLIAMS, Ralph 1872-

Concerto accademico; in D minor, for violin and string
orchestra. Miniature score (30p) 4/- Oxford University
Press, London; 15 Dec 27 EF 21632

It may be noted that imprint in both these examples is omitted
since the publisher is also the copyright claimant, and that in these
cases the publisher's name is given before the place of publication.

The full description of the title index is "An index to the titles,
including the conventional titles, of all works listed in this issue.
Below the work is given the name and conventional title (when one
has been used) under which the work will be found in the first
section." So the index will include entries for "Concerto acca-
demico", "Sing ye praises to the Lord" and "Preludios Chopin,
F.F. [Preludes, piano, op. 28. Selections, arr.]" for the examples
quoted.

The classified index is a list of subject heads, from Accordion to
Zither, plus any necessary See and See also references. A typical
sequence of subjects is SWITZERLAND, TELEVISION Music, THANKS-
GIVING, TOPICAL SONGS, TRINIDAD, TROMBONE, TROMBONE INSTRUC-
TION, etc. A searcher for Welsh music is referred from "Wales" to
"Great Britain" by means of a See reference, while a typical See also
entry is "TUBA. See also Orchestra Concertos and concert pieces
Tuba".

The claimant index should be self-explanatory. It lists individuals
and publishers (with their addresses) in alphabetical order and under
each name quotes the works in that issue of the Catalogue for which
that particular firm or individual claims copyright. The value of the
work to a music librarian as a finding or check list should now be
clearly seen, and some of the major differences between this American
publication and its British equivalent, The British Catalogue of Music,
have been mentioned when considering the latter.

In 1957 a major reorganization of the Copyright Cataloging

Division took place. Since 1946 the Music Section of the Division
was responsible both for copyright cataloguing and also for the L.C.
printed card cataloguing. The copyright catalogue cards were
designed to inter-file with L.C. printed cards in its catalogues. In
1957 two separate sections were created one to do all L.C. music
cataloguing (including the preparation of entries for printed cards)
and the other to deal with copyright entries only. As a result, entries
from 1957 are made under title and give a complete transcription of
the title-page; the medium of performance is given only if stated on
the copy or on the application for copyright registration. The three
former catalogues for published music, unpublished music and
renewals of music were combined into one; there are separate main
lists for current registrations and renewal registrations. There is a
single index only a combined name index for the main lists. Names
are given as they appear on the copy and/or application and no steps
are taken to discover full forenames, etc. The statement of copyright
facts is unchanged from the former catalogues.

In its new form the catalogue must be of much less value to
librarians, though it may well be of greater use to copyright searchers,
lawyers and publishers since there should be an appreciably reduced
time-lag from the date of deposit to the date of publication. It should
also represent an economy for the Library of Congress which, like
all national libraries, has never sufficient funds to undertake all the
tasks and duties that it would desire,

(d) HISTORY

The New Oxford History of music. 11 vols. 1954- (O.U.P.)

This work is intended to replace the original Oxford History of
Music which was first published in six volumes between the years
1901 and 1905 and which made a tremendous impact upon the
musical ideas and thought of the time. Five authors were responsible
for the entire work. Between 1929 and 1939 a second edition was
published; in this an Introductory volume was included to cover
music in the ancient world and to extend the information on music
in the Middle Ages which had been the starting point of the original
first volume. Some new material was added to volumes 1 and 2 for
this new edition, while minor corrections were made to volume 3.
The fourth, fifth and sixth volumes were not revised and another
new volume (7) completed the scheme by carrying the history from

Reference Books and Periodicals

its earlier limit of 1850 on to 1900. The second edition, therefore,
had two more volumes than the first and these two were added one
at either end of the original six.

After the Second World War the publishers sensibly decided that
it would be better to compile an entirely new work than attempt to
make a further revision of the original and in this they were probably
very wise. Where the first edition was written by five men the new
history has as many editors who will supervise and collate the work
of a large number of specialists. Three of the editors have been given
the responsibility for two volumes each, one (Professor Gerald
Abraham) for three volumes and another (Eric Blom) for the tenth
volume only. This will be the last to contain text as the eleventh
will be devoted entirely to chronological tables, bibliographies and
the index. The use, in the current History., of a host of experts under
editorial guidance rather than a handful of writers for the entire
work is some indication of the immense growth of specialization in
this, as in other fields, during the past fifty years. No date has been
announced for the completion of the work, in which the volumes are
not appearing in chronological order but it seems that publication
will cover a long period as volume 2 (the first to be published)
appeared in 1954 and it was three years later that volume 1 was
issued with the remaining nine still to come.

The work is straightforward musical history (so far as that can
be straightforward) and is notable for the extremely large number of
illustrations in music type throughout; there are some plates also.
Further, since music should be heard as well as read and because an
aural demonstration can illustrate a point (in many cases) much
more clearly than pages of print, the Gramophone Company ("His
Master's Voice") is issuing a series of gramophone records to illus-
trate the history. The discs were originally on shellac at 78 r.p.m. in
albums, each album providing examples for a particular equivalent
volume of the History. Later the recordings were reissued in LP
form so that users could choose the type of gramophone record
which was best suited to their needs. The recorded series is entitled
The history of music in sound; there are references from the text to
the discs. The gramophone records are accompanied by notes which
give references in the New Oxford history of music so that the two
works are complementary in the fullest sense. The issue of gramo-
phone records has far outstripped the publication of the volumes of
the parent work.

Music Librarianship

In conclusion, attention should be drawn to a statement in the

introduction that "The history as a whole is intended to be useful
to the professed student of music . . ." but adds that the interests of
music-lovers in general have also been borne in mind.

SLONIMSKY, Nicolas. Music since 1900. 3rd edn, 1949. (New York:
Coleman-Ross.)

The first edition of this work was published in 1937 and the
second a year later; the second edition was issued in Britain by Dent.
The first edition gave a chronological guide to important dates in
musical history between 1st January 1900 and 31st December 1936;
the second added events of 1937. The third edition retains this part
of the work virtually intact except that the events of 1937 have been
rewritten, and the coverage has been extended to 31st December
1948. As examples of the sort of information to be found in the
work it may be stated that it includes the dates of births and deaths
of composers, first performances, important articles, etc. The last
page of entries for the year 1931 illustrates the variety of references
in that it includes notes of the death of two composers, first produc-
tion of a musical show, a ballet, a film and the conferment of honor-
ary membership of the Santa Cecilia Academy in Rome upon four
composers. This main section covers some three-quarters of the
book.

In the earlier editions the second part of the work was "a concise
biographical dictionary of twentieth-century musicians" which listed
composers, writers on music, performers and the like in a single
alphabetical sequence. The entry gave forenames, the briefest poss-
ible identification of the biographies and date of birth, death, or
both. A typical entry read: "Nielsen, Carl, Danish composer, born
9 June 1865; died 3 Oct 1931." An addendum was a series of lists of
corrections and additions to four famous biographical dictionaries.
This second part is deleted from the third edition but Part Three,
"Letters and documents", has been retained and expanded. It re-
prints such items as the Moto Proprio of Pope Pius X on sacred
music (i.e. the principles that should govern the choice of music in
Roman Catholic services), a letter from Arnold Schoenberg on the
origin of the twelve-tone system and Zhdanov's speech at a meeting
of Soviet musicians in February 1948.

The additions to chronology since 1936 are mainly American.
The author defends this : "This pro-American partiality is accounted

Reference Books and Periodicals

for not alone by the obvious fact that the book is published in
America, and is designed primarily for American readers, but by
the objective truth that during the last decade the center of creative
music has gradually shifted from Europe to the United States."
Many readers will dispute the alleged "objective truth" without
denying the value of this book as a guide to important dates in
musical history in the twentieth century. Slonitnsky has apparently
made particular efforts to go to original sources for dates so that,
generally speaking, those quoted by him are to be preferred to
different ones quoted in other books of musical reference.

(e) OPERA

KOBBE, Gustave. Kobbe's complete opera book, edited and revised
by the Earl of Harewood. 2nd edn, 1954. (Putnam)

Gustave Kobbe was an American music writer and critic who
died in 1918 as the result of an accident. He had left the material for
this book in a fairly advanced state of preparation at the time of his
death so that only a limited amount of editing was necessary for
publication which first took place in 1922. Subsequent reprints in-
cluded new material, as certain operas were added to the repertory,
but the original synopses were retained. This second edition, pub-
lished more than thirty years after the original, shows considerable
alteration both in its omission of operas that have dropped from the
repertory since Kobbe's day and in the inclusion of detailed synopses
of works which were not included in the original or received very
summary treatment. The editor's criterion of selection has been to
pick "only those works that seemed certain to be seen by English-
speaking audiences during, say, the next ten or fifteen years". Kobbe
is the best-known book of opera synopses and in its new form seems
likely to remain a standard work for a longer period than the modest
estimate of the editor would suggest.

The book is divided into three main sections. The first is for opera
before 1800 which is given three chapters. The second section,
dealing with the nineteenth century, has eleven chapters, while the
third part, on the twentieth century, has nine chapters. The arrange-
ment is considerably better than that of the original edition (and the
student might find it useful to make comparisons) but is still not
conducive to quick reference. The first section has chapters on
"Opera before Gluck", "Gluck" and "Mozart". The second part

Music Librarianship

deals first with German opera, discussing the works of four com-
posers, followed by a chapter on Wagner which is succeeded in turn
by one entitled "German opera continued'* for works by later com-
posers. Italian opera has three similar chapters, the middle one in
this case being devoted to Verdi. The remaining chapters of the
second part deal with French, Russian, English and Czech operas.
The third part deals with operas of the same six nations, arranged in
similar order and is completed by chapters on Hungarian, Spanish
and American opera.

The normal entry gives the title in capitals in its original form
together with an English translation, if necessary, immediately be-
neath. Then follows a note in small type showing the genre (Opera
in two acts; Opera in a prologue and four acts, etc.), the composer,
the librettist and the source of the story if taken from a play or novel.
After this are shown the date and place of first performance and of
the first performance in other internationally-known opera houses;
revivals of distinction may also receive mention. After these pre-
liminaries appears the list of characters, showing the type of voice
allotted to each part; this section is completed with a note as to the
time and place of the opera's action. The actual synopsis is now
given and for the major works there is a generous selection of themes
quoted in music score. At the end of each synopsis appears the
initial(s) of the compilers): K for Kobbe himself, F.B. for Ferruccio
Bonavia who was responsible for the subsequent additions in later
reprints of the first edition, K.W. for Katherine Wright who arranged
the original material for publication after Kobbe's untimely death,
and H. for the Earl of Harewood. The original edition contained
thirty-six portraits of famous singers in roles for which they were
particularly noted. The new edition contains an entirely fresh selec-
tion of plates, some of singers and others of the stage settings of
actual productions; all are later than World War II. Finally, mention
must be made of the very good index.

Since the work has been drastically altered in its new edition it
should be bought for libraries of all sizes, even though the first
edition may already be in stock. Students will find it useful to com-
pare Kobbe with one or other of the many volumes of opera synopses
available. Particular attention should be paid to the scope and
arrangement of each work, the provision or lack of music quotations,
the method of listing characters and the fullness or brevity of the
plots.

Reference Books and Periodicals

LOEWENBERG, Alfred. Annals of opera, 1597-1940; compiled from

the original sources. 2nd edn. 1955. 2 vols. (Geneva: Societas
Bibliographica.)

This work was originally published in 1943 in a single volume
(Cambridge: Heifer); this second edition may best be described as a
considerably revised reprint but libraries possessing the first edition
have no real need to withdraw that prematurely to replace by this
new (and considerably more expensive) version.

The purpose and scope of the book is well described in the preface
as "a skeleton history of opera, in dates and other facts. It is therefore
arranged chronologically, but by means of copious indexes it can
also be used as a dictionary of operas. There are no descriptions of
plots, no musical analyses, no personal critical comments.*' The
material is arranged from information obtained from the original
scores and librettos, from play-bills, contemporary newspapers and
similar places hence the "original sources'* in the sub-title of the
work.

Some three to four thousand operas are listed and inclusion has
been limited to works that have actually achieved production. Older
operas have been selected, in general, if they are still in the repertory
or have historical importance. For modem works the chosen
criterion is usually that of performance outside its native country.
The earliest work included is Peri's La Dafne (1597) and the last
Izaht by Villa-Lobos (1940). Arrangement is strictly chronological
by the Gregorian calendar and this has produced some apparent
inaccuracies with English operas produced before 1752 (when the
Gregorian calendar was adopted and eleven days were 'lost") and
with Russian works prior to the similar change made in 1917.

Each entry includes the composer's surname and the original
title in the language in which it was first performed. Russian names
are transliterated in accordance with the British Museum rules and
the transliterated title is followed by its original in the Cyrillic script
and an English translation. German, French and Italian titles are
not translated as are those in other foreign languages; neither is
translation made when the title is that of the principal or other
character in the score. The date and place of first performance follow
the heading of composer and title. The date and month only are
quoted since the year is shown at the top of each column;
there are two columns of type to a page. The remaining information
G 85

Music Librarianship

concerning each opera is in smaller type. It begins with the libret-
tist^) and a note showing the original source of the text. First per-
formances in other countries are then listed. Where these have been
given in a different language to that of the original the name of the
translator is generally quoted. Finally, important revivals are noted.
Much of this information has been incorporated into the new edition
of Kobbe, described above.

To make the method of entry more intelligible, three specimen
entries follow:

(1) 1773 [at the top of the column of type] HAYDN: Ulnfedelta
delusa/26 July. Esterhaza/Librettist unknown (Burletta per musica).
Two acts./ Revived Vienna 14 May 1930 (as Liebe macht erfinderisch,
German version by H. Goja, music revised by G. Kassowitz).

(2) [1872] BIZET: Djamileh\22 May. Paris, O.C./Text by L. Gallet
(founded on A. de Musset's Namoma). One act/When first pro-
duced in Paris given for 1 1 nights only, and revived there as late as
27 October 1938. Outside France given at: Stockholm 25 February
1889 (in Swedish, translated by E. G. Lundquist). . . . Revived
London C.G. 18 December 1919 (in English)

The abbreviations O.C. and C.G. in the above entry are those
used throughout the work for Opera-Comique and Covent Garden
respectively.

(3) [1881] CHAIKOVSKY: Orleanskaya Dyeva/ [Russian title in
Cyrillic script]/ (The Maid of Orleans)/ 25 February. St. Petersburg/
Text by the composer (founded on V. A. Zhukovsky's Russian
version of Schiller's tragedy). Four acts./Revived Moscow 1899 and
September 1907./ In Czech, Prague, July 1882 (first opera of
Chaikovsky that was heard outside Russia).

Readers will note that the use of the British Museum rules
results in a comparatively unusual form of the composer's name.
The date of the original performance is corrected from that of the
Russian "old-style" calendar while the place of first performance is
given its contemporary and not its modern name.

The second volume contains the work's four indexes. The first is
that of titles, with the composer's name in brackets and the year of
first performance. Since no more exact identification than this is
given it may be difficult to trace a particular opera in a year that saw
a large number of first performances. The second index is of com-
posers; this gives forenames and (in brackets) the year of birth and
that of death. Under each name are listed the operas included together

Reference Books and Periodicals

with the year of the first performance of each. Where the composer
has written the libretto, alone or in collaboration, the fact is indicated
by an asterisk against the title of the opera. The third index is that of
librettists and includes authors whose works have been used as the
bases of librettos; examples of the latter category are quoted in
italics to distinguish them from librettists proper, Christian names
but not dates are given and after each name is the year in which the
opera was performed. Thus, in the case of the Tchaikovsky opera
quoted above, the Schiller entry includes a reference to 1881 and
Zhukovsky's name is also included in the index with the same year
noted. The fourth and last is a "General Index containing (a) all
persons not mentioned in Indexes II and III; (b) a small selection of
subjects, and (c) countries and towns; under the names of the latter
only events of some significance are listed, as important first produc-
tions, openings of theatres, etc." Subject entries are made for such
items as "American operas in Germany", "Ballad opera", "London
promenade concerts". References from this index are to the appro-
priate column of the first volume where the particular item can be
found; this is the only index which does not refer to the year and so
is the easiest to use.

Loewenberg's is a major work in its field. The term "opera" is
used in its widest sense so that one finds Smetana, Stravinsky,
Sullivan and Suppe all included. The amount of research and cross-
checking that preceded publication is obviously tremendous and the
result is a permanent mine of information, unlikely to be superseded,
for all interested in the historical aspect of opera.

(f) VOCAL MUSIC

SEARS, Minnie Earl, & CRAWFORD, Phyllis, editors. Song index: an
index to more than 12,000 songs in 177 song collections
comprising 262 volumes. 1926. (New York: H. W. Wilson
Co.)

Song index supplement : an index to more than 7,000 songs in
104 collections comprising 124 volumes. 1934. (New York:
H. W. Wilson Co.)

With a solitary exception the 281 collections indexed in these two
volumes were published either in North America or in Great Britain.
The collections do not include any devoted to the works of a single
composer but are all anthologies of one type or another. The two

Music Libmriamhip

volumes also exclude from their scope hymnals, children's and un-
accompanied songs (but see the last paragraph of these descriptive
notes). The major effect of the limitation to anthologies is to exclude
almost all modern composers whose works are protected by copy-
right for these are rarely found in mixed volumes; on the other hand,
there is an excellent selection of folk and traditional songs. Main
entry is made under the title with added entries under the composer
(shown in bold-face Roman type), author of the words (in bold-face
italic) and the first line of the title which is, for clarity, always quoted
in inverted commas, even in those cases when this first line is also
the title of the song. The entries are arranged in a single alphabetical
sequence and the volumes are typical H, W. Wilson products in
appearance and layout.

The main [title] entry is followed by any alternative titles which
are quoted in curves. In the case of a song which has variant versions
of the first line, these are also given. Then is printed the name of the
composer or, in the case of anonymous songs the nationality of the
music and the words "folk air'*. The third item is "Words by . . ."
showing the name of the poet, etc. Fourthly, where the song is not
English or American there is a language abbreviation; for instance,
if the words are given in Italian and English, this is indicated by the
letters "i.e.". The entry concludes with the symbols indicating the
collection(s) in which the song is to be found.

In those cases in which the poet wrote the music also, indication
is given in the title entry; otherwise, the composer's name is shown
after the title in the bold-faced italic used for the author of the words.
Under each composer is listed a single alphabetical sequence of the
songs indexed. In the case of these added entries, reference must be
made to the title entry for other information. Foreign songs are
generally given under their original title except in the case of "un-
usual" languages. If the title begins with an article, it is retained but
ignored for filing purposes so that "The keel row" is shown in that
form but is indexed under "K".

Before the index of individual songs which forms the main body
of the work, the collections themselves are quoted in classified
sequence under the following headings: General; National and Folk
songs (divided alphabetically, e.g. English, French, German,
Hawaiian, etc.); Chanteys; Christmas carols; Sacred songs; School
and College songs. Those works recommended for first purchase are
marked with an asterisk. Each collection is entered under its com-

Reference Books and Periodicals

pliers, giving full names. This is followed by the title of the collection,
its date, price and (in some cases) a contents note, e.g. "29 folk
ballads; 66 folk songs; 5 accumulative folk songs", which is the note
appended to Cecil J. Sharp's One hundred English folk songs. This
work is indicated by the mnemonic "SO* 9 in the "key symbols of
collections indexed".

The index to individual songs follows. A search for the song
"Ma belle Marianne" shows the English translation "Pretty Man-
anna" given in curves and the description "Folk song from Alsace' 5 .
The letters "e.f. FTP" indicate that both English and French words
are to be found in the album symbolized as FTF whose full name
can be traced in the "key symbols" section. The supplement is
arranged on the same principle as the original volume. Where new
information has been found about any song this is indicated by
special brackets < >

The usefulness of these volumes should be clear. One can find,
within their stated scope, the authors of the words of over 19,000
songs, in what collection(s) these words can be found and (assuming
that the tune is not traditional) who composed the music for any
individual song. In some respects the index supplements Granger's
Poetry index, especially for anonymous folk songs.

Two years after the publication of the supplement one of the
gaps was filled by the Children* s song Index by Helen Grant Gushing
(H. W. Wilson Co., 1936). This work indexes 189 collections in 222
volumes and only eleven of this total have been already included in
the Sears and Crawford volumes. The layout and arrangement is on
the same lines as the earlier volumes.

(g) CHAMBER MUSIC

COBBETT, W. W., editor. Cobbett's cyclopedic survey of chamber
music. 2 vols. 1929, 1930. (O.U.P.)

These two volumes contain long, signed articles on chamber
music and related subjects, profusely illustrated with musical ex-
amples. The articles on works of individual composers are fairly
exhaustive; Debussy, for instance, who wrote but one string quartet
and three other chamber works receives a three-page article of some
2,500 words. Works are usually criticized individually and composer
entries begin with a complete list of compositions that are classed as
chamber music. This term is interpreted in Its widest sense from

Music Librarianship

violin and piano sonatas, etc., to nonets and other works that verge
upon the orchestral. Unaccompanied solo works and piano pieces
are excluded.

Although the major part of the work may be regarded as bio-
graphical/critical there are also articles on such topics as "Choreo-
graphy: its alliance with chamber music", "Clarinet in chamber
music", "Competition festivals in chamber music", "Consorts of
viols", to take a selection of headings within the compass of a few
pages.

At the beginning of each volume is a list of contributors and a
separate list of translators. The list of contributors is repeated at the
end of the second volume and here each writer's articles are detailed.
This volume also contains a supplement listing composers of cham-
ber music whose names are not to be found in the main body of the
work; this is followed by a bibliography of books, articles in news-
papers and periodicals, etc., arranged under the names of the
writers. The bibliography is tabulated in four columns showing,
respectively, the author's name, title of the book or article, name of
the publisher if a book or the title of the publication if an article and
the date of publication. The work is rounded off with a contents list
which simply repeats in convenient form the heading used in the two
volumes plus the detailed list of contributors, already mentioned.

This work has been out of print for many years but is due for
reprinting; a third volume is to be added, edited by Colin Mason
and Nicolas Slonimsky. This will cover the period from 1929 on-
wards and will also contain addenda and corrigenda to the original
work.

(h) GRAMOPHONE RECORDS

CLOUGH, Francis K, and CUMING, G. J. The world's encyclopaedia
of recorded music. 1952. (Sidgwick & Jackson) Second sup-
plement (1951-52). 1953. Third supplement (1953-55). 1957.

The original volume contains almost 900 pages of which the last
160 form the First Supplement, unmentioned on the title page; the
Second Supplement is a comparatively slim volume of 262 pages,
while the Third adds a further 564 pages of text. Within these four
sequences is listed almost all music of permanent value issued on
gramophone records between 1926 and 1955. In the case of items
frequently recorded the compilers have omitted some of the less
important versions; on the other hand, the first volume contains

Reference Books and Periodicals

details of a limited number of pre-electric and historical records.
Light music, unless considered to have sufficient musical value to
keep its place in the repertory is generally omitted; despite the title
of the work its scope is limited to western music Oriental and
African music is not included.

Each volume gives "a diagram of setting of the normal entry"
and this should be studied before inspecting the main body. Entries
are made under composers' names (with forenames and dates) in alpha-
betical order. The importance of each composer and the number of
entries required in the encyclopaedia determine the layout of the
material. For major composers an ad hoc classified order is adopted,
while for lesser figures an alphabetico-classed system is usually
adequate. An example of this latter method is provided in the first
volume by Cyril Scott. Four songs, apparently all that have been
recorded on 78 r.p.m. discs, are listed under the heading "Songs",
but twelve works are arranged in a single sequence of titles. Entries
under the composer begin, therefore, with an instrumental work
A ballad told at candle-light and the sequence continues with other
instrumental works to Rainbow trout when the heading "SONGS" is
interpolated and the four works of this type listed. These are followed
by Souvenir de Vienne and other instrumental works to the end of
the alphabet.

While the general scheme for major composers is standard, the
actual arrangement of entries will vary between one and another
according to the types of works written and recorded, so that the
arrangement adopted is indicated (for clarity) immediately under the
composer's name. Smetana's works, as an example, are arranged
under six headings: I, Operas; II, Other vocal works; III, Instru-
mental and chamber music, and three other headings. The compilers
attempt to identify every work by means of opus numbers, reference
to a standard thematic catalogue and the like. All Schubert's works
are listed with the numbers allotted to them in Deutsch's thematic
catalogue; Beethoven's works are given opus numbers and for those
works which have none the Grove number is shown together with the
number allotted in the Breitkopf & Hartel catalogue. Bach and
Vivaldi works are identified by the Schmieder and Pincherle numbers
respectively and this detail in identification is of the greatest possible
use.

A separate title index is provided under a composer when the
compilers consider it warranted. Many individual items from the

Music Librarianship

various sets of piano pieces by Debussy have been recorded so that
an index to these titles is provided at the end of the list of recordings.
This reminds the reader that Clair de lune is the third movement of
Suite bergamasque and that the Golliwog's cake-walk is the sixth
item in Children's corner and so on. The searcher can then look under
the name of the appropriate suite or set of pieces for recordings of
individual items. An extremely full index is provided for Liszt's
instrumental works which can be extremely confusing without such
a guide. This particular index quotes both the medium for which the
work was written (pf. study; orch.) and Grove's number. Anthologies
of gramophone records are listed separately with lists of contents.
The first volume contains an index of composers, a second of
arrangers and editors and a third of titles of operatic and other stage
works.

The normal entry indicates the performer, record make and
catalogue numbers. The first volume, limited to SP discs, indicated
the item on the reverse of a record that contained two works but the
system had to be modified for the supplements when LP discs were
indexed that might contain as many as a dozen works on a single
side. Older versions may be listed in smaller type; no less than
thirty-four versions of the "Jewel song" from Gounod's Faust are
tabulated in the first volume, including versions in English, Swedish,
Russian and Italian and an "etc." at the end of the list shows that
there have been other recordings not included. In the first volume
10-in. discs were distinguished by quoting the manufacturer's cata-
logue number in italics; the complication of LP discs was solved by
the use of the music signs for sharp ($) and flat (b) for 33J and
45 r.p.m. discs respectively an answer that is not nearly as effective
as that used in The record guide., discussed a little later in this chapter.
When a recording has been issued in more than one country, par-
ticularly if those countries include both Britain and the U.S.A., the
appropriate manufacturer's catalogue number is quoted according to
the country of origin and only in a minority of cases are both the
British and American numbers of the same disc given. Over 300
different record labels are listed and the trouble taken to identify
every work has been tremendous for the wording on labels has
often been casual in the extreme; the standard today is appreciably
higher but mistakes and uninformative titles still occur. Despite the
efforts of the compilers, the Second supplement contains a consoli-
dated list of errata that occupies over nine pages and a similar, though

Reference Books Periodicals

shorter, list is also given in the Third supplement. The general
arrangement of the work has been copied (with due acknowledge-
ment) from The Gramophone Shop encyclopedia of recorded music by
R. D. Darrell 5 published in 1936. Libraries possessing this latter
work or either of its two later editions (with different editors) should
not discard any of the three volumes for they are to some degree
complementary to W.E.KM. (as Clough and Cuming's work has
become generally known) since the newer work quotes only the
briefest details when the recording has already been listed in The
Gramophone Shop encyclopedia.

The work is unlikely to be superseded as the best reference work
in its field. Its lists of standard-play (78 r.p.m.) discs in volume 1 is
already acquiring historical value and took many years to compile;
the story has been told by one of the two discographers. The work
has been produced without any form of subsidy though the Decca
Record Company of London has assisted in the publication of all
volumes. Despite the spate of LP recordings in the early nineteen-
fifties, Clough and Cuming have somehow kept abreast of the flood
and their standard of accuracy and detective abilities have apparently
remained unimpaired, thanks in part to the generous response of
music-lovers all over the world who have sent in corrections and also
details of records issued outside Europe and the U.S. A.

One final point must be made. The work is factual; it gives no
guide to good or bad recordings nor to wonderful or horrible per-
formances. W.E.RM's sole interest is that a record has been issued
to the public (since it is not unknown for a record to be announced
but never appear on sale) and to give correct details of the work or
works on each disc. The three volumes are of the highest importance
in their own field; they are also useful in answering quite a number
of questions on music. The work should be in the stock of every
medium-sized library and in the small library that includes a gramo-
phone record service.

MYERS, Kurtz, compiler, and HILL, Richard S., editor. Record
ratings; the Music Library Association's index of record
reviews. 1956. (New York: Crown Pub.)
"Record ratings is essentially a guidebook pointing the way to a
tremendous body of critical writing about recordings." Thus begins
the introduction to this most valuable aid to the gramophone lib-
rarian. Basically the work consists of a list of LP records arranged

Music Librarianship

alphabetically under composer. Under each recording is a series of
symbols indicating details of where the record was reviewed and the
general verdict of each reviewer. The time involved in compiling and
editing such a work must be great since each individual review has
to be carefully read in order to note the reviewer's conclusions about
the record. This particular volume is a collation of material that has
already appeared in Notes, the journal of the M.L.A., which is
noticed in the second part of this chapter.

The number of works collated varies slightly from time to time
as some periodicals cease publication or new ones enter the field,
but there are usually nearly thirty on average, the majority of them
devoted entirely to gramophone records or music, and about three-
quarters of them of American origin. Some half a dozen British and
one French periodical are also considered. During the period
covered by this volume of Record ratings three of the periodicals
noticed (including one British) went out of existence. The actual time
covered is not quoted but would seem to be from about mid- 1949 to
early 1955. Understandably, every record listed has not been
reviewed in every periodical; all discs have been issued in the U.S.A.
though not in Britain or France, but in many cases twenty or more
reviews are indexed of an individual recording.

Each periodical is represented by an abbreviation, usually
mnemonic. To the right of it is given the date of issue upon which
the particular review appeared and this is followed by the actual
page number; to the left is a symbol denoting the general tenor of
the review. A plus sign indicates a good, favourable review and a
minus sign the reverse. A small black circle means that the pros out-
weighed the cons for that particular reviewer but not by a large
margin, while an open square denotes one of those maddening
reviews from which it is difficult, if not impossible, to draw any
definite conclusion. A double dagger sign indicates that the review
contains some unusually valuable background information. The
letters "(m)" after an entry disclose that the review complains of
technical shortcomings in the disc; it is interesting (if not curious) to
find that this particular type of criticism is much more common in
Britain than in the U.S.A. Finally, notes may be added after a com-
poser's name or before a particular recording. Thus, under Schu-
bert's name is the information: "A comparative discography
'Schubert on microgroove' by C. G. Burke will be found in three
issues of HF ..." [HF is the abbreviation for the magazine High

Reference Books and Periodicals

Fidelity}, while later, dealing with one of this composer's chamber
works, the following information is given:

Octet, F major, D.803. Vienna Octet. London LLP 1049

(ML suggests this a reissue of 78 rpm set CE-A 104; if so,
the previous reviews are as follow: . . .
ML 1-55 p. 15 (m.fl)
+ Na 11-27-54 p. 471
1STYT 12-26-54 p. X8
etc.

From this specimen entry it can be seen that the reviewer of the
Monthly Letter, published by E.M.G. in London, was dissatisfied
with both performance and recording, and suggested that the
version was an LP pressing of an SP version. On the other hand, the
record received a favourable review in the Nation while The New York
Times gave only qualified approval. The reader will also note that
the three reviews tend to cancel one another out, and also that the
English user must remember that dates are quoted in American
fashion with the month first and the actual date as the second item.
Because of the limited range of symbols used to signify opinions and
because the compiler may well have his own natural bias it is recom-
mended in the introduction to this volume that the user should read
the actual reviews when possible, in which case Record Ratings
would be used primarily as an index. "The reasons a reviewer gives
for liking or disliking a particular release are more crucial than his
final decision, and often reveal that the decision should be taken
with a grain of salt." The compiler and editor also suggest the need
to acquire some background to reviewers and periodicals. "Having
acquired such a background a user of this book may easily find that
for him a plus sign associated with one critic is roughly equivalent
to a minus sign associated with some other critic" a comment that
will meet with whole-hearted agreement with most readers. The
position is much less simple, though, when more than one critic
reviews (for example) orchestral records in the same periodical.

Financial stringency made it impossible to give analytical treat-
ment for "recital" and other composite records which contain more
than two works; such a task would have made the work much
bulkier and increased the burden upon the compilers to an unbear-
able degree. Such records are grouped under the heading "Com-
posite releases", first by manufacturer and then by his catalogue
number in contrast to the bulk of the book where arrangement is by

Music Librarianship

composer and then alphabetically the title of each work. The volume
is completed by a performer index, classified into four groups. First
come organizations, i.e. orchestras, chamber music groups, etc.;
secondly, conductors; thirdly, vocalists and, fourthly, instrumental-
ists. This last group is sub-divided into four further categories
Keyboard, Strings, Winds and Miscellaneous; after each name is an
abbreviation showing the actual instrument(s) played.

The foregoing paragraphs should have shown the book's impor-
tance as an aid to gramophone record selection since it allows one
to see at a glance the consensus of critical opinion on a particular
recording; this should be a particularly useful complement to The
record guide (see below) which normally limits itself to a single
opinion upon an individual recording. Record Ratings may also be
used as an index to any of the periodicals listed which are filed by
the library and attention must be drawn once more to the useful
information given which is strictly outside the book's immediate
scope. An example was given concerning a Schubert work; a second
can be taken from the heading "Historical reissues 5 ' and the five
discs of "50 years of great singing": "Some information on the
engineering problems involved in preparing this release will be found
in the column 'Music makers' by Roland Gelatt in HF 2-55 p.
51-52. Mr. Gelatt reviews the set at length in The Reporter'
6-30-55 p. 40-42 under the title c On fogies and Figaro' ".

Since Notes is continuing its quarterly comparison of reviews, the
source of the material for this book, the compilers expect to produce
subsequent supplements or even new editions in due course. Here,
again, is a work that should be in the stock of every library that has
a collection of gramophone records; its cost is comparatively low
and while its primary value is to American librarians it has con-
siderable worth to a music librarian in Britain.

SACKVILLE-WEST, Edward, and SHAWE-TAYLOR, Desmond. The
record guide. Revised edn. 1955. (Collins) Supplement. 1956.
(Collins)

The first edition of this work was intended, according to its
preface, as "A guide book to the vast available repertory of the
gramophone"; the revised (i.e. the second) edition has the object "to
help the music-loving record-buyer who is bewildered by the bulk
and variety of the catalogues and incessant duplication of the reper-
tory. The authors have attempted to take into full account all

Reference Books and Periodicals

records of serious music currently available in England." It is gener-
ally conceded that they have succeeded admirably in their aims.

At the time of writing there have been five volumes. The original
Record guide appeared in 1951, ran to 763 pages and listed selected
records in the current gramophone catalogues up to December, 1950.
There was an appendix of about thirty pages dealing with the then
newly-introduced long-playing records. This volume was supple-
mented in November, 1952, by The record year which covered new
issues to mid-1952. Both SP and LP discs were now merged in a
single sequence and LP discs issued before January, 1951, if con-
sidered "of any worth or significance" were also included so that
there was some duplication with the appendix of the original
volume. The title-page adds to the authors* names "assisted by
Andrew Porter". The same trio were responsible for The record year 2
which covered releases from the middle of 1952 to mid- 1953; this
again covered earlier LP releases but omitted any annotations that
had appeared in earlier volumes.

The revised edition appeared at the end of 1955 with William
Mann's name added on the title-page, though the original two
authors still appear to be mainly responsible for the work. It would
also seem that works are normally selected and reviewed by one of
the writers, who remains anonymous. On occasion there is disagree-
ment between the compilers and a note as to their different opinions
is given; it is sometimes possible to discover which has been respon-
sible for the comments on a particular record when it is a more or
less direct quotation from an earlier review, e.g. many of Andrew
Porter's reviews in The gramophone are repeated almost verbatim in
the volumes of The record guide. The new edition represents a com-
plete revision; though primarily devoted to later releases ("towards
the end of 1954" is the Introduction's definition of the last issues
covered) the book includes the best of the earlier issues recommended
in one or more of the three previous volumes. This is particularly
the case when only one recording of a work has been available. The
volume is fairly broad with 957 pages and the Supplement, published
in March of 1956 brings the coverage up to the first half of 1955.
From this fairly detailed description it is possible to infer something
of the spate of new LP discs between 1950 and 1955; it was on a
scale completely unknown even in the palmiest days of SP discs.
This spate of new issues was paralleled by the withdrawal from the
manufacturers' catalogues of longer works on 78 r.p.m. discs and

Music Librarianship

then by the disappearance of almost all classical records on shellac
except on the shelves of dealers specializing in second-hand discs.
The three earlier volumes of the five here described will, therefore,
be retained primarily for their discussion of SP discs (since most
individual collectors will retain records of works not available on
LP or performances that are irreplaceable) rather than for the
limited coverage of earlier LP discs.

The general arrangement of the volumes is the same. Works are
listed under composer, whose name is shown in capitals with one or
two forenames and dates of birth and death in brackets. These par-
ticulars are all in bold-face type. There is a general introduction to
the composer's music ranging from two lines to two pages; the
standard of critical comment is usually excellent. The arrangement
under individual composers varies according to the nature of his
output and the amount of music recorded but, generally speaking,
there are six headings used: Orchestral music; Chamber music; Solo
instrumental music; Operas; Oratorios, etc.; Songs. The first head-
ing has three sub-divisions Symphonies, Concertos and Miscel-
laneous piano music, while the second heading is usually arranged in
descending order according to the number of players, from nonets
to duos. L S. Bach may be cited as an example of how these general
headings are adapted to the recorded music of a particular composer.
In this case the order of headings is : Concerted instrumental music
(for the Brandenburg concertos, Suites, etc.) and also perhaps un-
expectedly for the chamber music items such as the trio sonatas
and the sonatas for violin and clavier; Orchestral transcriptions;
Organ music; Music for solo clavier; Piano transcriptions; Sonatas
for unaccompanied violin; Suites for unaccompanied 'cello; Larger
choral works; Cantatas; Motets, and Songs. The following com-
poser, Balakirev, requires three headings only: orchestral music
(which lists a symphony and a symphonic poem); Piano music (a
single work) and Song.

There are often general critical comments and notes upon each
of these sub-sections and, slightly less frequently, remarks upon
individual works and performances. Generally speaking, one record-
ing is recommended in preference to other versions (which are often
not listed at all and may not be mentioned in the comments). Where
different recordings have certain good qualities divided between
them and, in the eyes of the compilers, more than one is worth
recommending, then the alternative versions are listed with, possibly,

Reference Books and Periodicals

comments upon their major differences, e.g. "Neither of these sets
can be recommended as a whole, though both contain a fair measure
of success". This begins a comparison of two recorded versions of
Chopin's Preludes that runs to over 200 words. Outstanding per-
formance and recording is indicated by the award of two stars before
the record number(s), though the music itself may be (as the authors
emphatically remarked in the first edition) "piffling". One star is
given to older recordings which are technically good for their period,
though in this case the star is given for outstanding interpretation.
After the first volume the numbers of 12-in. discs are given capital
prefix letters (LX 2222), while the prefix for a 10-in. record is in
lower case (be 2222). Long-playing records are given catalogue
numbers in bold type in contrast to the ordinary type used for 78
r.p.m. discs. The introduction of the 45 r.p.m. record presented a
fresh problem solved by the use of italics for their catalogue numbers.
Though these variants may sound rather complicated they are easily
understood in practice and the answer must be regarded as a much
better solution to the same problem than that given in W.E.R.M.

Throughout the work, in all five volumes, the comments are
written in a racy and enjoyable style, with some strong criticisms,
occasional recorded disagreement between the compilers and in some
cases a modified opinion of the same recording between one volume
and the next (". . . we cannot help feeling that our original estimate
of it [Dinu LipattFs performance of Chopin's Waltzes] was over-
enthusiastic") when a work has been played on a number of occa-
sions between one volume and the appearance of the next one.
"Collections" are dealt with in an appendix with a minimum of
comment. It is obvious that all the works mentioned in this section
on gramophone records have found the mixed LP anthology a diffi-
cult problem to catalogue. There is also a four-page section on tape-
recordings (which may well have a very bright future if prices can be
reduced) and two pages dealing with the recordings of the Corona-
tions of King George VI and Queen Elizabeth II. Composers who are
represented in an anthology or collection but who do not receive a
separate entry in the main body of the book are listed in a separate
index; the work is completed with another index which lists per-
formers and quotes the page numbers on which their names will be
found.

This is the work with the greatest general appeal to the average
British music-lover and is also a handy guide to selection (within its

Music Librarianship

period) for the gramophone record librarian, providing that its
judgements are not accepted as infallible a quick comparison with
Record Ratings wiU show that some other critics and reviewers have
considerably different views upon some of the recommendations.
The torrent of new issues during 1953-55 obviously made the com-
pilation of the work both difficult and tiring but one hopes that the
compilers are unduly pessimistic when they describe the revised
edition and its supplement as the "perhaps final edition".

PERIODICALS

Quite a number of newspapers and periodicals review some books
on music and find space for brief criticisms of new gramophone
records. The periodicals considered below are, however, primarily
intended for the musician or music-lover and are considered in this
chapter briefly for their value as aids to the selection of books, scores
and gramophone records. Other contents, editorial policy and the
like receive only superficial comment. Librarians may find the list of
some use when revising the periodicals list and may also consider the
possibility of alternative provision rather than duplication at branch
libraries. Students facing examinations in book selection and assis-
tance to readers are advised, whenever possible, to see specimen
copies of the periodicals listed below. Not only will this act as an aid
to memory but it is quite possible that the layout and coverage of
any particular periodical may have changed, since these items are
not necessarily static; the information given here may be outdated
in certain particulars.

Though some of the periodicals limit their criticisms to gramo-
phone records, others to books and scores and a third type will cover
all three items, it has been thought best to deal with all magazines in
alphabetical order rather than attempt to classify them.

CHESTERIAN (Quarterly)

This is the house journal of Messrs. J. & W. Chester, the London
music publishing firm. It includes articles of general interest to music-
lovers written by authors of both national and international repute.
Reviews of new music are included; while much of the space is
allotted to works published or imported by Chester, as could be
expected, other music also receives mention.

100

Reference Books and Periodicals
FONTES ARUS MUSICAE (Twice Yearly)

This is the review of the International Association of Music
Libraries. It has been published since 1954 and is issued at six-
monthly intervals. The actual printing is done by the music publish-
ing firm of Barenreiter in Cassell, Germany. The journal is multi-
lingual with articles in English, French, German and occasionally in
other languages. Important articles may have a translated precis at
the end in the other two official languages of the journal but that is
all. General announcements are also quoted in English, French and
German.

For the librarian the greatest value of this periodical is almost
certainly in the selective lists which appear at the back of each
number. These comprise brief details of books and scores published
throughout the world, arranged under country. The selections are
given in five categories: I, Theatre et films; II, Musique instrument-
ale; III, Musique vocale; IV, Folklore; V, Ouvrages sur la musique
et ouvrages didactiques. These lists provide a simple but invaluable
method of keeping some sort of check upon important foreign publi-
cations; the selection for each country is made by a local expert, e.g.
for Britain the editor is Mr. A. Hyatt King of the British Museum.

THE GRAMOPHONE (Monthly)

This is the oldest and best-known publication in its field in
Britain. It began publication in 1923 with Mr. (now Sir) Compton
Mackenzie as its first editor. This famous author remains on the
editorial board and is still as alertly interested in gramophone
development as ever.

The major part of the periodical is devoted to reviews of gramo-
phone records of standard music. The general heading "Analytical
notes and first reviews" indicates the intention; reviews contain
notes and comments on the music performed as well as criticisms of
the quality of performance and recording. Generally speaking, the less
well known the music performed the more detailed the description
of the work and its place in the composer's output; the hackneyed
symphonies and concertos are often "taken as read", and this
sensible plan adds to the non-specialist appeal of the magazine.
Reviews are normally up to 500 words in length but an important
work or recording, particularly if new to the gramophone, may
receive considerably fuller treatment. At the other end of the scale, a
routine performance of a work regularly recorded may be dismissed

H 101

Music Librarianship

in five or six lines a matter of twenty-five to thirty words. Reviews
are initialled and a list of reviewers is given with each issue. Minor
variations in arrangement occur from time to time; the December
1954 issue, for example, was the last to include a complete list of the
month's releases by the various companies, but the following month
saw the introduction of the scheme whereby earlier recordings of a
work are listed in small type together with the date they were re-
viewed immediately below the details of a record and before the
criticism itself. This scheme allows the reader who is considering the
purchase of a recording of a particular work to check back on all
previous reviews and use them as an aid to selecting the version most
likely to appeal. January 1956 saw the introduction of a general
index to the records reviewed each month and it is quite possible
that by the time these words are in print further modifications in the
arrangement may have taken place.

Classical records are divided into the following categories:
Orchestral (which includes concertos); Chamber music; Instru-
mental; Choral and song; Operatic; Poetry and diction. Arrange-
ment within each class is alphabetical under composer; the "fill-up"
on a long work, or the work on the second side of an LP disc is
listed with the main work and the entire record is reviewed in the one
place, even though the extra work or works may be by a different
composer. This is where the monthly index is useful. The heading of
each criticism gives the composer and title of the work, the name of
the soloist(s), orchestra, conductor, etc., and the record number(s)
and price.

Jazz and swing records have a separate section and these discs
usually receive brief but reasonably comprehensive individual re-
views; "Miscellaneous and dance" covers the mass of light and
ephemeral music briefly but competently. Reviews are generally up
to date but may sometimes be a month or two behind release. Very
occasionally, reviewers get the chance of giving "second reviews" in
which the alternative recordings of a particular work are compared
at length though the reviewer is rarely able to say, hand on heart,
that one version is clearly better than all its rivals. A new recording
generally includes, during the course of the review, a brief comparison
with some or all of its earlier competitors and reviewers generally
indicate where (in their opinion) an earlier issue is still as good as or
better than the new release.

Equipment, in the form of radiograms, loudspeakers, pickups,

102

Reference Books and Periodicals

tape recorders and the like, is also reviewed, while new issues or re-
prints of miniature scores occasionally receive a brief mention. The
monthly "Letter from America" helps to keep British readers abreast
of the latest issues and developments in that country, though this is
often frustrating; it is difficult to import an American disc into
Britain and also expensive. The keen collector has to wait and hope
that a British associate company will issue in this country a record-
ing that interests him particularly. General articles are sometimes
included and are usually fairly brief; they usually deal with gramo-
phone personalities such as singers and instrumentalists, particularly
those who have just died or who have sprung into prominence
through the agency of the gramophone. The magazine must be
regarded as essential for any library with a collection of gramophone
records and it will almost certainly achieve regular use in the reading
room of a library that has no collection of discs.

Finally, mention must be made of the LP classical record cata-
logue, issued quarterly. It contains a composer index with the works
of each arranged in classified order and the briefest details of per-
former, companies* catalogue numbers and the month in which each
recording was reviewed in the columns of The gramophone no date
indicating that the record has never been reviewed. The second part
of the catalogue comprises an artist index which indicates the works
recorded by a particular performer and the record number for each
work. This index is used by many British gramophone librarians in
lieu of including similar entries in their own library catalogues. A
miscellaneous index lists the items on the LP discs of the "History
of music in sound" (earlier editions included the D.G.G. "Archive"
series in chronological order of "Research period" ; both these series
are mentioned in chapter 5); there is a list of "Music for schools"
series, of individual organs with the organists who have recorded
music upon them, the casts of complete operas are given and there
is a "Drama and narrative" index. These miscellaneous indexes tend
to vary over a period but the two main sequences are the backbone
of the catalogue which is a reference work of very great value both
to gramophone record librarians and to keen individuals who are
building collections. There is a somewhat similar quarterly catalogue
for popular records.

MONTHLY Music RECORD (Monthly)

This is another house journal, in this case that of Messrs. Augener.

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Music Librarianship

In addition to articles of general interest to musicians there are
reviews of gramophone records, new books on music and of new

scores. This magazine would appear to be intended for both the
professional musician and the interested amateur. Practically all
publications of the parent firm are reviewed (though one can hardly

expect to find unfavourable notices) and a certain number of those
of other publishers.

Music AND LETTERS (Quarterly)

This is one of the most scholarly of the music periodicals pub-
lished in Britain and was founded in 1920. The main body of each
number consists of articles on various musical subjects and a high
proportion of this information would seem to appear later in book
form. References to discoveries of material relating to famous com-
posers appears with surprising frequency and facsimiles and illustra-
tions in music type are to be found in many of the issues. Book
reviews (both of domestic and foreign publications) vary consider-
ably in length, but 1,500 words is not uncommon and even longer
reviews are found upon occasion. Because of this length only a
limited number of books are selected for review in each number but
those chosen are normally the most important. Initials at the end of
each review indicate the writer.

Notices of music scores are generally restricted to new works or
to important new editions of the classics, etc. These again are
initialled. The scores are grouped according to form but headings
are lacking in each group so that it is not always easy to discover if a
particular work has received mention. At the end of the journal is a
list of reviewers so that unfamiliar initials can be identified.

MUSICAL OPINION (Monthly)

This covers much the same ground as The Musical Times to which
it provides a useful alternative. Although not mentioned in the title
the second part of each issue is headed The Organ world and
occupies over a third of the average issue. Organ specifications are of
no interest to the majority of librarians, but when the Royal College
of Organists announces the syllabus of pieces for its Fellowship and
Associateship examinations each year, The Organ world gives brief
notes on the music and these may provide useful pointers to the
librarian who wishes to strengthen this particular section of the music
stock.

104

Reference Books and Periodicals

Book reviews usually ran to about 400 words and are initialled
though the initials are not identified. New music is anonymously
reviewed under broad headings such as "Songs**, "Educational
music" and the like, and a very wide field is covered. Gramophone
records are reviewed by a single contributor and the selection is
usually limited to orchestral, chamber music, instrumental and a few
vocal records. These reviews are often comparatively late which
reduces their value to the librarian. In conclusion, it must be said
that the general appearance of the periodical is not attractive; the
paper is of poor quality, the type is pedestrian and advertisements
on every page are an irritation.

MUSICAL QUARTERLY (Quarterly)

This is probably the most important American magazine of its
type and was founded in 1916. Its nearest British equivalent is Music
and Letters. It contains fairly long articles giving (when needed)
examples in music type in the text and also providing plates. Book
reviews are an important feature and a single review may take 5,000
words or more, though the average is about 1,500, "British and
continental books receive equal appraisal with those published in
the U.S.A.

Because of this international coverage book reviews are generally
limited to the most important works. On the other hand, a bad
musical work that has received national advertisement or the book
that has been given, in the editor's opinion, unjustified critical
acclaim may find itself reviewed at length in Musical Quarterly. As
with all reviews in this periodical the critic will be a specialist in the
particular subject and the review will probably strip the offending
work of nearly all its pretensions to scholarship or originality.

Reviews of gramophone records are also limited to important
issues which are dealt with at length rather than giving many discs a
brief mention. The notices, which are signed, concentrate on the
music itself, on the edition used and on music scholarship rather
than on the actual performance or the standard of recording.

MUSICAL REVIEW (Quarterly)

This periodical is similar in outlook to Music and Letters. As its
title suggests, reviews are an important part of its content. Book
reviews are initialled and average some 400 words. Gramophone

105

Music Librarianship

records are also reviewed briefly under broad headings. Reviews tend,
on occasion, to be didactic and even disputatious. Reviewers can be
identified by a list given at the end of each issue.

THE MUSICAL TIMES (Monthly)

Founded in 1844, The Musical Times is the best-known music
journal published in Britain. Since the beginning of 1951 it has been
printed on art paper though the number of illustrations in any
particular number is likely to be small. Book reviews (under the
heading "The musician's bookshelf") vary in length to an approxi-
mate maximum of 800 words. The general policy, as with most other
music magazines, would appear to favour a limited number of fairly
detailed reviews rather than brief notices of nearly all music publica-
tions. Regular contributors sign reviews with initials; others with
their names.

Gramophone records were formerly regularly reviewed and the
notices included music quotations but changes in editorial policy and
pressure on space has modified this. New music is briefly reviewed
under broad headings such as "Piano", "Organ" and "Choral",
Although this periodical is, strictly speaking, a house magazine it
does not limit its reviews to works issued only by Novello those of
other publishers appear to receive equal representation and impartial
treatment in its columns; the only obvious indication of ownership
is the partsong or anthem that is to be found in the middle of each
month's copy.

The Musical Times is also the journal of The Royal College of
Organists and the official announcements of that body appear every
month, together with reports of proceedings, etc. During recent
years the emphasis on organ matters has noticeably increased while
the magazine has also apparently attempted to become much more
popular in appeal.

NOTES (Quarterly)

This is the magazine of the Music Library Association (of the
U.S.A.). It is both surprising and disappointing that it is so little
known to British colleagues for it is produced by librarians for
librarians. The articles on musical matters include long and impor-
tant bibliographical ones. There is an irregular feature, "Audio-
visual matters" in which gramophone library affairs are discussed.
Book reviews, which usually run to a maximum of some 500 words,

106

Reference Books Periodicals

are signed and are often pleasantly Informal as weM as being highly
knowledgeable. British and European books of importance receive
equal attention with American publications. At the end of the section
devoted to reviews is a list of other works which have not been
noticed for one reason or another and a second set headed "Correc-
tions and amplifications of old listings'*. Reviews quote not only the
publisher and price, but also the pagination and illustrations (if any).
Music reviews are usually limited to new works or important new
editions of old ones; here again the coverage is international. The
music is classified under broad headings and reviews are signed.

Gramophone records are not reviewed as such but the findings
of nearly thirty periodicals are collated; information as to how this
is done is given earlier in this chapter when discussing Record ratings,
compiled and edited by Kurtz Myers and Richard S. Hill. Many of
the recordings are issued, sooner or later, in Britain so that the lists
are of very real value to the British music librarian and are not for
domestic consumption only.

Every British library that has a separate music department or a
music librarian should subscribe to this periodical which should be
filed as one of the most important music periodicals in existence.

RECORD NEWS (Monthly)

This periodical reviews gramophone records of classical music
though lighter material may receive brief mention. There is a panel
of reviewers, each specializing in a limited field such as Lute and
guitar, Viennese classics, Organ and church music. Separate atten-
tion is given to the music, the performance and the recording; the
playing time of each disc is given (indicating, it may be added, some
immense variations in the amount of music that may be issued on a
single LP side). The advantage of specialist reviews is great, particu-
larly since this magazine overcame its early disadvantage of some-
what belated notices. The equipment upon which each reviewer's
discs have been played is also quoted each month and this can be of
assistance to the high-fidelity addict.

Since the coverage of this magazine is almost exactly that of the
average gramophone record library the periodical is most useful to
any gramophone record librarian and is likely to be much used by
the public. Its approach with use of a specialist panel is somewhat
akin to that of The American Record Guide, one of the best periodicals
of its type in the U.S.A.

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THE STRAD (Monthly)

A periodical for the players of stringed instruments, whatever
their technical abilities. It contains brief, unsigned book and gramo-
phone record reviews. Music reviews are limited to string music and
to miniature scores of chamber music. The comments, though brief,
are useful and often illuminating, particularly as the standard of
playing ability required is normally indicated. This can be very
helpful when choosing new accessions in this field.

TEMPO (Quarterly)

Yet another house journal, in this case that of Messrs. Boosey &
Hawkes. The standard of production is as high as that of the music
issued by this firm and illustrations add to the general attractiveness
of the magazine. It contains brief book reviews.

FOR FURTHER READING

HICKLING, Jean. An account of current musical periodicals in
English.

This unpublished essay was submitted to the Library Association
as part of the Final examination by Miss Hickling, who was Music
Librarian at Westminster at the time it was written; a copy of the
essay may be seen at Chaucer House. The history and policy of a
number of periodicals is discussed and the essay brings together
information not easily found elsewhere.

The articles on dictionaries and periodicals, mentioned under
Thompson and Grave respectively at the beginning of this chapter,
should also be read by all students.

Postscript

Everyman's dictionary of music appeared in a "further revised edition" in October, 1958.
There has been no major recasting but rather the usual small amendments that a dictionary of this
nature periodically requires. Another revised work that deserves mention is James B. Cooyer's
Music lexicography (Denver, Colorado; Denver Public Library, 1958). This provides a revision
and considerable expansion of the same author's A bibliography of music dictionaries,, quoted as
an example on page 74 of this chapter. There are now listed over 1,300 items, though this total
includes different editions of the same work. This bibliography is almost certainly the finest in its
chosen field* Mr. Coover, who is Music Librarian of Vassar College in New York State, includes
an essay on "Lacunae in music lexicography" in which he discusses the strange fact that music
dictionaries for the sixteenth and seventeenth centuries are almost non-existent though earlier ones
are known and the eighteenth century saw many productions of this nature.

108

Chapter 111
CATALOGUING

This chapter falls into three divisions. First comes a brief survey
of some of the problems that arise in cataloguing music; this is
intended to be of general interest. Second is a section for students
which deals with the various rules for cataloguing music in different
Codes. The third section contains practical suggestions for music
cataloguing. This part of the chapter is particularly intended to pro-
vide assistance for the cataloguer who has little knowledge of music
and who lacks specialist help from his colleagues. The need for a fair
degree of musical knowledge if scores are to be correctly handled is
by no means as fully appreciated as it should be, but in the small
library the cataloguing staff is likely to consist of a single profession-
ally-qualified assistant only and that assistant may be completely un-
musical. Since this chapter was written the position has been im-
proved for the British librarian by the appearance of The British
catalogue of music which should provide some assistance but which
should not be regarded as a substitute for a cataloguer nor yet as
being infallible and suitable for every library.

The problems

There are four special problems which face the cataloguer of
music. The first concerns the title-page for, unlike normal practice,
it may be largely irrelevant, since the same piece of music can be
published in various countries with very different title-pages. Some
provision must be made so that all the entries for the music appear
together in the catalogue. The second problem relates to arrange-
ments : the same piece of music may be available in several different
forms, e.g. a library's stock could easily contain the miniature score
of a Haydn symphony, an arrangement of it for piano solo, another
for piano duet and a fourth for violin and piano. Good cataloguing
requires that all versions be entered separately but that they are filed

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Music Librarianship

together under the composer's name in a dictionary catalogue or
appear together in the author index of a classified catalogue. Then
the potential user can easily see the various available arrangements
and choose the one most suitable for his purpose. The third problem
concerns excerpts; separate publication of extracts from a longer
work is uncommon with books but normal with music scores. It is
particularly frequent in opera where single arias are available by the
dozen in response to long-standing public demand. The amateur
soprano who wishes to sing One fine day would be painfully sur-
prised if she found herself forced to buy a complete score of Madame
Butterfly to achieve this ambition, though she will probably be happy
enough to borrow a vocal score of the complete work from her local
library. The fourth problem has been the lack of standard examples
of good cataloguing. The American librarian has had for some years
the expert guidance of the catalogue cards issued by the Library of
Congress to ensure a high standard of music cataloguing. The
appearance in 1957 of The British Catalogue of Music has assisted
the British librarian but it would be misleading to pretend that the
standard is as good as its American counterpart.

The answers

The natural answer to these problems is the employment of a
good cataloguer with a sufficient knowledge of music. Where there
is a music librarian, cataloguing should be done by this expert or
prepared under his or her supervision. Only the very largest libraries
will be able to think in terms of a music cataloguing department.

The second answer would appear to be a sound code of rules
applicable to music, such as that of the Library of Congress which
was influenced by the Code for cataloging music of the Music Library
Association. In addition to a code the cataloguer should have an
adequate supply of source books. No two librarians will exactly
agree as to how many are "an adequate supply"; it may be men-
tioned, without comment,, that Elmer (whose thesis is included in
the reading list at the end of this chapter) suggests no less than 243
books. Cataloguers should be reminded at this point that there is
often value in old music dictionaries and cyclopaedias as these will
frequently include entries for composers whose popularity has since
declined and whose names may be difficult to trace in current books.
My own recommendations to the cataloguer would be the works
annotated in Chapter II; most of these should be shelved in the

110

Cataloguing

Reference Library. The expense of buying second copies so that the
works could be at the cataloguer's elbow makes such a concession
impractical.

It would appear that the problem of cataloguing music has been
avoided in some American libraries by the device of putting on the
shelves music that has been neither classified nor catalogued. Wallace
C. Look 1 circulated a questionnaire to 200 libraries; only 18 per cent
of these included music scores in their collections. Of the thirty-six
libraries no less than eleven have neither catalogued nor classified
their collections. These eleven libraries have book stocks ranging
from 9,000 to 255,000 with an average of 70,000. These results will
probably shock many British librarians, and one cannot deprecate
too strongly such an "answer" to the problem.

CATALOGUING RULES AND THE STUDENT

The Anglo-American Code

The Anglo-American Code of 1908 dismissed music cataloguing
in three brief rules a possible indication that the music section in
most public libraries was either very small or imperfectly catalogued;
it could well have been both. The first rule, numbered 8 in the Code,
is the general one that instructs the cataloguer to make author entry
under the name of the composer with added entries for editor or
arranger and also under the librettist when there are words set to
music. Current practice in many libraries is to ignore these added
entries unless the librettist is well known (such as Da Ponte or
Hofsmannsthal), or unless the arranger has so modified the music as
to carry it over the disputed boundary that separates arrangement
from transcription. In the latter case the transcriber's name is often
hyphenated with that of the original composer, so that the cataloguer
meets Rossini-Respighi, Schubert-Liszt, Bach-Walton, etc., though
these should not be confused with Castelnuovo-Tedesco, Wolf-
Ferrari and similar hyphenated names of a single composer. There is
a subsidiary rule to no. 8 that directs the cataloguer to enter varia-
tions written on a theme by a different composer under the name of
the composer of the variations and not under the writer of the theme,
even though that provides the starting point for the later composer.
This is an obviously sensible rule; only rarely is the original theme of
intrinsic interest it is what the later composer has done with it that
counts. The secondary entry may be of use when it identifies the

Music Librarianship

work from which the theme is taken; it can also indicate when two
or more composers have based variations upon the same theme as
have Schumann, Brahms and Rachmaninov (among others) with an
extract from Paganini's Caprice no. 24.

The second rule deals with libretti. ("Libretto" has become
accepted as an English word so that the alternative plural "Lib-
rettos" may be regarded as almost equally correct.) These should be
catalogued under the writer with an added entry under the composer.
The added entry is of doubtful value in small libraries particularly
where it suggests to an enquirer that a particular score is included in
stock when in fact only the libretto is available. Yet there are at least
two points in favour of such an entry; it may draw attention to the
fact that the words (in the original, in a translation or in both) of an
opera are available and few patrons are likely to know the name
or names of the authors of the words of their favourite operas.
The other advantage applies where there is a gramophone record
library, for libretti are often preferred to scores by borrowers of
operatic discs.

The third and last rule is no. 10, which is for thematic catalogues.
These are to be entered under the composer with an added entry
under the name of the compiler. Many students who learn this rule,
parrot-fashion, remain unaware as to what a thematic catalogue is,
so that a brief explanation may be useful. Since Beethoven's day the
earliest published composition of a musician is normally given the
opus number 1, the next becomes opus 2, and so on. When opus
numbers are used no confusion should occur between works with
the same title (such as Sonata in F major) by the same composer; in
addition such numbers will usually indicate if the work is an early
one or of the composer's maturity, etc. Unfortunately for the
cataloguer, opus numbers were not given to works (with few ex-
ceptions) until the late eighteenth century; there are a number of
subsequent examples up to the present time of composers refraining
from identifying their compositions in this way. Important contem-
porary examples are Ralph Vaughan Williams and Aaron Copland.
With certain composers some works are numbered and others not,
though most composers who use opus numbers omit them for minor
works particularly if they do not expect them to be published; with
other composers the numbered sequence may have little or no con-
nection with the chronological sequence. Thus a limited number of
works by Handel and Haydn have opus numbers which were usually

112

Cataloguing

given, without permission, by enterprising music publishers of the
time, but the majority of the scores by these two composers are not
so distinguished. On the other hand, many Schubert works bear
numbers that have little relation to the order of composition and in
the Schubert thematic catalogue compiled by O. E. Deutsch (Dent,
1951), a fascinating introduction includes both a brief history of the
thematic catalogue and outlines some of the divergencies. According
to this authoritative list Schubert's opus 1 (the famous song Erlk&nig;
The Erl king) was written in the autumn of 1815 while the same
composer's opus 117 (a setting of another Goethe poem, Der Sanger)
was composed in February, 1815. Dvorak presents no problems of
numbering but it is worth recalling that for some time he was under
contract to one publisher and selling certain works to others, so he
used two parallel sequences of opus numbers in order to appear to
keep within the letter of his contract.

It is to deal with these and similar difficulties that thematic
catalogues have come into being. To ensure distinction between one
composition and another the thematic catalogue shows the opening
bars of the music of each piece. Sometimes two staves, treble and
bass, are shown; occasionally, the melody line only may be con-
sidered sufficient. The first, and probably most famous, thematic
catalogue is that of Ludwig von Kochel in which he arranged the
compositions of Mozart in probable chronological order, using the
original manuscripts, correspondence, etc., as evidence. KochePs
work was first published in 1862 and has since twice been revised in
the light of subsequent discoveries which have both added to the
list of Mozart's works (and deleted others) and corrected some of
Kochel's supposed dates but it is still the standard catalogue for
the identification of a Mozart work so that it is universally accepted
that the distinguishing mark of a set of German dances should be
K. 605 and not op. 605 as one would normally expect with another
composer. These initial letters have now spread to use with certain
other composers, such as Schubert, Vivaldi, etc.

Cutter

In Cutter's Rules for a dictionary catalog (4th edn, 1904) there is a
single rule for music which suggests double entry under composer
and the author of the words. Cutter adds a note that "short" and
"medium" entries would probably dispense with the author of the
words but that in the case of famous authors (e.g. Shakespeare) the

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Music Librarianship

double entry should continue to be made* At the end of the rules is a
section entitled "Cataloging special publications and other mate-
rial' 9 in which the second sub-head is "Music". This particular
section of the appendix is the work of O.G. Sonneck of the Library
of Congress, and is divided into sections headed Author, Title, Im-
print and Notes respectively. "Author'* is a variation of the single
rale already quoted; "Title" deals solely with the problem of those
musical scores which have a title-page common to the whole series,
the individual score at hand being distinguished by a pencilled or
printed line under the appropriate entry on this multiple title-page.
This form of printing was an obvious economy for the publisher
but is rarely met with today when it is the custom to print a separate
and distinct title-page for every piece of music issued. "Imprint"
devotes a page to the dating of music; it emphasizes the importance
of publishers* plate numbers (those letters and numbers usually to be
found at the bottom of every piece of music published later than the
eighteenth century). With rare or old music the date is often ex-
tremely valuable but it is of much less importance with modern
music; patrons are not normally worried if a score was printed in
1925 or 1955 providing it contains the required music. Copyright
dates, however, may be usefully added for modern composers
whether or not they use opus numbers. The final section of this
appendix, headed "Notes", gives some useful information to the
music cataloguer particularly with its elucidation of the word "score"
which is still often used in an imprecise way. Four examples are given
but one may doubt if they are particularly helpful. Sonneck apparently
favoured the exact transcription of the title page, a form of catalogu-
ing that can often be misleading as is indicated later in this chapter.

British Museum

The British Museum rules deal with music cataloguing in an
appendix in which is given the Museum practice of making entry
normally under the composer together with added entries under the
arranger or editor. In addition, title entries are made for operas and
songs. This general rule is followed by four subsidiary ones for
Anonymous pieces and collections of music; for Psalms, Hymns and
Christmas carols; for Programmes and for Musical periodicals.

Music Library Association

It can be seen that none of the three authorities briefly considered

114

Cataloguing

above gives rules for copies of the same piece of music published in
different countries under apparently different titles, nor for excerpts,
nor yet for other major problems that arise when cataloguing music.
These difficulties were considered by the Music Library Association
whose thirty-one suggested rules for music cataloguing were pub-
lished in an Appendix to the American Library Association , prelimin-
ary second American edition (Chicago, A.L.A., 1941). These rules
were subsequently issued as an offprint (numbered pages 354 to 371)
and were considered as Chapter I of the Music Library Association's
Code for cataloguing music. The thirty-one rules, slightly amended,
were then codified into a single rule with a host of sub-sections and
now appear as Rule 12 in the 1949 A.L.A. Cataloging Code. The new
rule contains guidance on librettos, on pastiches (whether works
written by a number of composers or medleys of one sort or another);
on incidental music, ballets, liturgical music, masses, psalters,
cadenzas, arrangements, fantasias, spurious works, collections, and
thematic catalogues (which are to be entered under compiler with
added entry for the original composer, thus bringing the rule into line
with the American one for concordances). The great expansion is at
once apparent and would seem to be based upon current American
practice.

The second chapter of this Code was also issued in 1941 and
consists of twenty-two pages of duplicated typewriter script on
"Title". The previous chapter had included this important state-
ment: "In cataloging music it is necessary to establish a conven-
tional or standard title in every case. This title occupies the line
between the author entry and the title as it is transcribed from the
work in hand. In the examples given in this chapter the standard
title is not shown. In preparing cards for the catalog, if for any
reason the standard title is not given, a line should be left blank for
its insertion."

This later chapter suggests how the conventional or standard
title should be formulated. It recognizes five types Distinctive,
Generic, Indeterminate and Collective titles, Excerpts and arrange-
ments. The distinctive title is one given by the composer if the work
is an opera, cantata, song, etc., and also if the work is a symphonic
poem (Tasso; Till Eulenspiegel, etc.) or sets or pieces with appropriate
title (Kinder scenen; Miroirs). Generic titles are those of works which
indicate the musical form or type of composition, such as Symphony
and Sonata. Indeterminate title is for works which suggest a mood

115

Music Librarianship

as well as a musical form, such as Nocturne, Serenade and Inter-
mezzo, Collective titles may be exemplified by Myra Hess album;
from her repertoire, etc.

The second section of this chapter suggests that there are three
elements peculiar to music titles the opus numbers, the serial num-
bers (e.g. Sonata no 2 . . .) which are liable to error, and key. The
third section of the chapter deals with characteristics and points out
some of the difficulties of extracting relevant information which may
be hidden in scrolls and curlicues. The title-page may also be the
cover (and so be liable to loss) while the page occupying the normal
position of title-page is used for publisher's advertisements. The
title page may be printed in more than one language so that the
reader can select the one which suits him best.

The conventional, standard or filing title (three descriptive terms
for the same thing) should be as concise as possible in order to avoid
running on to the second line of a catalogue card, and should ignore
ordinal numbers at the beginning of a title (Second suite, etc.). When
there is choice between generic and distinctive titles, the latter should
be chosen unless the work is one of a series. The quoted examples
prefer Eine kleine Nachtmusik to Quintett . . . , but Symphony no. 6
in preference to Pastoral symphony. The distinctive title will naturally
be taken as the conventional title but should be as brief as possible,
e.g. King O/o/*rather than Scenes from the saga of King Olaf. When a
generic title is used then the English form should be employed if
possible (Symphony, etc.) and English should also be used for the
instruments (piano rather than clavier, etc.).

The Code suggests that instruments should always be quoted in
the same order. Where there are two instruments one of which is a
keyboard instrument, then the other one should be named first
(Violin and piano). If more than two instruments, of which one is a
keyboard instrument then the latter is mentioned first (Piano,
bassoon and flute). Stringed instruments are named in standard
descending order but all other instruments in alphabetical order.
The key should always be included (in English) if possible, though
it is suggested that works written during this century may omit the
key signature. Arrangements are shown by the abbreviation "arr."
followed by the simplest possible indication of the medium of
arrangement. Where only the accompaniment has been arranged,
as with a vocal score of an opera, this is indicated by the
abbreviation "ace. arr. piano", etc. This is unnecessary when the

116

Cataloguing

information has already been shown In the conventional title.

The third chapter of this Code, for Imprint, is of five pages only
and was issued in Febrarary, 1942. The first rale is for place of pub-
lication and publisher; the second for date (a restatement of the
AX. A. rules); the third for date other than imprint date; the fourth
for "Date of issue later than date of first publication work un-
dated" and the last for Publication number. The Introduction con-
tains this sentence: "For the ordinary purposes of most libraries the
exact dating of musical publications is unnecessarily expensive and
time-consuming. . . ." It continues: "In most cases dates should be
established only for first editions, special collections, and work of
particular interest to the library." The chapter embodies some sug-
gested sources of information for dates.

Chapters IV and V on Collation and Notes respectively were
published in a single pamphlet of twenty-five pages during 1942.
There are two general definitions :

"(a) Score. The written or printed form of a musical work in
which the music for the participating voices and/or instruments
appears on two or more staves, one above the other. For fuller
definition, enquirer is referred to W. S. Pratt's The new encyclopedia
of music and musicians . . . , new and revised edition, 1929.

"(b) Part, (i) The music for any one of the participating voices
and/or instruments in a musical work.

"(ii) The written or printed copy of such a part for the use of a
singer and/or player."

The rules in this section are divided into A, Introductory; B,
Paging, and C, Volumes.

The fifth chapter suggests that Notes may include species (e.g.
ballet, cantata) when not expressed in the title; the kind of publica-
tion (score; score and parts; parts); the medium of performance of
the copy in hand with a note of the original medium if possible; the
tessitura or voice range when a vocal work is available in different
keys. Where there are words, the language or languages of the text
should be indicated together with the name of the author and/or
translator. Unusual notation (e.g. Tablature) should also be indicated
and it may be helpful to quote the duration of performance of a
work (a figure sometimes given by composer or publisher) and place
and date of first performance of an opera.

These rules have been quoted at considerable length for two
reasons. First, they are of immense practical use and importance;

I 117

Music Librarianship

secondly, copies are extremely scarce in Britain and the student's
chance of seeing one is accordingly slight. Since the foregoing was
written, however, the revised edition has appeared, entitled Code for
cataloging music and phonorecords, prepared by a joint committee
of the Music Library Association and the American Library Associ-
ation, and published by the latter body in 1958. The new code con-
tains five chapters. The first is a virtual reprint of Rule 9 in the 1949
A.L.A. Code; chapter II brings together aspects of description that
formed chapters II to V of the 1941-2 Code (discussed above);
chapter III deals with phonorecords and reprints rule 9a of the L.C.
Code (see below); chapter IV is entirely new and gives simplified
rules which should be of real value to all in charge of small music
collections, while chapter V is concerned with filing rules for con-
ventional titles and is likely to be of greatest use to those with very
large music collections. English librarians can obtain copies from
the Woolston Book Company of Nottingham and should certainly
obtain a copy for the cataloguer.

Library of Congress

The Rules for descriptive cataloging in the Library of Congress
date from 1949 and are twelve in number. Rule 9 deals with music;
it is lengthy and immensely detailed. It is divided into five sections
Conventional titles; Transcription of title-page; Imprint; Collation;
Notes. The rule is an expanded adaption of the earlier MX. A. code
and quotes many examples that are worthy of study. Excerpts
(Rule 9: 2H) are entered under the conventional title of the complete
work, as is necessary, but no suggestions are made for the order of
entry if there are a number of excerpts from a single work. Alpha-
betical order by title is apparently the result but it would seem much
more logical to arrange excerpts in the order in which they appear in
the original work; groups of excerpts would precede single ones.
Such a method of entry would tally with that adopted for the Bible
and similar works that are available in several versions and which
have excerpts and selections published also.

The very comprehensiveness of the rule makes detailed comment
superfluous. The cataloguer of music will find reference to this rule
is often helpful even though domestic cataloguing practice can hardly
be compared with that of the Library of Congress. The printed cards
issued by L.C. naturally adhere to that institution's rules. In 1952 a
supplement was issued to rule 9 rule 9a, which is for phonorecords,

118

Cataloguing

This somewhat hybrid word was selected to cover gramophone
records, wire and tape recordings, cylindrical ("phonograph** in
British parlance) records and player-piano rolls. The rule is discussed
at some length, under "Cataloguing", in Chapter V.

McColvin & Reeves

Though not a cataloguing code in the accepted sense the chapter
on cataloguing in volume 1 of Music libraries has had immense
influence and should be compulsory reading for every cataloguing
student. Many of the points made have been incorporated in the
MX. A. rules; one of the most important concerns the conventional
or standard title. It is suggested that this should normally be that
originally used by the composer if distinctive, with the English trans-
lation following in brackets. This does not apply to generic titles,
such as Symphonic, etc. Where the copy being catalogued has title-
page in a language that is not the original nor yet in English, then
the recommended form is : Original title in brackets ; title of the actual
copy being catalogued; English title in curves. This process, it is
justly claimed, will bring together different versions of the same work
whatever the language of the title-page. In all these cases the cata-
loguer should make necessary cross-references (so that the searcher
for Wagner's Twilight of the Gods is referred to Gotterdammerung,
for instance) and if this is done it would seem that the insistence on
the original tongue is not always necessary or wise but that the
cataloguer could, with advantage, enter under the best-known title
with preference for the original in case of doubt. Musical encyclo-
paedias usually give titles in the form best known to the people of
that country so that Grove or some other British music dictionary or
encyclopaedia would serve for British cataloguers. It is not always
easy to discover the original title of a work, particularly in the cases
of vocal works of the eighteenth century and earlier when a composer
may have set words in a foreign language but arranged for a transla-
tion into Ms native tongue for performance in his own country.

If one follows the use of the best-known form there would still
be a reference from the unused title (as indicated in the preceding
paragraph). As instances, it would probably be better to catalogue
under Christmas oratorio than Weihnachts Oratorium; on the other
hand, Cavalleria rusticana is much more familiar than the British
Rustic chivalry.

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Music Librarianship

Library Association

It may well come as a surprise to many students to know that
there is the outline of a draft code for cataloguing music and gramo-
phone records prepared by a committee convened by the Library
Association. The committee met under the chairmanship of Mr.
J. D. Stewart with Miss M. Dean-Smith as secretary, and held some
nine meetings during 1944 and 1945. Professor Gerald Abraham,
Mr. A. Hyatt King and Miss Valentine Britten were members of a
highly-qualified team and it seems unfortunate that the rules so pain-
fully hammered out have never been officially released. The notes on
gramophone record cataloguing, in particular, contain much valu-
able information and suggestion in dealing with awkward problems.

PRACTICAL CATALOGUING

Composer

Entry will be made in the normal fashion. Where transliteration
is needed the form used in a standard reference book should be used.
British librarians may use Grove or the British Catalogue of Musk',
American librarians will probably follow Thompson or the Library of
Congress headings. The difference may be quite considerable at
times, as with Nicholai Andreievich Rimsky-Korsakov (Grove) and
Nikolai Andreevich Rimskii-Korsakov (L.C.). Forenames will be
treated in the library's normal fashion; one may be regarded as
sufficient in many libraries for Puccini, while others will list all six
Christian names. Most libraries will ignore the fact that Offenbach
was born Levy but the rest will consider it sufficiently important to
include in the heading. Equally, some cataloguers will be satisfied to
enter Philip Heseltine's books under that name, Peter Warlock's
music under Warlock and link the two names by means of a cross-
reference; others will insist upon using Heseltine for both and refer
from the pseudonymous Warlock. These and similar minor problems
can normally be resolved by reference to the chosen musical authority.

Title

This presents the major difficulty in much music cataloguing.
The first problem has already been discussed when considering
cataloguing codes that of title-pages in different languages. The
library may well possess two editions of the famous 48 preludes and
fugues by J. S. Bach. One copy has that title, the other is called Das

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Wohhemperierte Clavier. The pianist who borrows the latter copy may
not know a word of German but music typography is international
so that the same works can be played with equal skill by the same
player whichever of the two editions is used. A biography of Bach,
available both in the original German and an English translation is
not comparable. The original is of no value to the man who cannot
read German while the translation, however good, is not exactly the
same thing as the original.

To catalogue music well, therefore, requires one of two methods.
Either the cataloguer must be prepared to ignore the title-page on
many occasions or, if this is too heretical, interpose between the
composer and the transcript of the title-page a standard or conven-
tional title. Library of Congress practice and the Music Library
Association recommendation is that the conventional title should
always be used even though it is often exactly that which appears on
the title-page. The discussion of the M.L.A. rules on page 1 15 men-
tions the different types of standard title recognized and the sugges-
tions for dealing with each. For works with a distinctive title the
McColvin & Reeves recommendation, to quote that first, in the
original language and in brackets, is the equivalent of using a con-
ventional title. If the cataloguer ignores the printed title-page but
makes his own entry, he should be using the standard title in place
of the printed one of the work in hand. Examples at the end of this
chapter will indicate how this can be done.

In order to standardize entries a decision will have to be made
between the two possible forms of "Concerto for piano and orches-
tra . . .", "Concerto for violin and orchestra", etc., and "Piano
concerto . . ." and "Violin concerto . . .". The choice, it can be seen,
is between emphasizing the solo instrument or musical form in which
the work is written. The Library of Congress and the majority of
libraries favour the first form, which will bring together all the con-
certos written by a composer. This is one form of classification and
is certainly useful to the student of musical form. My own preference
is for the minority view which seems to me to be better in all but the
largest collections used by performers rather than students. Using
this method, "Violin concerto . . ." and "Violin sonata . ," entries
are filed in close proximity in the catalogue, so that this produces a
different form of classification with a different characteristic to the
other example. Here, the violin player will find all works by the
composer written for his instrument at the one point. Where this

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method may be thought unsatisfactory is with the small number of
concertos written with two solo instruments. Concerto for violin,
violoncello and orchestra ... is probably more direct than Double
concerto, for violin, and violoncello, though the latter title is the one
by which the work is likely to be requested.

With generic titles an English equivalent should be used and keys
should also be given in the English form. Thus Symphonic II, Do
majeur is entered as Symphony no. 2, in C major. For operas and other
works with distinctive titles general preference is for the original
title providing it is in English, French, German, Italian or Spanish.
For other languages (particularly Slav languages such as Russian and
Czech) an English title is usually better; where the title is given in
two languages, the usual first choice is the original language, within
the limits already mentioned, then the best known and thirdly the
English title. Should the title-page give insufficient information or be
misleading, a suitable title must be made up by the cataloguer.

If possible, the key in which an instrumental work is written
should be quoted as part of the title. Where not shown on the title-
page but discovered elsewhere it should be added in brackets. It must
be remembered that this will apply mainly to works written in the
eighteenth and nineteenth centuries; earlier works often do not have
definite tonality while many twentieth-century works are in no
ascertainable key. It is better to use the form "in G major" or "in
G minor" rather than "in G" for the former. "In G" may be taken
to mean that part of the work is in G major and part in the minor key.

When a composer has written more than one work in a particular
form these works are generally numbered in sequence, e.g. Symphony
no. 5, String quartet no. 3. This number should always be quoted
before the key signature or the result is ambiguous. Symphony in
C minor, no. 2 may be misinterpreted to mean that the composer has
written two symphonies in the same key and that this is the second
of them. It is possible, though unlikely, that the composer's first
symphony was in that particular key but the quotation of the series
number before the key prevents any possible ambiguity. Where the
work has a nickname, whether given by the composer or not, it
should be quoted and is also inserted between the key and the opus
number, e.g. Symphony no. 2, in B minor ("The four temperaments"),
op. 16. In the case of Haydn symphonies there are various numbering
sequences but the generally accepted one is that of Mandyczewski
often called the "new" Breitkopf & Hartel list. Where applicable the

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"okT B. & H. number should also be shown and if the work is one
of the last twelve, written in England for concerts presented by the
impresario Salomon, the '"Salomon 1 * number is also required. This
information is easily discovered in the larger encyclopaedias, in
McColvin and Reeves, v. 2 and in Appendix "B" in Rosemary
Hughes's Haydn ("Master musicians series") to mention a few
sources. Thus the entry for a Haydn symphony might be: Symphony
no. 100 (OldB. & H. no. 11; Salomon no. 12), in G major ("Military").
There are no opus numbers for Haydn symphonies. Complicated as
this entry might appear, all the information given is necessary to
ensure that the work will be found by an enquirer, and one may still
find miniature scores of Haydn symphonies giving the "old" and not
the "new" Breitkopf numbers.

The second problem, mentioned at the opening of the chapter,
concerns arrangements. Unless there is no possibility of misunder-
standing, the medium for which a work has been arranged should be
plainly stated, for it will normally happen that only one form will
suit the convenience of a library user; very occasionally alternatives
may be acceptable. The pianists who want a piano duet version of
Peter Warlock's Capriol will have no use for a set of string parts for
the same work and the catalogue entries should make it perfectly
plain to which version an individual entry refers.

Excerpts present the third problem one which is commonly
encountered in music cataloguing. The simple answer is to ensure
that entry is always made under the title of the parent work with a
cross-reference from the title of the excerpt where desirable. The
actual arrangement of excerpts from the same work may pose yet
another problem; they may be filed in alphabetical order of excerpt
title, or in the order in which the various excerpts appear in the parent
work. The latter method is more logical and also overcomes the
further difficulty of the translated excerpt where two versions of the
same portion of the work may be known by two different titles.

Imprint

The name of the publisher should always be given with the main
entry for a music score however simple the cataloguing practice of
an individual library. Students may have to study a particular edition
while the reputation of different publishers of the same work may
vary considerably and so may the editions themselves. One diffi-
culty (which has only been partially solved in the entries for the

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second part of this book) Is that of distinguishing between the pub-
lisher and the name of the importing agent for a work originally
published abroad. Thus Dvorak's works may be shown as pub-
lished by either Lengnick or Simrock in a British library, since one
is the original publisher and the other is the agent who controls all
imports of this composer's works into the country. This is not of
great importance. The place of publication is normally of little in-
terest and may well be omitted except for works issued by smaller
publishing houses perhaps difficult to trace. Similarly the date of
publication is generally irrelevant. If the opus number or copyright
date (or perhaps both for twentieth-century composers) is shown the
work can be successfully identified and the potential borrower is not
likely to be worried if the music was printed in 1926 or 1946 provid-
ing that it is what is wanted and is in satisfactory condition. Music
is rarely dated and there is little point in adding "n.d." to the im-
print particularly as reprints from a single set of plates may be issued
for half a century or more. Trying to discover date of publication is
usually a waste of time that can be more profitably used elsewhere.
Those remarks refer to modern works. Old music, particularly
that issued before 1800, is on a completely different footing; plate-
numbers, advertisements, watermarks and other aids to precise
dating are then invaluable.

Collation

Though the Music Library Association rules suggest that pagina-
tion and illustrations should be quoted as with an ordinary book this
seems rather unnecessary. The inclusion of a frontispiece (as with
many of the Philharmonia scores) may be considered worthy of
mention. On the other hand, the number of parts (band, choral or
chamber) should always be quoted or itemized when they are to-
gether in a folder, binder or pocket. If a work is published in more
than one volume, that obviously requires quoting together with a
contents note for each volume. Few things can be more frustrating
than a search for one particular work among several volumes by a
single composer. If a library has the complete organ works of Bach
(as it should) and a reader requires the trio sonatas, the appropriate
volume should be ascertainable from the catalogue rather than
by a search among those volumes that happened to be on the shelves
at that moment. Where a library has the complete string quartets of a
composer bound in four volumes, one of which contains all the first

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violin parts, the second all the viola parts, etc., this fact also should
be stated since it means that a quartet will require all four volumes
to play any individual work.

Though possibly better entered as "Notes'* rather than part of
the title or collation, the type of score should always be mentioned.
Clear distinction should be made between the following types:

(a) Full score. This is the type used by the conductor quoting each
individual part on a separate stave. Consequently the size is
usually very large; this type of score is rarely in stock in any but the
largest libraries.

(b) Miniature score. This is similar to a full score but the type has
been reduced so that the page is pocket size or thereabouts. Examples
of these should be found in every music collection.

(c) Vocal score. Here the vocal parts of a work such as an opera
or cantata, etc., are shown on separate staves in normal sized music
type, but the accompaniment, probably written for orchestra, has
been reduced to two staves for performance upon a piano. The
M.L.A./A.L.A. Code for cataloging music . . . refers to these as
"piano-vocal scores".

(d) Piano score. An arrangement for solo piano of an orchestral,
vocal or instrumental work.

When a work is written for several instruments, these should be
individually noted unless the combination is a standard one. The
usually accepted terms are String trio (Violin, viola and 'cello),
Piano trio (Piano, violin and 'cello), String quartet (2 violins, viola
and 'cello), Piano quartet (Piano plus string trio), Piano quintet
(Piano plus string quartet) and String sextet (a double string trio,
i.e. two violins, two violas and two 'cellos). The M.L.A. rules assume
that a String quintet comprises two violins, two violas and a violon-
cello but this is not a universally accepted term as the others quoted
are, and there are examples of works with one viola and two violon-
cellos, so that it is best to list the instruments in this case. Where the
piano is replaced by another instrument, the same type of nomencla-
ture applies so that an oboe quartet is an oboe and a string trio, while
a clarinet and string quartet form a clarinet quintet. Works whose in-
strumentation does not agree with the standard terms must have the
parts specified, e.g. String quartet for three violins and violoncello.

Analytical entries

Where an album is made up by the library, a library supplier or a

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publisher and contains items by different composers, analytical en-
tries are naturally required for the individual works. If necessary the

pages throughout the album should be numbered in sequence and
an index provided.

Notes

The amount of information here will vary immensely according
to the work being catalogued. Some indication of what may be
necessary can be seen from the M.L.A. Code quoted earlier in this
chapter. If the entry does not make it plain then the language or
languages of the words should be shown together with the name(s)
of the translator(s). Singers may well require a particular translation,
and some translators are noted for their excellent work in this field;
one might instance the translations of Schubert songs and Mozart
operas by Richard Capell and Edward J. Dent respectively. Gener-
ally speaking., notes should follow the same lines as with book cata-
loguing and give such extra information or elucidate such ambigui-
ties of the entry as may be considered necessary by the cataloguer.

How do I catalogue . . . ?

In an attempt to aid the cataloguer a list of difficult cases follows.
In general the basis of the suggested answer is Rule 12 of the A.L.A.
Cataloging Rules, the 1949 revision of the M.L.A's suggested thirty-
one rules of 1941. "Wallace" refers to Chapter III of Ruth Wallace's
The care and treatment of music in a library.

Anonymous works. Enter under the title. The first word of the
title is ignored for filing purposes if it is an article.

Anthems. Under the composer with added entry under the title.
If easily ascertainable the writer or source of the words should be
included in the entry if shown on the title-page, or in a note if not.

Arrangements. [See also Transcriptions.] Arrangements should
always be noted as such. The arranger's name will usually be in-
cluded with the author (composer) and subject entries but will not
usually warrant a separate entry under his own name, unless the
work being catalogued is a collection or one of a collection known
under the name of the arranger. (A.L.A., A.10; Wallace, 3;
McColvin & Reeves, p. 16.)

Ballets, pantomimes. A.L.A. rule (A.5) suggests added entry for
the writer of the scenario and possibly for the choreographer but these
references would seem unnecessary for the smaller collection.

Band parts. Catalogue in the normal way but include a note that

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this entry refers to band parts and give the number of copies of each
part available,

Cadenzas. Enter under the composer and title of the original
work, with an added entry for the composer of the cadenzas.
Beethoven and Mozart wrote out cadenzas for some concertos and
not for others; before this the performer was expected to improvise
at a given point in the work upon the themes which had appeared*
Handel was famous for his skill in this art, but we now have no
authentic record of what was played and in addition modem music-
ologists can only give a vague idea as to the sort of music that was
played to some of his works. Most of these early concertos now have
two or three or more different cadenzas written by different com-
posers and soloists, some of which show no sense of historical fitness.
A miniature score will often indicate, where there is no original
cadenza, the writer of that included in that particular edition and
this information should be given in a note. Although these examples
of technical skill and extemporizing ability are considered here in
the context of orchestral works with an instrumental solo, it must be
remembered that in early opera similar opportunities were provided
for vocalists to show their skills in this way. (AX. A., A9 ; Wallace, 5).

Choral parts. Treat as band parts, i.e. catalogue in the normal
way under composer and title but note that these are choral parts
and give the number of parts available.

Collections. Collections of the works of a single composer are
entered under his name; added entry is possibly made for the com-
piler or editor. Collections of the works of several composers will be
entered under the name of the editor, compiler or publisher; if there
are few works, or one or two are of much greater importance than
the others then analytical entries for all or for a limited number of
works may usefully be provided. (A.L.A., E.)

Editor. There seems to be no particular virtue in making added
entry for an editor unless he is famous on his own account as a
composer or has some local connection with the library. Exception
may also be made when it is apparent that the editor has played a
major part in the production of the work, e.g. with early music that
has needed considerable rewriting to make it suitable for modem use.

Fantasias. Enter under the composer of the fantasia unless the
work is a medley upon certain works of a single composer, when
entry is made under the latter with added entry under the composer
of the fantasia. In cases of doubt, double entry may be used to solve

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the problem of which composer is the more responsible for the work.

Folk songs. Folk and traditional songs present great difficulty
since the same song may appear in different arrangements and may
be published with varying titles. In the latter case, one title must be
chosen as standard and reference made from other forms. Preference
should be given to that which is known to be the oldest or which
stems from the original country of the song. An arrangement of a
folk song or a collection of arrangements made by a named editor
or transcriber is to be entered under his name with added entry
under the title or titles. Thus the Benjamin Britten arrangement of
The Ash grove would be catalogued under Britten with added entry
under the title of the song. (A.L.A., Al.) Where the library possesses
different versions of the same work, possibly with different words or
with the accompaniment arranged for different arrangements, it is
suggested that the title entry should read: "The Ash grove. The
library has the following arrangements. . . ." (Wallace, 7.)

Hymnal. A hymnal will normally be entered under its title which
will often (though not always) show the denomination for which it
is intended, e.g. The Methodist hymn book in one case, Songs of
praise in the other. The A.L.A. rule (A.6 and G) suggests entry
under the name of the church. Cataloguers may follow this but are
then faced with the problem of the collection written or compiled for
no particular denomination, e.g. The B.B.C. Hymnbook. The answer
would appear to be in the use of a heading such as "Hymnals
undenominational" and an added note that for the hymnals of a
particular church the enquirer should look under its name.

Incidental music. This is entered under the composer and added
entry may be made, if desired, under the author of the work for
which the incidental music was written. There would seem to be
good reason for making such added entries for Peer Gynt and A
midsummer nighfs dream, etc., but little value in one for Helmine von
Chezy, author of the drama Rosamunde (which received only two
performances despite the aid of Schubert's music). The cataloguer
should be able to judge, in most cases, the local need and value of
any particular entry for this type of work.

Joint "works. Though uncommon, such works may come before
the cataloguer. In these cases the usual practice has been for one
composer to be responsible for one movement, another for a second,
etc. Most of the examples are by Russian composers but a modern
example is the Variations on Sellengefs Round written by six con-

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Cataloguing

temporary British composers for the Aldeburgh Festival of 1953. As
with a book, entry is under the composer first-named on the title-
page with added entries for the others.

Librettos. Standard British practice is likely to follow the 1908
Joint Code. Section A.2 of AX. A. rale 12 suggests entry under the
composer of the music with added entry under librettist and also
under title. It excepts the libretto published rather as a literary work
than a libretto and offers (in a footnote) an alternative rale which
suggests entry under the librettist and added entries for composer
and title. Wallace (in Rule 8) has a similar dual approach for she too
suggests entry under the composer in most cases but under the
librettist when the composer is not named on the title-page or the
librettist is himself well known, Decision must be made according
to the type of library and its users but entry under librettist would
seem to be the most consistent unless Ms name does not appear on
the title-page. In this last case entry must be made under the com-
poser, and Wallace suggests that time should not be wasted searching
for the librettist's name.

The A.L.A. rale further suggests that added entry should be made
under the work from which the libretto is taken but this would
appear unnecessary in any but the largest music libraries. It may be
recalled that this information is included in Loewenberg's Annals of
opera. In any case, the relationship between the original work and
the libretto is often fairly remote.

Liturgical music. This is music officially required by a church or
other religious body. Such music will be entered under the name of
the denomination except for music for Masses and Requiems which
are entered under the name of the composer (A.L.A., A6). One of
the reasons for this variant is that Masses and Requiems are part of
the liturgy for more than one denomination*

Made-up volumes. These are volumes comprising works which are
published separately but bound together in a single volume. Main
entry will be under the first work in the volume with added entries for
the remainder. Collation may be limited to indicating the number of
pieces included rather than adding the number of pages together.

Masses. These are to be entered under the composer. Subject
index entries, or a See reference in the case of a dictionary catalogue
can usefully be made as exemplified in section A.7 of A.L.A. rule 12.

Medleys and potpourris. Enter under the arranger, etc., of the
medley unless the selection is made from the works of a single com-

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poser. In the latter case the main entry is made under the composer's
name with added entry for the arranger of the medley.

Motets. Enter under the composer and give the author or source
of the words if possible.

Music in text. A book dealing with a topic that is not obviously
musical (e.g. Folklore) may contain music in the text. When this
occurs, it should be shown in a note and added entry made for the
music as though it were published separately.

Overtures. When the overture is written as a prelude to a work
(such as an opera or a play with incidental music) entry should be
made under the composer. Where the library does not use the device
of conventional title, the overture may need to have the title trans-
posed, e.g. Overture to "The Wreckers" by Ethel Smyth would be
entered as The Wreckers: overture. This would bring the overture with
other excerpts or a complete score of the same opera. In the case of
concert overtures, i.e. those that are entirely independent and which
do not precede a longer work, entry will be made under the word
"Overture" if the title begins with this word, e.g. Bax's Overture to a
picaresque comedy which (despite its title) is a self-contained work and
is not intended for performance before any particular comedy.

Pantomimes. See Ballets.

Paraphrases. These are to be entered under the composer of the
paraphrase with an added entry under the composer whose work has
been used as a basis. The line between transcription and paraphrase
is not always easy to draw. Busoni's Sonatina no. 6 (Kammerfantasie
super Bizefs "Carmen") may be regarded as a paraphrase upon tunes
from the opera; Liszt's Reminiscences de [Meyerbeefs} "Robert le
Diable" is a more obvious example.

Pastiches. The A.L.A. rule (A.3) suggests entry under the person
responsible for the pastiche or, if this is not easily ascertainable,
under the title. Added entries can be made for the composers (and
even librettists) of the original works. The pastiche most likely to be
encountered by an English cataloguer is The beggar's opera in which
Dr. Johann (or John) Pepusch adapted popular contemporary tunes
from many sources as an accompaniment to Gay's libretto. Modern
editions, such as those of Frederic Austin or Benjamin Britten, will
require added entry under the arranger's name.

Psalms. Psalters are to be entered under the composer's name
when the volume consists of tunes by a single writer. If the collection
is for use by a particular church or denomination then entry should

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Cataloguing

be made under the name of the church with the sub-heading
"Psalters". In the unlikely event of adding a general collection,
under "Psalters'* with a similar note as that recommended for un-
denominational Hymnals.

Pseudonyms. The sensible arrangement would appear to be for
entry under the best-known name. Few enquirers would expect to
search for the works of Sir Edward German under "Jones* 9 (his real
name); where the composer uses two names, e.g. Philip Heseltine
and "Peter Warlock", there is much practical value in entering
according to the title-page and making a cross-reference from each
name to the other.

Requiems. These are to be entered under the name of the com-
poser. It may be of some use to add a note of the person(s) to
whom the Requiem is dedicated if this fact is easily discovered.

Rhapsodies. Enter under composer. If the rhapsody is in the
form of a medley, then treat as a medley (q.v.).

Scenarios. If the scenario of a ballet is published separately it is
to be treated as a libretto, i.e. enter under author with added entry
under the composer of the music written for the scenario.

Songs. Enter under composer. Full cataloguing requires added
entry under the writer of the words but in many libraries this decision
will be at the cataloguer's discretion. It is possibly desirable when the
author is famous and/or when the same verses or words have been
set by more than one composer (e.g. Shakespeare's Orpheus with his
lute). In this latter case a note would be made on the added entry:
"For vocal settings of this, see under . . .". State the voice for which
the song is written if it is shown on the copy. Indicate also if the
setting is for "High", "Medium" or "Low" voice when this is stated
by the publisher.

When a song cycle or set of songs is written by a composer to
words by a single author (such as Britten's Holy sonnets of John
Donne or his Winter words to verses by Thomas Hardy) there is a
correspondingly stronger case for added entry under the author of
the words. In the case of a volume with words by a single author but
in which the settings are by various composers (such as a book of
Shakespeare songs) the entry will be primarily under the author with
added entries under the editor or the individual composers.

Spurious works. AX.A. Code (6) suggests entry under the com-
poser to whom the work is generally attributed with the addition to
the author heading of the words "supposed composer" and an added

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entry under the teal composer if the latter's name is known. This
last seems rather harsh treatment for the actual composer, who
should surely get the main entry; added entry would then be made
under the supposed composer. Jeremiah Clarke should be shown as
the composer of the Trumpet voluntary with added entry under
Henry Purcell, to whom the work was long attributed. In contrast,
Mozart's Twelfth Mass may be left under that composer's name since
the actual writer or writers remains unknown. Similarly, much of
the music attributed to Pergolesi is now thought to be the work of
other composers but without definite, proved attribution, entry
under the supposed composer is the best answer.

Thematic catalogues. The 1908 Joint Code specifies entry under
the composer with added entry under the name of the compiler of
the thematic catalogue. The 1949 A.L.A. Code reverses this ruling
but most British librarians would normally follow the earlier method.

Traditional "works. Treat as folk songs (q.v.).

Transcriptions. The difficulty in definition of "arrangement" and
"transcription" has been mentioned. The best and most usually
accepted definition is probably that to be found on page 17 of the
first volume of McColvin & Reeves. The cataloguer should remem-
ber that a transcription presupposes some new material in harmony,
in the style of the work, etc. Oft^n the transcription couples the name
of the original composer with that of the transcriber (Bach-Busoni;
Scarlatti-Tomassini). The A.L.A. Rules (A. 10), Wallace (4) and
McColvin all recommended entry under the transcriber with added
entry under the original composer except in doubtful cases when the
reverse is suggested.

It would seem more consistent to enter all transcriptions under
the original composer with "transcribed by . . ." as part of the
heading. This obviates the need for decision on the part of the
cataloguer. It would, on the other hand, require a filing decision.
Such entries could be filed after the appropriate work (so that Liszt
transcriptions of Schubert songs would follow immediately after the
entries for the songs themselves) or alternatively they could be filed
together at the end of the normal sequence under the composer's
name. In the latter case, entries for J. S. Bach would be followed by
those for transcriptions by Busoni, Walter Rummel, Liszt, etc. This
is probably the better method but whichever way is selected will
require added entry under the name of the transcriber.

Variations. There is general agreement between the various codes

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to catalogue under the name of the composer of the variations. The
need for added entry under the name of the original theme is usually
slight though it may be considered necessary for purposes of identi-
fication. Another use is to indicate themes that have been utilized by
more than one composer.

SEQUENCE OF ITEMS

Since ail works do not require the same amount of information
to be given, the cataloguer may overlook the value of a standard
sequence of items. The following list is suggested as a possible
method; it makes no claim to perfection and there will be many
alternative arrangements. The important matter is that a cataloguer
should realize the value of a method, lay out Ms own sequence of
items and see that all future music accessions adhere to it.

1. Composer (in the form given by Grove, L.C., or other chosen
authority).

2. Conventional title for works with a distinctive title, particularly
operas and some other vocal works. While usually given in the
original language this is not invariable. When this item agrees with
Title (no. 3) it may well be omitted to save both space and time.

3. Title of the work, as shown on the title-page of the music to
hand. It may also include an English translation of the title; if this
is provided by the cataloguer it should be shown in brackets.

4. Number of the work in a particular musical form. Although
not invariably done, it is customary to number works in standard
musical forms in chronological order, e.g. Symphony no. 3 ... y
String quartet no. 7 ... 9 etc.

5. Key. To be given when easily ascertainable. Key names relate
particularly to music of the eighteenth and nineteenth centuries
though still given to a fair proportion of works in the twentieth
century. Unless uncertain, key should include the term "major" or
"minor", e.g. Sonata in G minor. ... In certain cases one or two
movements of a work may be in the major and the remaining move-
ments in the minor key; Symphony in G . . . would indicate this.

6. Nickname should be inserted, where applicable, between the
key and the opus number. A title entry under the nickname is likely
to be of definite use. The nickname, whether given by the composer
or of later origin, is usually shown on the title-page. Example:
Symphony no. 5, in D major ("Polish"), op. 29.

K 133

Music

7* Optts number. This is normally shown on the title-page; alter-
natively (or additionally) it may be quoted just above the first line
of music, on the right hand side. If not shown at all, reference should
be made to musical dictionaries, etc., to see if the work has an opus
number; if so, it should be quoted in brackets.

8. Form. This may be included as a sub-title to the work or
added for informational purposes, e.g. Opera in three acts, . . .
Rondo for orchestra. If added by cataloguer should be shown in
brackets.

9. Instruments or combination. This information should always
be included unless it is obvious from the title. If it is not shown on
the title-page it may be given in the form of a note, if preferred.
Examples: . . .for soprano, tenor and bass, . . .for string trio.

10. Name of editor or arranger. This can be omitted if the work
done by either appears to be very slight.

1 1. Language of text. The language or languages of the text for a
vocal work should be shown together with the name of the libret-
tist^) or author(s) of words and the name(s) of the translator(s) can
also be shown here. Some cataloguers may prefer to indicate all or
any of this information in a note at the end of the entry.

12. Publisher. While preference should be given to the original
publisher it may well be that only the name of the importing pub-
lisher or agency is shown.

13. Notes. These should be provided as necessary. They should
clear any ambiguities and provide any extra information likely to be
of value to the potential borrower.

14. Contents note. Required for any volume containing a number
of works unless they are all of the same genre by the same composer,
e.g. a volume of Chopin Waltzes.

SUBJECT CATALOGUING

Subject headings will already be in use for libraries using a dic-
tionary catalogue. If they are considered badly chosen, inadequate,
etc., the headings for music entries may be revised and some re-
cataloguing undertaken. The largest list of subject headings is that
of the Library of Congress, published in 1952, and which runs to a
total of 143 pages. Because these are the actual headings used with
the immense L.C. collection they are extremely detailed. A smaller
and simpler selection, based on the L.C. list, is to be found included

134

Cataloguing

with the headings for books on all other subjects in List of

subject headings for small libraries.

If the L.C. headings are used (or a selection of them) care should
be taken that the terminology used Is modified to follow English
usage when required. L.C. uses "English horn" where British lib-
raries would prefer "Cor anglais 9 *. There are no English lists of
subject headings but one that has been in use in a medium-sized
British public library for over twenty years is quoted in the appendix
at the end of the first part of this book. It is not necessary for any
library to adopt these exactly as they stand, unless desired, but they
may be used as a starting point for the cataloguer or librarian
making a list for use in a library.

In subject headings a choice has to be made between wording
that prefers form and that which gives preference to medium. L.C.
prefers form so that entries are made for "Concertos (clarinet)",
"Concertos (double bass)", "Concertos (English horn) 59 , etc. This is
in accordance with the choice of conventional title or method of
main entry, "Concerto for clarinet and string orchestra",, etc. If the
alternative method of entry has been chosen, i.e. "Clarinet con-
certo . . .", then subject entries are probably better arranged by
medium so that use would then be made of the headings "Clarinet
(concertos)", "Clarinet (sonatas)", "Clarinet (suites)", etc. The
matter is one of personal choice, but for the smaller library used
primarily by amateur musicians and only secondarily by profes-
sionals and music students the second method is the one that
seems most useful to me. For such libraries the simple heading
"Clarinet", etc., is likely to be adequate since the total number of
scores for the clarinet is likely to be few. Whichever form is used a
general reference must be made from the alternative. If the second
form of entry is made, a reference should be made under "Concertos"
instructing the enquirer to check under individual solo instru-
ments.

It would be less than honest to conceal the fact that the great
majority of librarians favour entry under form; it brings together
works by a composer in that form and allows a check to be made
for gaps, yet the other method has its own advantages for checking
and is quicker when one wishes to discover how well works for a
particular instrument are represented. The problem has already been
discussed earlier in this chapter; all that remains to be said is that a
cataloguer should be consistent and not use both methods indis-

135

Music Librarianship

criminately even If one form is used on one title-page and the other
on a second.

SUBJECT INDEXING

Index entries should be provided for the medium, e.g. for
"Clarinet music", "Violin music", etc. Entries should also be made
for form though these will probably require explanatory notes. Thus
the heading "Symphonies" will give the class number for books on
symphonic form, for full and miniature scores, etc., but extra entries
(or preferably a note where there are many entries) will be needed to
indicate that symphonies arranged for piano solo are classed at xxx,
for piano duet at xxxx 9 etc. A similar series of references or a
"blanket reference" will be needed for other forms referring the
enquirer to the appropriate class number for the medium if that is
the method of classification adopted.

EXAMPLES

In order to illustrate the various points rather more fully than
has been possible during the course of the chapter, the following
examples have been chosen in the hope that they will demonstrate
many of the points explained in the preceding pages.

The title-page of the first example reads: "Smetana/Ausgewahlte
Stucke/fiir Klavier zu 2 Handen/Herausgegeben/von Juliane Lerche" ;
the publisher is the Liepzig branch of Peters. The heading is obviously,
SMETANA, Bedrich; the title can be shown as "[Piano] Selected piano
works . . .", "Piano works" or "Selected piano works". I would
regard the first as the best, the second as less satisfactory and the
third, a simple translation of the title-page as least suitable, but there
are certainly some music librarians who prefer this method to entry
under a catchword. They argue that the classified section of the
catalogue will bring all piano works of a composer together, so that
entry under a conventional or similar title is much less helpful than
it might appear at first. What would be wrong, in my estimation, is
the obvious cataloguing response a straightforward transcription
of the title-page. No date appears in the volume, and "E.P. 11726"
at the bottom of each page is likely to interest only the occasional
user. The fact that there are thirty-five pages of text is of much less
importance than a list of contents. The final suggested entry, there-
fore, is:

136

Cataloguing
SMETANA, Bedrich

[Piano]. Selected piano works, edited by Juliane Lerche.
Peters edition. Contents: . . .

Since the separation of the branches of the firm of Peters, there
is reason for including the place of publication before the publisher's
name if desired. The second example is an Italian one, with the title-
page: "G. Verdi/4 pezzi sacri/Ave Maria. Scala ealgmata, armoniz-
zata a/4 voci miste, sole/Stabat Mater/a 4 voci miste, con pianoforte/
Laudi alia Vergine/Dall'ultimo canto del Paradiso di Dante/ a 4 voci
femminila, sole/Te Deum/per doppio coro a 4 voci miste, con piano-
forte/riduzione di G. Luporini". The publisher is Ricordi and the
individual items are shown with an 1898 copyright date. It will not
be difficult for the cataloguer to discover that "doppio cora a 4 voci
miste" is a double chorus of mixed (i.e. soprano, contralto, tenor and
bass) voices, though it may be rather more time-consuming to find
that the "enigmatic" scale is not one generally used or recognized.
The catalogue entry suggested would read:

VERDI, Giuseppe

4 sacred [choral] pieces [ c - 1898] Orchestral accompaniment
arranged for piano by G. Luporini; Latin words. Ricordi
edition.

Contents: Ave Maria, on an enigmatic scale, for four mixed
voices, unaccompanied; Stabat Mater, for four mixed voices;
Laudi alia Vergine (Hymn to the Virgin)., from Canto XXXIII
of Dante's Paradiso, for 4 unaccompanied female voices; Te
Dewn for double chorus of 4 mixed voices.

The third example is a miniature score whose title-page proclaims :
"Philhannonia/Partituren. Scores. Partitions/Franz Schubert/Sym-
phonie VII/C Dur C major. Do majeur", and at the bottom of the
page "Philharmonia no. 92/Wiener Philharmonischer Verlag/Wien".

This is the symphony now usually referred to as "no. 9" in Britain,
though apparently by the earlier number in other countries.

SCHUBERT, Franz

Symphony no. 7 (9), in C major ("The Great" C major),
D.944* Miniature score. Philharmonia edition.

It may be considered necessary to quote the publisher's serial
number and the fact that there is a frontispiece a portrait of the

137

Composer. The nickname (which distinguishes this symphony from
no. 6 in the same key; both are without opus number) and the
Deutseh thematic catalogue number have been provided. If the work
had a normal opus number, that would have been included also.

The last example is in English so that there is no need to tran-
scribe the title-page (which is fortunate, since the composer's name
is written vertically on either side of the title).

WALTON, William

Violin concerto [or, "Concerto for violin and orchestra", as is
shown on the title-page], [ c -1941]. Arranged for violin and
piano; violin solo part edited by Jascha Heifetz. [Score and
part.] Oxford U.P.

"Score and part" indicates that there is a separate part for the
violinist. The Henry Watson Library catalogue entry, incidentally,
shows that the piano reduction" of the orchestral score was made by
Franz Reizenstein, though there is no mention of this fact on the
score itself.

GRAMOPHONE RECORDS

In general, gramophone records present the same problems in
cataloguing as are met in cataloguing music. Excerpts are much more
common, and the titles shown on the record label are often defective
or misleading. There are, naturally enough, extra complications with
recordings since the artist or artists making the recording present an
added factor with which the cataloguer must deal. This type of
cataloguing is considered at length in Chapter V.

For further reading

AMERICAN LIBRARY ASSOCIATION. Cataloging rules for Author and
Title entries. 1949. (Chicago: A.L.A.)

Rule 12 (for music) which occupies seven pages, should be read
by all cataloguers who have to deal with music if they are unable to
beg, borrow or steal a copy of the Code for Cataloging Music and
Phonorecords (Chicago: AX. A.), where the same rule is virtually
reprinted together with other invaluable suggestions.

U.S. LIBRARY OF CONGRESS. Rules for descriptive cataloging in the
Library of Congress (adopted by the American Library
Association). 1949. (Washington, B.C. Library of Congress.)

138

Cataloguing

Music subject headings on in the

Library of Congress. 1952 [As above].

Rule 9, which deals with music, requires over twenty pages of
print. It is considerably more exhaustive than the AX. A. Rule 12,
though it too is descended from the preliminary rales of 1941. For
the very large collection, this rule is probably sufficiently comprehen-
sive to answer all queries. The Subject headings have been referred
to in the preceding chapter. It may be noted that, in many cases, the
appropriate class number in the L.C. classification is quoted against
the heading.

ELMER, Minnie Agnes. Music cataloging: with an annoted biblio-
graphy of useful references sources. (MSS.) (New York:
Columbia University.) 1946.

This thesis, submitted in the Faculty of Library Science at
Columbia University, is intended "to analyze information needed on
catalog cards for publications of music, and to survey reference
works useful in supplying and verifying that information". It ex-
cludes from its purview manuscripts, Oriental music, the literature
of music and gramophone records. The thesis provides a long and
interesting survey of the problems encountered in music cataloguing
and some of the possible solutions. The bibliography of 243 items
contains some brief annotations. Books considered to be of basic
importance are marked with an asterisk, and it is noteworthy that
books so recommended include a fairly high proportion of works in
French, German and Italian. A microfilm copy of this work is
available in the Library Association's library.

NORRIS, Dorothy M. A primer of cataloguing (Association of

Assistant Librarians). 1952.

Pages 147 to 152 give suggestions for music cataloguing and
provide useful assistance for examination students. The section on
cataloguing gramophone records (pp. 170-1) must be regarded as
much less satisfactory.

RUSSELL, John F. The cataloguing of music ("The Library Association

Record", June 1938, pp. 257-60).

An interesting article by the late Librarian of the Henry Watson
Music Library, and one which contains details of practice there.

WALLACE, Ruth, editor. The care and treatment of music in a library.
(Chicago: AX.A.) 1927.

139

Music Librarianship

Chapter in of this book deals with cataloguing and gives twenty-
seven suggested rules. Many of these would appear to have achieved
permanent acceptance and can be seen in subsequent codes, includ-
ing that published by the M.L.A. and A.L.A. in 1958. Chapter IV
deals with subject headings and gives a suggested list. This, again,
has been superseded by later and more detailed ones but its influence
is stiU there. The small collection could still use these headings,
though British librarians may find those in Appendix I of this book
of greater use. Chapter V is devoted to "The organization of the
card catalogs". The following quotation perhaps indicates the trend
of the chapter: "Under Beethoven, for instance, it is helpful to
divide his works into Concertos, Sonatas, Symphonies, etc., with a
guide card for each form." Under each form, the work recommends
the usual practice of arrangement by number rather than by key,
e.g. Symphony no. 1, Symphony no. 2 rather than Symphony in A
major, Symphony in C minor. In short, despite its age, this small
booklet, with its seventy-two pages of text is still worth reading.

REFERENCE

1. LOOK, Wallace C. Classification and cataloging of music scores in
libraries. (MSS.) (Chicago: Chicago University). 1951. p. 33.

Postscript

The first volume of the "Code international de catalogage de la musique" (Frankfurt; Peters.
1957 [i.e., 1958]) has at last appeared. It deals with "The author catalog of published music" and
is by Dr. Franz Grasberger of Vienna. The original text is shown on the left-hand side of each page.
The right-hand column consists of an English translation in parallel^by Mrs. Virginia Cunningham
of the Library of Congress. The work deals with eight types of material Music literature, Librettos
(which are recommended for entry under title), Program notes, Music publication, Music manu-
scripts, Phonograph records and tape recordings, Pictorial representation and illustrations, Photo-
copies and microfilms.

The second section of the book considers briefly some of the earlier attempts to provide rules
for music cataloguing and then lists the parts that may comprise a main entry. The actual make-up
of a main entry and the items used in various libraries are quoted for Switzerland, Vienna, U.S.A.
(Library of Congress), that recommended by a Norwegian and the scheme adopted for Schnapper's
British Union-catalogue. , . . This section is followed by a brief resum6 of the rules recommended by
various authorities, including the "rules" given in McColvin and Reeves. Suggestions for choice of
heading in a number of difficult cases are made and definitions of the headings may be found useful.
This part of the new code has some resemblance to the A.L.A. 1949 Code rule no. 12. The last
section of the new rules deals with the arrangement of entries within the catalogue of a library
and shows the normal system used by the twenty libraries that co-operated in the provision of
specimen entries. None of these twenty are American, and the only British one is the British
Museum which can hardly be cited as typical.

A flap inside the back cover provides precarious protection for a pamphlet which gives a
French translation of the text and for twelve folded sheets each of which contains a facsimile title-
page of a score. Underneath each is a note of the particular problems posed by this particular
work; the other half of the sheet provides copies of entries from some of the twenty libraries
mentioned above. For reasons of space, and because some of the entries show very little difference,
only certain of the entries are given as examples. Beethoven's violoncello sonatas arranged for viola
receive three facsimile catalogue entries, while two other works receives as many as nine. These
sheets provide a fascinating insight into differences of approach by expert cataloguers.

In illustrating these different methods, the new code is useful but it does not appear to make
its own recommendations as to which are the best methods and it must be confessed that it is not an
easy document to read. The two volumes, still to come at the time of writing, are a simplified code
of rules for cataloguing scores prepared by Mme Yvette Federov of Paris, and a full code the
work of a committee under the chairmanship of Dr. Kay Schmidt-Phiseldeck of Copenhagen.
Until these appear it is impossible to judge the success or failure of this venture, but it is certainly
a most praiseworthy attempt at international co-operation.

140

Chapter IV
CLASSIFICATION

Music presents many problems for the classification-maker; some
of these may be noted here. First, should books and scores share the
same symbol or should there be two separate sequences ? Brown and
Dewey (up to the 15th edition) use a single sequence but other
schemes prefer to use separate numbers and letters for scores and
books about music. Where the same number is used for both types
of material some confusion is possible even though a prefix, such as
"M" or "S", may help to reduce this. On the other hand, it is reason-
able to expect a work and a criticism of it to be allotted the same
number; where two sequences are used a copy of Harvey Grace's
The organ works of Bach will have an entirely different class mark to
the works themselves and may be shelved some distance from them,
though it must be said that if a scheme allots the same number for
the two items it is still unlikely that they will be cheek-by-jowl on
the shelf. The separation will be caused by the very different formats
of the two items.

A second problem concerns the choice of characteristic, or the
order of division, of music scores. Should primary arrangement be
by composer, by form or by medium? All the major schemes have
chosen the last named thus bringing together works for the voice, for
individual instruments, for orchestra, etc. There is a case for classi-
fication by form which would bring all sonatas together, be they for
piano, unaccompanied 'cello or two clarinets, etc. Division by com-
poser was chosen by Dr. Ernest Savage for the large music collection
in Edinburgh Public Library. Though the Library of Congress
scheme was adopted in other departments its music scheme did not
find favour and on pages 74 and 75 of Savage's Special Hbrarianship
(Grafton, 1939) he explains how he grouped collective scores at the
beginning of the sequence for each composer, with single scores
following in alphabetical order and books about the composer

141

Music

grouped after Ms works. An indication of the appearance of the
shelves can be seen by reference to the plate opposite page 71 in that
book.

The schemes that divide by medium usually choose form as the
secondary characteristic. For all but the largest collections this may be
a somewhat unnecessary refinement for instrumental music. It can be
argued that a classified collection of piano music gives a better picture
of the types of material available to the pianist than the same collection
arranged by composer under a general number or symbol for piano
music. That may be true, yet in a public library the would-be bor-
rower disappointed in his quest for Chopin's Waltzes is surely more
likely to make his second choice from other Chopin piano works
than from volumes of waltzes by Brahms or Schoenberg, etc. ? If
considered desirable entries in the classified sequence of the cata-
logue, or subject entries in a dictionary catalogue can be sub-divided
by form even though this sub-division is ignored on the shelves. In
the chapter on miniature scores a similar procedure is recommended
so that all scores of miniature size, or all piano works by individual
composers would be arranged under the composer's name and then
sub-divided by form. Then, if the Dewey scheme is used, the minia-
ture scores of Brahms' works will be together with the symphonies
preceding the concertos which in turn will be to the left of the
chamber music. A similar arrangement would occur with piano
music and by this means a simple separation of original works and
arrangements could be made.

Much of the last paragraph may be regarded as a digression but
it illustrates something of the logic and force of Dr. Savage's argu-
ments in favour of primary arrangement by composer. The classi-
fication-maker has other problems to face. A schedule can allocate
places for special songs such as shanties, for national songs, for songs
written for male voices only, for songs written in four parts, etc.,
and promptly has to face a welter of cross-classification. Yet each
category of song has works that fit it specifically. This problem and
the other mentioned are quoted not because I can offer a perfect
answer (for there is no such thing) but to draw the attention of the
student and librarian to some of the difficulties that have to be faced
and overcome as well as may be before any satisfactory scheme for
classifying music can be produced. The student might ponder, for
example, the matter of music written for the virginals, clavichord,
harpsichord and other precursors of the modern pianoforte, and

142

decide how to cope with that; it might be useful to compare his owri
projected solution with that adopted by the various con-

sidered below.

In the pages that follow, the music classifications are considered
in a very approximate order of complexity so that the "Subject"*
scheme is considered first, followed by outlines and criticism of the
"Expansive", "Decimal" (in both 14th and 15th editions and also
the McColvin modification), Library of Congress, "Bibliographical"
and British Catalogue of Music schemes. A chronological arrange-
ment would perhaps show how one scheme has borrowed from
another but it poses the problem of dating those schemes which have
undergone revision since original publication. Ranganathaa's
"Colon" scheme is omitted from this review because the music
section, though perhaps adequate for an Indian library, is much too
undeveloped for western music with its occidental polyphony,
orchestras, etc.

Since the Dewey scheme is probably used in more libraries than
all the other schemes added together some practical suggestions for
the classifier are included in the last section of this chapter. As an
appendix to the comparison of schemes, sixteen scores or books on
music are listed and the class-mark given according to each of the
six systems. This should give some impression of the general length
of notation. It also helps to indicate if the schedules allot different
placings for works which require the same number of players but
whose instrumentation differs (e.g. a trio for violin, viola and
violoncello and another written for piano, violin and 'cello). These
placings have been checked by an expert in each scheme, and each
outline has been read for factual errors; the criticisms are my own
and do not necessarily indicate that the reader has agreed with them.
Acknowledgements are made in the appropriate place in the intro-
duction.

THE "SUBJECT" CLASSIFICATION

Music was one of James Duff Brown's greatest interests. In the
years before the turn of the present century he was a pioneer in the
provision of music scores in British public libraries and was the
author of an excellent biographical dictionary of musicians and
joint-author of another. With Alfred Moffat he produced Charac-
teristic songs and dances of all nations^ a work that sold many copies

143

Music Librarianship

in the years before the First World War. Brown's "Subject" classi-
fication was Ms third venture in this field and the first edition of the
work was published in 1906. The second edition was issued in 1914,
a year after Brown's death, and the third edition (revised and ex-
panded by J. D. Stewart) in 1937. The music scheme in this latest
revision shows very little alteration except for the introduction of
placings for modem instruments, etc. The classification is still used
in a number of British libraries and students in this country are ex-
pected to know something of the author's theories and the way he
put them into practice.

The places C4QO to C796 are allotted in the schedules for music
scores and books on music. The subject is treated as a branch of
physical science for it follows Acoustics and precedes Astronomy in
the scheme. All other book classifications consider music as a "fine"
or "expressive" art and there has been considerable criticism of
Brown's unorthodoxy which is sometimes felt to be perverse. Against
this one may quote the growing interest in sound recording and other
uses of electrical techniques in connection with music; these do pro-
vide a real link between acoustics and music, and the placing may be
regarded as rather more logical than Dewey's location of music
between photography and sport. Further criticism has come from
those who feel that the use of the same numbers both for music and
for books dealing with music is a mistake. It has been alleged that
Brown "did not produce a practical or well-balanced scheme" 1 and
the same writers refer to Dewey's "confusion between music and
music literature". Whatever the pros and cons of Brown's choice it
must be clear that there is a real case for the use of the same number
for a score and a book which deals with that score though the
arguments on the other side may be regarded as just as convincing.
Music scores are usually located far from their proper place in the
shelf sequence whatever scheme of classification is used. If the books
on music are adjacent, as they should be, it is probable that few of
the users will realize that they are taking works from the "Physical
science" category. If the books on music are placed in their proper
place in the sequence of classes the reader may find it more difficult
to locate them in a library using the "Subject" classification but this
is primarily a case for adequate shelf and tier guiding. In any case
the interested music-lover will seek out the section and, finding it,
will know where to go on future visits to the library. As akeady im-
plied, there is much to be said for giving the same class mark to the

144

Classification

string quartets of Beethoven and works which comment and criticize
them; ideally, it may be suggested that all these scores and books
should be together on the shelves despite differences in size. It is both
convention and economy in shelf space normaEy places
apart.

The music section of Brown's classification opens with places for
aspects of musical theory, such as Notation, Modes and scales,
Melody, etc. From C440 onwards are scheduled Music forms (such
as Exercises, Fantasias and Impromptus, etc.), Dance forms (Fan-
dangos, Gaillards, Galops, Gavottes, etc.) and Vocal forms (Arias,
Cavatinas, Scenas). These numbers would appear to be for books
rather than scores. If all toccatas, to take one example, were classed
together at C640, works in this form for organ, piano, etc., would
be shelved together, which would lead to confusion and the separa-
tion of these works from others for the same instruments. A number
of headings in the above examples appear to be of little practical
value but such places can always be left blank until such time as the
library does purchase a monograph on the Fandango, for instance.
Students should note that Brown put his sub-divisions in alphabeti-
cal order rather than attempting to classify them. Cutter uses a
similar arrangement in parts of his music classification.

The general order of the main headings for the rest of the class
is as follows: Vocal music, Music for stringed instruments, Wind
instruments, Percussion instruments, Orchestral music, Chamber
music (in descending order from nonets to trios, and not in the more
usual reverse order), Dramatic music (i.e. opera), and finally, a small
section for Musicians (Bards, minstrels and troubadours) and Con-
certs; this last heading has a single and unexpected sub-division of
Street-music (C796). This may be cited as a rare example of humour
in music classification.

Many of the four hundred subjects listed will be rarely used in
the normal public library. Some of the dance forms such as Branle
[Brawl] and Polaccas (to name but two examples) are of very limited
historical interest while books on the Rebec (C604), Crwth [Chrotta]
(C605) or Lyras (C609) are equally unlikely to be found in any but
the very largest music library. These three instruments are all shown
under the section "Stringed instruments (played with bow)". Similar
instances abound throughout the scheme though Brown, as a true
Scot, places bagpipes under "Wind instruments (Reed blown)" and
provides separate placings for the Highland, Union (Irish), Nor-

145

Music Librarianship

thumbrian and Spanish pipes. The four types of instmraent show
considerable differences and repertories that do not overlap. No
other scheme allows for these divergencies. Reading through the
schedules one finds places for other queer instruments such as the
Enharmonic organ, Musical glasses and Bones. An example of
Brown's declared intention of placing each subject "as near as
possible to the science on which it is based" can be seen at C739-741
which are respectively allotted to Bells (electric, etc.), Bell-ringing
and Bell-founding.

The Categorical tables provide a tremendous number of sub-
divisions that can be given to any suitable subject and some are
obviously specifically intended for music. There are fifteen of these
(*257 to -272 with *262 missing, for no apparent reason), and they
include such aspects as -257 Acoustics, -261 Scales, -265 Forms and
266 Dances. These numbers come consecutively since the Categori-
cal tables follow the same sequence as the classification as a whole
except that the shortest numbers are given to the most frequently
used sub-divisions. For instance, *9 ("Individual authors"), will be
often used when classifying music.

The deficiencies of the scheme have often been quoted yet lib-
rarians using it have found it simple to apply and readers appear to
have no particular difficulty in discovering what they require. The
notation is desirably short with a single letter followed by three
figures; where categorical numbers are used this will at most add
another three figures to the symbol. Some subjects appear to be
missing and it will be seen from the practical examples given at the
end of this chapter that The record guide has to be classed away from
music. Mr. James D. Stewart, who was responsible for the 3rd
edition, is at work upon another revision which should be published
in due course. Students may usefully try and find topics that ought
to have places in the scheme and are omitted, and then decide just
where they would insert these new subjects in the schedules. This is
an excellent method of discovering some of the virtues and defi-
ciencies of the scheme.

In the practical examples at the end of the chapter it must be
remembered that alphabetical arrangement by composer should be
used under each head. Strictly speaking, Brown's alphabetical num-
bers should be added to each work to indicate the composer's place
in the sequence but most libraries have found it much more con-
venient to add the first three letters of the composer's surname.

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Classification

THE "EXPANSIVE" CLASSIFICATION

In Charles A. Cutter's "Expansive" classification music is shown
as a branch of the "Expressive arts" (an excellent epithet). Works
about music are classed at VV and VX and scores themselves are at
VY and VZ. Only the seventh and final expansion is considered here;
this version differs considerably from the previous six from which it
is nominally developed it includes, for instance, a mixed notation
where the earlier and more limited expansions use letters only. The
seventh expansion was not properly completed at the time of the
author's death and as a result the scheme was not given a final
revision and the music section is one that lacks an index. Cutter
indexed each class separately and there is no cumulation.

The section opens with sub-divisions reminiscent of Dewey.
W.2, for instance, is for Music Bibliography, VV.8 for Societies,
while W 1-99 (without decimal point but divided decimally) are for
aspects of musical history. These examples provide samples of
Cutter's mixed notation in this last expansion. His liking for simple
and obvious mnemonics is also illustrated for VV 1 M is for the
history of military music, W 1 O for operatic, VV 1 OR for oratorio
and W 1 P for the history of piano music. This last section also
includes the collected lives of pianists. Lives of opera singers,
violinists and vocalists are dealt with in similar manner. Single
biographies are classified at VVA to VVZ. The general history of
music is followed by sequences arranged by period (e.g. Ancient
Egyptian music, VV 1271) or country; for the latter division is by
Cutter's "Local list" which is a similar device to Dewey's instruction
to "divide like 930 to 999". Entries under country include accounts of
music festivals and celebrations, and also concert programmes. It
may be suggested, in passing, that these are valuable both in the pro-
vision of local history and as silent commentators on changing
musical taste over the years. Musical biography and criticism in-
cluding letters and journals of musicians are regarded as a branch of
history, and the lives, etc., are arranged in a single alphabetical
sequence of composers* names. At the end of this section is a place
for musical fiction, VVZZ.

The succeeding sections are allotted to Acoustics, Musical theory.
Composition and instruction (VW). VX is devoted to books about
instruments (including the human voice) alphabetically arranged.
VX also includes history, manufacture and instruction for each of

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Music Librarianship

these instruments and the notation for each instrument may be
lengthened to show these individual aspects if so desired. As before,
extra letters are added when two or more sub-sections begin with the
same letters and the resulting mnemonics might clash VXB is Bag-
pipe, VXBA Barrel organ, VXBAN Banjo, VXBASS Basset horn
and VXBAS Bassoon. Double bass is classed at VXD. It can be seen
that separate places are provided for many unusual instruments and
that Cutter makes no attempt to divide instruments according to
their family groups to separate stringed instruments from wood-
wind, etc. The most surprising place is VXHO, Horn, English and
French. The two instruments are, of course, utterly different, for the
former is a woodwind instrument allied to the oboe and the latter a
brass instrument. Obviously, different places should have been
allotted. Cutter may be considered to have cheated in allotting
VXOZ for precursors of the piano (for books on harpsichords,
clavichords, etc.) but this placing brings these books immediately
before those dealing with the piano (VXP) and this is useful and
valuable. Four instruments, Organ, Piano, Violin and Voice have
special numbers allotted for instructional books but similar sub-
division could be made for any other instrument if desired.

In the sections for scores, general collections are allotted the first
places in the schedules followed by collections of the works of single
composers. Then comes VY 1 or VYA (Cutter leaves the user to
make his own choice) for Concerted music, orchestral music. This is
succeeded, rather surprisingly, by National music, Folk songs (shar-
ing the same place), then Chamber music (which is mnemonically
sub-divided) and Dance music. In a note, Cutter points out that one
must decide whether to classify all dance music together, be it for
piano, violin, etc., or whether to classify all piano music together,
all violin music together, etc. Cutter declares that it makes "very
little practical difference" and prefers the former method. If one
considers the preference of form to medium to be a bad choice, so
that the pianist needs to look in a number of places for music for his
instrument under Dance music, Marches, Overtures, etc., it must
be remembered that this is also the solution adopted in the L.C.
scheme. Music written for a particular instrument is classified by the
same set of mnemonics as in VXA so that a history of the clarinet is
at VXC and music for the instrument in VZC; similarly VZOZ is the
place for music written for the virginals and other instruments which
preceded the modern pianoforte and VZP is the mark for piano

148

Classification

music. This last class may contain all piano music or else such works
as cannot be classed elsewhere if Cutter's alternative system be put
into operation. VZV is provided for Voice (collections of songs).
These collections are divided according to the type of song 5 e.g.
VZVCS Sailor and sea songs. Collections are also divided by the
number of voices, as VZVF Four-part songs. Cutter notes that each
library must make its choice between these two types of division;
considerable cross-classification would otherwise result.

In general, the scheme has good points, particularly in the sen-
sible use of mnemonics, but the abundant opportunities for cross-
dassification could well be a sad source of weakness and some of the
headings use a fairly lengthy notation. It is difficult to decide without
personal experience just how well the scheme works in practice, but
those libraries that classify by Cutter appear to have no complaints
about this particular section of the scheme.

DEWEY DECIMAL CLASSIFICATION

The Decimal classification of Melvil Dewey is undoubtedly the
best-known and most widely-used system in the world today but its
music section is far from being one of the more satisfactory, for it is
often difficult to apply with consistency. The music classes of the
14th edition of 1942, the one generally in use at the time of writing,
are an unchanged reprint of the 12th edition of 1927. The simplified
15th (Standard) edition of 1951 has amended some anomalies but is
still far from satisfactory to music librarians. The 16th edition, when
it appears, promises to contain some major alterations and re-
allocations and to be, in general, a noticeable improvement upon its
predecessors, though one may doubt if patching will ever really
result in a satisfactory scheme; it would be better to follow the
example of Mr. McColvin and use the numbers of class 780 adapted
to an entirely fresh scheme.

Music is allotted the places 780 to 789 in the scheme, and while
this makes the subject a "fine art", it places it uncomfortably be-
tween photography and amusements. A single sequence of subjects
is provided for scores and books on music and this is generally held
to be a disadvantage for reasons already mentioned in this chapter.
The 16th edition seems likely to make separate provision by supply-
ing adjacent places for the two types of material, but this must be
at the expense of brevity. At present, in order to differentiate the two
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Music Librarianship

sequences, a small note at the beginning of this section of the
schedules suggests the possible use of the letter "M" for books and
"MS" for sheet music. It would seem simpler to leave books without
a prefix and to use either "M" or "S" as a prefix to the scores.

The Third summary of the 14th edition (to be found at the begin-
ning of the schedules) shows the following heads for music: 780
Music, 781 Theory and technic, 782 Dramatic, 783 Sacred, 784
Vocal, 785 Instrumental ensemble, 786 Piano and organ, 787
Stringed instruments, 788 Wind instruments, 789 Percussion and
mechanical: 780 and 781 are used entirely for books; the remaining
places are primarily for scores though there will be a reasonable
proportion of books classified between 782 and 789. There are the
normal form divisions to 780, so that 780*7 is for "Education, study
and teaching" and includes sub-headings for "Music conservatories,
schools, courses" and for "Concerts and concert programs". One
might have expected to find works dealing with music as a profession
at this point (since the great majority of professional musicians
learn the finer arts of their craft at music conservatories, etc.) and also
analytical notes which are nearly always written for use in concert pro-
grammes. In fact, these last headings are 780*071 and 780-072 sub-
divisions of 780-07 which is for "Relations of individuals and public
bodies", a somewhat obscure heading: 780-6, Associations, Societies,
Clubs has a sub-division, 780-65, for Commercial establishments,
Music stores; yet their catalogues are apparently classed at 780-85
under Commercial circulars. The history of music is classed at 780-9
with an optional place for biographies at 780-92 (though a note in-
dicates a preference for 927-8), and 780-93-99 for the history of
music in special countries. There is, in my opinion, much to com-
mend the use of 780-92 since nearly all biographies and autobio-
graphies are almost compelled to include some critical sections (it is
difficult to write a life of a musician without some evaluative refer-
ence to Ms music) but this means that music history is separated into
two groups. Einstein's History of music will have all the musical
biographies between it and Walker's History of music in England.,
since the former will be classed at 780-9 and the latter at 780-942.

781 Theory and technic, contains the expected headings such as
Harmony, Counterpoint, Orchestration and Modes. 781-9, Various
questions, contains a real miscellany of headings including general
places for musical instruments, libretti, bibliographies of music,
music printing and publishing. 781-5 is allocated to Music form,

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Classification

Kinds of music, and has a sub-heading 781-508 for Different
of orchestra! music and another for Dancing* 781-5085. TMs last item
is sub-divided further into individual dances of the eighteenth
nineteenth centuries such as Minuets, Polonaise, Galop, etc. TMs
heading has often been used by classifiers for modem dances and for
jazz since no specific place is allotted for them, but the 15th edition
makes a new head in the better place of 78542,

782 Dramatic music, Theater music is the heading for opera, etc.
Grand opera is at 782-1 and is followed by places for Epic, Wag-
nerian; Other German grand opera; French grand opera; Italian
grand opera (782-2-782-5). 782-6 is for Comic and satiric opera,
782-7 for Opera bouffe and 782*8 for Operettes and secular cantatas,
Vaudevils; 782*9 is provided for Pantomimes, Masks, etc. These
numbers are almost impossible to apply without causing cross-
classification. For instance, Mozart's Magic flute was written to a
German text and The marriage of Figaro to an Italian one. Does one
classify the first at 782-3 (Other German opera) and the second at
782-5, or should one call Figaro a comic opera and class it at 782-6?
Operettas and secular cantatas are strange bedfellows; it does not
seem adequate classification to find Bach's Phoebus and Pan sharing
the same class mark as Jofaann StTmstfsDieFkdermaus or should
the latter count as a comic opera? The most knowledgeable musi-
cians would find it a Herculean task to use these sub-divisions as
classification. A note in small type, at the head of the schedules for
782 does allow alternative provision for classing all opera under 782
arranging under that number in alphabetical order of composer; the
same note makes the alternative suggestion that all grand opera
should be classed at 782-1, again arranged alphabetically by com-
poser. In this latter case it is suggested (though no reason is given)
that Wagnerian operas should still be classed at 782-2. Opera and its
near relatives are admittedly difficult to classify; Bliss calls it "a
vague and historically complex class" and offers three alternative
arrangements; students should find it useful and instructive to com-
pare the answers given by Brown, Cutter, Sonneck (Library of Con-
gress) and Bliss with those of Dewey to this particular problem.

783 Church music, Sacred music, is straightforward; 784 (Vocal
music) provides fresh opportunities for cross-classification. There are
places for solos, divided by type of voice, followed by numbers for
duets, trios, etc., and for choruses (to which further sub-divisions are
allotted). 7844 is for Folk songs and includes Songs of the soil, cow-

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boy songs, chanteys and drinking songs. 784*6 is for Student songs,
Society songs, Choruses and Community singing (including provision
for songs of special trades). 784*7 is for Other kinds of songs, with
sub-divisions for National airs, songs and hymns (arranged by
country), Exotic songs (whatever they may be), Gipsy songs and
Negro and plantation songs. Are the folk songs discovered by Cecil
Sharp in the Appalachian Mountains long after most of them had
been forgotten in England, their country of origin, classed as English
or American? Seafaring is apparently not a "special trade" since
sailor songs go at 7844. When does a student song become a folk
song, or a national song? The possibilities for argument and error
seem almost endless.

Orchestral music is the first major division of 785 (Instrumental
ensemble) with sub-divisions for Symphony (a musical form), Wind
instruments, Brass band, Music of the chase, etc., but no place for
string orchestra. 785-2 is for music for orchestra with voices; 785*3
for Romantic, idyllic orchestral music (another place that offers
many opportunities for confusion); 785*4 is blank, 785*5 is for Over-
tures (back to musical form again), 785*6 Concertos (form) and
785*7 Chamber music, divided according to the number of instru-
ments involved. Thus, in 785, at least two different characteristics
are used with consequent muddle.

786 (Keyboard music) is limited to music for and books on the
piano and organ. 786*4 is for piano music, with sub-divisions for
Sonatas, Fantasias, Artistic etudes, etc. 786*48 is for Variations,
transcriptions (two entirely different things) and 786-49 for Arrange-
ments; this has appended a note in small type: "Four hands and
more; e.g. orchestral music arranged for piano." Orchestral music
arranged for two hands presumably goes here also for want of a
better place and there is no specific provision for original piano duets
or two-piano works, since neither type of music is an arrangement;
but a symphony arranged for piano duet and a piano concerto
arranged for two-piano performance would be placed at 786*49.
Once more the schedules show a lack of clear thinking. The sub-
divisions of organ music (786*8) are as confusing with Fugue (786*82)
preceding Preludes (786*83) and Preludes and fugues written in
combination (which is common enough) apparently needing to be
classed in the general number 786-8.

The remainder of the class is straightforward enough, though
occasionally open to criticism in the order chosen for instruments.

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Classification

787, 788 and 789 (Stringed instruments, Wind instruments, Per-
cussion and Mekanicai instruments) do not make provision for con-
certos, preludes and fugues, etc., which Is an advantage. Sub-division
when made is simply for individual instruments; the gramophone is a
"mekanical" one, and shares the same number (789-9) as
pianos and musical glasses.

It will be obvious from my comments that I consider this to be a
bad scheme for music classification; it is (again in my personal
reaction) the worst of those considered in this chapter; how far a
probable fairly drastic revision in the 16th edition will remedy its
weakness remains to be seen. As an interim measure, some practical
suggestions for the classifier who has to apply the 14th edition are
given at the end of this chapter.

In general, the 15th edition has met with far more criticism than
praise but the pruning of the music schedules appears to have im-
proved this section in several places. 780-07 is now clarified as
"Music and musicians in relation to society, the Arts". There is a
reference to 656-6 for music copyright (previously omitted) and
musical appreciation at 780-15 (a new number) includes analytical
notes. These were previously located at 780-072 but concert pro-
grammes are still at 780-73. Both in 780 and 781 subjects are often
given different emphasis, e.g. in the 14th edition 781-64 is "Adapta-
tion; Resolution; Instrumental reduction; Arrangements; Trans-
position", but in the 15th edition is simply "Transposition". In 781
"Technic" becomes the more normal "Technique".

Big changes occur in 782 where it is recommended that all opera
should be at 782-1 though 782*6 is shown in the schedules as an
alternative (though not recommended) place for comic and satiric
opera. 782-8, however, still includes both Theatre music and Secular
cantatas. 783 shows minor simplification while 784 still leaves the
confusion between 784-4, 784-6 and 784-7 unresolved. In fact, it adds
to it for 784-6 (Student songs; Society songs; Choruses; Community
singing, in the 14th edition) becomes "Community songs; Student
songs; Society songs" in the later edition with a new sub-division
784-61 for Community songs; Home song books; Popular songs.
"Home song books" will almost certainly include national songs, sea
shanties, etc., and "Popular songs" can mean anything or nothing.

In class 785, 785-11 is amended to Symphony orchestras and
symphonic music, but is still separated from Overture and Concerto
though the latter placing (785-6) now specifically includes Concerti

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Music Librarianship

gross! (previously classed here or at 785*1 according to the classifier's
decision). 785*4 (previously blank) is now used for Dance, Salon,
Theater and Reduced orchestras and music, with 785-42 for Jazz
orchestras and Jazz a number that libraries using the 14th edition
would do well to adopt. 785*7 now becomes Chamber orchestra and
there are no sub-divisions for quartets, octets, etc.

At 7864 the sub-divisions all disappear though a note says:
"May be arranged by form or number of pianos or performers."
Similarly, organ music loses its sub-divisions and now specifically
includes church organ music which was previously classed at 783-81.
787 is much as before, though there is now an alternative placing for
string chamber music at 787-04 instead of 785*7. In 789 separate
places are now allotted to phonographs ("gramophones" in British
terminology), records, and catalogs of music.

This brief survey should have shown that the new version is
certainly better than the old but that many of the criticisms levelled
at the schedules of the music section in the 12th to 14th editions still
apply.

THE LIBRARY OF CONGRESS MUSIC CLASSIFICATION

The importance of the LC scheme of music classification is
generally admitted, but detailed description or criticism appears to
be missing from British professional literature. In the chapter on
classification in McColvin & Reeves, for instance, the comments are
made that the Congress scheme is very detailed, and that for use in a
medium-sized library "drastic alterations would be required". It is
interesting to note that the Music Library Association in the U.S.A.
has had a committee trying to work out a satisfactory condensation
(see supplement to Notes, June, 1951); on the other hand, the Music
Division of the Library of Congress has found the scheme insuffi-
ciently detailed in many places, and has introduced many new plac-
ings that do not appear in the printed schedules. A condensed or
simplified scheme may have much to commend it, but if and when
the library stock outgrows the less detailed version, considerable re-
classification may be required. On the other hand, a detailed scheme
has the advantage that minor sub-divisions may be ignored until
required, but may require longer class numbers than the stock
apparently warrants.

As with other classes in the L.C. scheme, the music classifications
(Classes M. ML and MT) are published separately in a single

154

Classification

volume, and in Great Britain this may be obtained through H.M.S.O.
(at a cost of 8s. 6d. at the time of writing). For the majority of
students, however, a reasonably detailed description of the
will probably be sufficient. From this, the method of division should
be understood, and comparison with other schemes of music classi-
fication made comparatively simple. It must be remembered that the
L.C scheme dates back to 1902, when it was drawn up to deal with
a collection of some 200,000 items: there are now over 2,000,000 in
stock. Prime responsibility for this section of the scheme was taken
by the late O. G. Sonneck, some of whose ideas on music cataloguing
may be found in the second appendix to Cutter's Rules for a dictionary
catalog. Looking back, in 1917, Sonneck declares in the introduction
to Class M that the only alteration he would make, were he then to
start afresh upon a scheme, would be to provide a separate classifica-
tion for early music, which presents problems of its own. Just where
"early music" ends is not stated, but it is understood that Sonneck
had in mind the year 1800. The problem is certainly very important
in the largest music libraries, but is not likely to cause many diffi-
culties in those of smaller size.

The class lists are printed in a volume of 157 pages, some ten-
and-a-quarter inches high, and the three sections are consecutive:
M, Music scores; ML, Literature of music, and MT Musical in-
struction and theory. There is a single index to the three classes. The
first class, M, divided into four major groups. M 1 to M 4 are for
collections in the broadest sense; M 5 to M 1459 are for instrumental
music; M 1490 is a special class, more of bibliographical than musical
significance, while M 1495 to M 2199 are for vocal music, which is
broadly divided into secular and religious music.

The scheme starts with places for general collections, otherwise
unclassifiable, and M 3 for the collected works of individual com-
posers. Single works, or works of a particular form for a single
instrument, are classified in the places that follow. M 5 is the first
number for instrumental music (miscellaneous and heterogeneous
collections), and the individual instruments are then treated indivi-
dually in turn, starting with organ music at M 6. M 7 to M 13 are
sub-divisions of M 6; thus, M 7 is for collections of organ music,
M 8 for sonatas and sonatinas, M 9 for suites and kindred cyclical
works, M 10 for fugues (with or without pedals), while M 12 and
M 13 are for arrangements for organ, collections using the former
number, single works the latter. A set of Handel organ concertos,

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Music Librarianship

arranged for organ solo, would be classed at M 12, but a single
concerto from the set would be at M 13. M 14 is the place for organ
accompaniments to hymns and psalms.

The harmonium provides the link between organ and piano
music, the latter being allotted the numbers M 20 to M 39*5, and
this music again is generally arranged by type. M 35 is the place for
arrangements of orchestral music, and M 37 for concertos, arranged
for a single performer. Pianoforte duets, it should be noted, do not
come into this section, but are to be found in M 200, with works for
two instruments. After keyboard instruments, the schedule continues
with stringed instruments, and the general sub-divisions are the same
in each case. Five numbers are usually allotted, providing places for
miscellaneous collections, collections of original works, single works
written for the instrument, collections of arrangements, and arrange-
ments of single works. String instruments are followed in turn by
Wind, Plectral instruments, and Percussion and other instruments.
The last begins, surprisingly enough, with Bagpipe, and includes
pianola.

Duos begin at M 180, but other combinations are mnemonic,
with trios having places from M 300 onwards, quartets from M 400,
and so to nonets at M 900. First in the duos are pieces for organ and
one other instrument, and this section continues with harmonium
and one other instrument and so in parallel order with the solo
section. This indicates that the earlier numbers allotted to stringed
instruments are for unaccompanied works, such as the Bach
Chaconne for unaccompanied violin ; works written or arranged for
violin and piano would be found between M 217 and M 223. It can
now be seen why piano duets and works for two pianos are classified
in this section, and not somewhere around M 35. With trios and
larger chamber combinations, the general order remains unchanged.
Trios begin with works for organ and two instruments, followed by
works for piano and two instruments, etc. Nonets end at M 985, and
M 990 and M 993 are provisional numbers for modern works which
employ obsolete musical instruments.

M 1000 (itself for miscellaneous collections) begins a fresh
section, for orchestral music. M 1001 is for symphonies, 1002 for
symphonic poems, 1003 for suites, partitas, theme and variations,
with 1004 for overtures and entr'actes. From 1005 onwards are
places for concertos, arranged according to the solo instrument,
beginning with organ and maintaining the same order demonstrated

156

Classification

at the beginning of the class. In each case, two numbers are provided;
one is for full score, the second for scores In which the orchestral
score has been arranged for pianoforte, so that the work can be
performed by a soloist together with a pianist who plays an approxi-
mation to the orchestral parts. A full or miniature score of Mozart's
clarinet concerto would be classed at M 1024, and the work

arranged for solo clarinet and piano would be at M 1025. M 1045
and subsequent numbers are for orchestral pieces such as marches,
pot-pourris and arrangements for orchestra. M 1 100 onwards is for
music for string orchestra, M 1200 for [military] band (with numbers
analogous to those following M 1000), and M 1350 onwards for
"reduced orchestra" and juvenile instrumental music. These divisions
alone show something of the care and detail with which the schedules
have been made.

M 1490, as indicated at the beginning of this description, is a
number on its own. The heading is "Music (instrumental or vocal),
printed or manuscript, before 1700 and preferred here, arranged by
composers, in a special group instead of being assigned to special
classes (as are operas, ballets, oratorios, masses, liturgical music,
hymns, songs for one voice, etc.)* 5 . Thisprovides a permissible place for
libraries that wish to separate music written before the present "key"
system was finally established to succeed the mediaeval "Modes".

Vocal music starts, for no apparent reason, at the odd number of
M 1495. Secular music is classified first, divided by type of com-
position, and then by the combination for which the work is written,
such as men's voices, women's voices, etc., with a further sub-division
for the number of parts of different voices for which the work is
written. Special places are given in the schedule to works written for
unaccompanied singing. From M 1611 onwards songs are classified.
Here, special numbers are allotted for songs written with lute accom-
paniment, concertina accompaniment, etc., but the general sub-
divisions are unexpectedly meagre. This section is succeeded (from
M 1627 onwards) by one for Folk and other national songs. As one
would assume, there is very close division for songs of the U.S.A.,
and broader divisions for songs of other countries. "Society songs"
is the next heading, again closely divided, and primarily of American
interest. The British librarian is not likely to meet, for example, a
work to class at M 1920 A 6, Collections of songs of an Anti-
Cigarette League. This section concludes with places for Student
songs and Juvenile songs.

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The next field covered Is that of Church music, at M 1999.
M 2000 to 2017 provides places for Masses, Requiems, etc. These are
succeeded by Anthems, which are divided by types of voices and also
by the Church seasons of the year. There are special sub-divisions
for such items as Creed, Nmc Dimittis, and a separate place for
Motets that are difficult to classify elsewhere. Foreign hymnals are
divided by country, regardless of denomination, but (as is natural)
American hymn-books are divided closely by sect. The section then
provides places for Church music, liturgy and ritual. Roman Cath-
olic church music of this type is allocated M 2150 to 2155, with sub-
divisions, and Protestant churches have provision made, such as
M 2164, Dutch and other reformed; M 2166-3, Scottish Episcopal
church; M 2166, Irish church and Church of England. There are
places for what might be called "topical" or "utilitarian" church
music (gospel hymns, religious bodies with particular functions, etc.)
which are analogous to the secular society songs. These special
interests are allotted the places M2198 (for collections) and 2199 (for
single works). Class M is completed with M 5000, which includes
"unidentifiable" works (chiefly fragments) which may be instrumental
or vocal, sacred or secular. It is not, however, the place for anony-
mous works, which are classified in the normal manner, and if
necessary, entered under title.

Before describing the other two sections, some comments on class
M may be helpful. First, it can be seen that (except for the collected
works of a composer, which are classified together as a set in M 3,
and not broken up) the general scheme of division is first by medium,
and then by form. Whatever criticism one might make, it must
always be tempered by the fact that the scheme was devised to deal
with the scores already held in the Library of Congress (and the
preface does not indicate any second thoughts of the "If I had but
known . . ." type), and was intended primarily for internal use rather
than by other libraries. In support of the contention in McColvin &
Reeves, mentioned in the opening paragraph of this outline, it may
be mentioned that Edinburgh uses LC for its non-fiction stock, but
that Dr. Savage rejected the music classification, and devised an
entirely different one, based primarily on composer, and only
secondarily on form or medium. In the music library of all but the
largest cities, I feel that (to quote an example) Bach's organ works
are better classed together rather than spread over eight different
places, as is possible in L.C. The student of form might find the

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Classification

divisions by form of use, but interest is normally first by composer,
with form as a secondary interest only. The argument this is

that having chosen the medium, a better view of what is available
can be given if the works are divided by form, remembering that each
section is divided alphabetically by composer. In LC, at least, the
person primarily interested in Bach's organ works can be given the
complete works, while single items are classified according to form.
The student must judge for himself whether or not he agrees with
this method. Mr. Edward N. Waters, Assistant Chief of the Music
Division of the Library of Congress, has categorically declared in a
personal letter: "I do not believe that we neglect the interest of
readers seeking music by composer."

Against my criticism of these form divisions, I would balance
pronounced approval for the provision of separate numbers for
original works and those which have been arranged for an instru-
ment, or combination of instruments; M 12 and M 13 (mentioned
earlier) are examples of such numbers. At first sight, this has the
compensating disadvantage of separating similar works of a com-
poser. Dvorak's Hwnoreskes would be in M 25 (Pieces); a copy of
the most famous of all the Humoreskes (no. 7 of this opus 101 set of
eight) would, on the face of it, be classed at M 31 (Two-rhythm),
although LC itself would apparently class it as M 25 as it is a single
item from a set of pieces. An arrangement of the New World sym-
phony for solo piano would be at M 35. This last place has proved
useful, particularly as such arrangements are usually made by a
musician other than the original composer. My own preference
would be to place all original works and arrangements under the
composer, and then sub-divide by form, etc., with a separate number
for arrangements. The even wider separation, in LC, of piano solos
from piano duets is logical, but unattractive. I am also surprised that
separate numbers are not allotted for the different keyboard instru-
ments such as virginals, clavichord, etc., as much early music was
written for one or other precursors of the modern pianoforte, and
many musicians consider that such pieces sound better when played
on the instrument for which they were written, though this is a matter
of taste. The difficulty here is that there is often no certainty, when two
or three different keyboard instruments were in vogue at the same time,
as to which particular one was favoured by a composer when he wrote
a particular piece of music or set of pieces. Such would be the case
with the Bach "48 Preludes and Fugues". Finally, it is obvious that

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a non-American library using this scheme would ignore the sub-
divisions in a number of places, where these are peculiar to the
U.S.A., and incorporate national sub-divisions for its own use. This
is a difficulty that should be easily surmounted.

Though many people tend to regard Classes M, ML, and MT,
as a single class, this is not really true; they are three self-contained
and semi-independent classes. ML, the Literature of Music, includes
such items as periodicals, almanacs, Societies, Institutions, pro-
grammes, libretti, etc. It also includes such special topics as musical
prodigies (ML 81) and women and music (ML 82). Libraries that
collect the writings of musicians manuscripts, autographs and fac-
similes, etc., find the scheme provides a place for these at ML 90.
The numbers ML 100 to 110 are given to dictionaries and encyclo-
paedias; ML 111 to 158 are for bibliography, while 159 to 3795 are
utilized for history and criticism, including biography. Division is
normally by country, and there is a special section for Wagner, which
illustrates once again how the scheme was built round the books
held rather than according to abstract theory. A similar scheme
could be adopted for any other composer of large output, well repre-
sented in a library. Places are provided for books on orchestral,
chamber and vocal music. ML 3800 to 3920 are for subjects dealing
with the philosophy and physics of music, and finally at ML 3925 is
an extremely useful place for fiction. There are quite a number of
novels that deal sufficiently with musical subjects to be of interest to
music-lovers.

The final schedule, MT Musical Instruction and theory, should
be self-explanatory. It takes in all aspects of pedagogy, including such
subjects as harmony and counterpoint, orchestration, teaching
methods for various instruments, etc. These last are generally divided
into four headings General observations, Systems and methods,
Studies and exercises and Self instructors. The inclusion of the third
heading means that educative works and those composed particu-
larly to exploit and illustrate technical difficulties (such as Bartok's
Mikrokosmos and Liszt's Etudes d' execution transcendante) are to be
found here, and not (as would be expected) in the section of solo
works in Class M. The Liszt concert studies are often heard in
recitals, and are completely outside the scope of the great majority of
amateur pianists, so that this placing seems somewhat unreal. TMs
difficulty is met, in LC itself, by classing some copies in class M and
others in MT.

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Classification

This scheme has been dealt with at length because It is used with
what Is probably the largest music collection in the world. The
greatest proof of Its quality is the simple fact that Sonneck's scheme
still meets with the approval of those who work with it, though the
collection has now grown to ten times the size of that for which the
classification was devised.

THE BIBLIOGRAPHIC" CLASSIFICATION

In some respects, the "Bibliographic" classification of Henry
Evelyn Bliss is the most difficult to grasp of those considered In this
chapter. The student, when reading this sub-class Music, sections
VV-VX, is advised to have a copy of the scheme to hand: a check of
the point made should help to clear up difficulties and possible
ambiguities. The Music is found In volume III of Bliss's work, but
the first and fourth volumes may also be requisite the former for
certain schedules which act as common form sub-divisions, the latter
for the index.

Acknowledgement should be made here of the courteous help
given by Mr. Bliss in the writing of this section. On more than one
occasion he replied in great detail to a long list of comments, ques-
tions and suggestions. He has virtually edited both first and second
drafts of this text, and but for his assistance, this section would have
contained several faults of emphasis and interpretation. There remain
a number of points upon which he and I agreed to differ, and these
may be evident to the reader. On others, however, Mr. Bliss gener-
ously conceded the changes and indicated his intention of revising
the music schedules in accordance with suggestions made. Some of
these proposed amendments are shown In square brackets.

In the introduction to volume III, pages 65-6, the author points
out that the term "Music" has six different meanings, and that
allowance for all of these should be made in a good classification.
Another long note on the classification of music precedes the section
itself. Briefly, these six aspects are musical sound itself (acoustics);
the subjective "heard music"; music composition, according to the
rules of harmony, counterpoint, form, etc. ; the compositions shown
physically, in the form of scores, gramophone records, pianola rolls,
etc. ; the rendition of music, and finally the hearing of such render-
ings not as acoustic but as aesthetic. Bliss, in the introduction to
the classification itself, points out again that music classification is

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extremely complex, with the problems of cross-classification occur-
ring at almost every heading. It would appear that Bliss would pro-
vide for the shelving of criticism of a work with the work criticized,
but deems that impractical because of differences of size. If most
sheet music were published in a format similar to that of books, or
vice versa, this mixing of the two different kinds of material might
become practical.

Music is described as an Expressive art, and is shown in the
schedules as part of Class V (Aesthetic arts), being allocated the
divisions W to VX. The long comment before the tables themselves
should be read (as well as the two pages in the Introduction that
refer specifically to music); it will be noted that Bliss combines his six
aspects of music into three (each having objective and subjective
aspects) : heard music, the composition of music, and the rendition
of music. In the scheme, VV deals with music in a general manner
and with history; VW with Musicology the science, theory and
philosophy of music, and VX with Musical compositions, Scores and
Records, i.e. the actual material for performance. These three sections
do not, Bliss points out, correspond to the three (or six) aspects.
They are practical, not basic.

Class VV ? for music in general, uses the mnemonics (constant
throughout the system) 1, 2, 6 and 7 for reference books, biblio-
graphy, periodicals and miscellanies respectively. VV3 is devoted to
ancillary material relating to the history of music, such as Societies*
reports, programmes, etc. If preferred, VV3 and/or VV5 can be used
for a special collection of music. VV8 is for the history of music in
general, and can be sub-divided by Schedules 1, 3 or 4 at the classi-
fier's discretion. Schedule 1 provides a series of general topics for
sub-division, Schedule 3 is for sub-division by language or national-
ity, and Schedule 4 for sub-division by historical periods.

VV9 is for biographies of musicians and criticisms of their works.
As with VV8, this section can be divided in more than one way,
according to the classifier's wishes. Once a choice is made, of course,
future accessions must be classed in the same manner. The first possi-
bility is alphabetically by composer, etc., in a single sequence,
arranged by the first letter of the composer's surname and a numeri-
cal suffix; the second choice is division by nation or country, with
alphabetical arrangement under each section; the third choice is
chronological, using the sub-divisions given in Schedule 4. Under
this scheme a sixteenth-century composer would be classed at W9, E

162

Classification

for biographical purposes. Whichever of these is used,

further sub-division for any individual composer be by

the use of Schedule 7. Bliss himself would appear to the

of these four possible methods, for in the index Bach is at

W9 9 Bl; Beethoven W9, B3; Bizet, VV9, B5; Brahms, W9, B7,
and Britten at VV9, B8. None of these names is actually shown in the
main tables; it will be seen that several numbers are missed, presum-
ably for intercalation. The intention in the index has apparently been
to include examples rather than the most important names, so that
there is no point in criticizing those selected or pointing out impor-
tant omissions.

If the user of the scheme chooses the division by nationality or
place, books on the history of music in a particular country are
shelved with lives of musicians of the same country, unless the lib-
rarian prefers to have all biography at the general number of L9,
which ignores special interests, but does divide by country. These are
good alternatives, but the difficulty lies in deciding the nationality of
composers such as Gluck, Saint-Saens or Handel. Mr. Bliss prefers
to refer always to Handel, a difference that emphasizes that com-
poser's claim to double nationality.

"Musicology" (Class VW) is an American term of rapidly grow-
ing use, though still regarded with some caution in Britain, and
includes the theoretical and critical aspects of music. Naturally,
classes W and VW are of different scope, that of VV being more
general, but there are occasional similarities. For instance, VV6 is
for "Periodicals relative to Music and the History of Music", VW6
for "Periodicals for Musicians, the Profession and the Art of
Music". This distinction is permissive, as the word "may" shows in
the note on the numeral sub-sections under the heading VW, Music-
ology. All the periodicals of musical interests may be kept in VV6,
unless the need for VW6 becomes manifest. VWB, on the theory of
music, is excellently divided, with separate sub-divisions for scales
and for their antecedents, the Modes. VWC is for Consonance and
Dissonance, and has a cross-reference to Acoustics. VWD is allotted
to the Arts of composing and Producing Music, VWE for Aesthetics,
Philosophy and Psychology of Music. VWEN is for Absolute music
(i.e. music that does not attempt to paint a picture or convey a
specific idea or set of ideas, but is intended to be listened to purely
as music, and perhaps admired for its construction); VWEP is for
its antithesis, Program music (i.e. music that attempts to render a

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Music Librarianship

story or picture in terms of sound, such as Richard Strauss's Till
Eulenspiegel or Saint-Saens Danse macabre); VWEO for Classical
music and VWER for Romantic, Idyllic, Pastoral music. These
places are provided for the more general studies, but a book dis-
cussing the Pastoral symphonies of Beethoven and Vaughan
Williams may be placed at VWEP (Program music) or at VWER
(. . . Pastoral music), at VWEO (Classical music) or under Beethoven
and Vaughan Williams in VV9.

Composition of music, and Writing music is VWF, Time and
Tempo is VWG, Harmony VWH, Counterpoint VWI and Musical
form VWJ. AH these have the necessary sub-divisions. VWK is pro-
vided for the "Literature of Musical Education and the Studies of
the Musical Arts", VWL for "Private study of the Musical Arts,
Self-education in" and VWM for "Music schools " These parti-
cular sections are probably more practical than those corresponding
in any of the other schemes discussed in this chapter. The class con-
tinues with VWN, Voice training; VWO, Instrumental training;
VWP, Musicians, including music as a profession. VWQ is allotted
to the "Publication of Musical Compositions, and production of
Records* for Mechanical Rendition". Thus, VWQC is for copy-
right,, VQWS for recording instruments and apparatus. The fullness
of these headings is obvious, and books on these topics are difficult
to fit in in some of the other classification schemes.

VWR, which has no sub-divisions, is for "Rendition, Expression
of Musical Compositions, General". This is succeeded by VWS Vocal
music and VWT Instrumental music. These are for books on inter-
pretation, and not on how to sing and play, but there may well be
some slight confusion in practice. A note states that "The training
and study may be included, instead of under VWO". VWT includes
organ, and has two sub-divisions for "Pipe" and "Reed, Melodeon".
No separate provision is made for the electronic organ, but the
Hammond and other organs of this type will be allotted a separate
sub-division, VWTLE, in any subsequent revision. VWU is for
"Wind instruments in general; Reed instruments in general". The
first sub-division here is for wood-wind, followed by VWUF for
Accordion, concertina, barrel organ (the old church type, and not
the once-familiar street piano seen in England before World War II;
this instrument is neither wind nor reed), etc. The next sub-division
is for brass instruments. Bliss then provides for Percussion instru-
ments in general (neither wind or reed), which are allotted the places

164

Classification

VWUN to VWUR, with VWUS for Historic, Exotic, and

other Instruments, VWUT is for for Chinese Cheng, Scotch [sic]
bag-pipe, etc. It may be recalled that only James Duff Brown
the instrument sensibly as a reed one (though Mr. was not

impressed by that argument) and he also makes provision for the
different types of pipes that are still extant. VWUU is for Chamber
music, sub-divided into VWUV, String Quartette; VWUW, Piano
and violin, and VWUY, Other groups. [This placing is open to con-
siderable criticism., and Mr. Bliss indicated Ms intention of trans-
ferring VWUU-Y to VWVU-Y, where these subjects will be much
more consistently placed in collocation with orchestral music. As the
notation VWVW is already used for Jazz orchestras and Music, this
will be altered to VWVS, to allow for the inclusion of the chamber
music headings.]

VWV is for Orchestral music, and contains eight useful sub-
heads [with four to be added from VWU], including Conductors;
Reading orchestral scores; Program; Selection and arrangement of
music, and (mentioned in the previous paragraph) Jazz orchestras
and music. VWW, Religious music, etc., includes VWWM, Organ,
Organists. This might be confused with VWTK, Organ, unless it is
remembered that this deals with the organ in general, while VWWM
is for religious music rendered on the church organ and for its
structure and technical details. The smaller library would probably
find it more convenient to use one rather than both places. The
section for books on music is completed by VWY, Popular music
and Mechanical (or Physical) rendition. This section includes places
for player-pianos, Juke-boxes and Megaphones, in addition to such
obvious items as gramophones.

Music scores are classed at VX. This section, as with the others,
begins with the constant and the variable mnemonics for biblio-
graphical sub-division. VX2, for example, is the Bibliography of
musical scores in general, and VX28 (a decimal type of sub-division)
for catalogues of dealers and music publishers. 8, one of the variable
sub-divisions, whose meaning changes from class to class, is here (VX 8)
used for Special collections of unbound scores ; and Miniature scores.
This makes provision for the works of a local composer, or some
other historical or self-contained collection. The scores themselves
are arranged in VX in similar sequence to the earlier sections for books
on music, i.e. vocal music, instrumental music and recorded music.

Although a separate place was provided for books on Sea
M 165

Music Librarianship

shanties, in VWYB, no place for the scores Is provided under VXJ,
Concert and Chamber Vocal Music; [but Mr. Bliss promised to allot
VXJR, now vacant, to them, thus paralleling VWYB. He suggested,
as an alternative, that such scores be classed in VXJY with "Other
choral scores**.] Religious music is at VXK, and Dramatic and
Operatic music at VXL, which may have a chronological division
(e.g. YXL38, Twentieth century), national division (according to the
nationality of the composer) or type division (Music drama, Mytho-
logical and heroic, etc.). Any of the three methods may be chosen
by the classifier, but once chosen, should not be altered for future
accessions, unless the whole section is to be reclassified. The safest
method in this "vague and historically complex class", as BMss calls
it, is chronological; the date of the opera's first performance is usually
easily ascertainable (from Loewenberg's Annals of opera, etc.), but
the nationality of the composer may be debatable, and the division
of opera by type soon leads to considerable difficulty. Places are
provided for selections, librettos and programs. In a similar manner,
Orchestral music, Scores (VXM) is divided by form, such as sym-
phonies and suites. Orchestral music is further divided by medium
(string orchestra, brass band, theatre orchestras) and this could give
rise to cross-classification with the headings immediately preceding.
For instance, many eighteenth-century composers (such as J. Q
Bach) wrote symphonies for string orchestras, so that the latter
heading might need to be restricted to arrangements for this particu-
lar type of orchestra, or for works whose form is not included under
the heading, such as concertos or variations. This last is a surprising
omission, but variations may be included under VXMY. VXMP,
Modernistic music and VXMQ, Jazz orchestra scores appear to
overlap, since Bliss apparently used "modernistic music" as a
synonym for "jazz". VXMR, Recently composed music, may also
provide difficulties, though it was hoped by its author to provide a
convenient and practical place, albeit one requiring a time limit and
frequent revision to prevent confusion with the preceding form
headings.

VXN is for chamber music. VXNA to VXNJ may be sub-divided
as orchestral music is, VXNK for transcriptions and arrangements,
VXNL for string quartets (piano quartets apparently being placed
under "other ensembles"), VXNM for trios of any sort, no separate
places being provided for string trios and piano trios. VXNN is for
quintets, VXNO for sestets, septets and octets, VXNP for ensembles

166

Classification

with harp, VXNR for duets. This last has sub-divisions;
VXNT for piano and violin, VXNV for violin and viola, and VXN W
for violin and violoncello. Bliss arranges this sequence to the
commoner, most-frequently used forms first, leaving the less-used
forms to follow if they are requisite. (My own opinion is a
sequence from duets to octets, or the reverse, would have
less arbitrary.) Organ music is classed at VXO and is divided into
religious and secular sub-divisions. It is surprising to an English,
user to find special provision made for offertories postludes
(both comparatively rare in music published in this country), whereas
there is no specific place for those popular organ works, the choral
prelude and the fugue [but this need should be met in the
edition, and the two forms will be included in the index].

Piano music (VXP) is closely divided, and harpsichord music is
considered as an integral part. To allow for close classification, there
is a special sub-division, Schedule 22, which can be utilized for this or
any other section of music scores large enough to warrant such sub-
division. Piano music can be divided by nationality, by chronology,
or by form, such as Nocturnes, Marches, etc. Dance music (VXPT)
sensibly includes Gigues,Sarabandes, Mazurkas, etc., though students
should note that "Tarantula" is more usually known as "Tarantella".
Waltzes are considered sufficiently important to have a separate sub-
division at VXPV. VXPW for Modernist music, "New" music, is
distinguished by Bliss from "jazz**. [The word "Jazz*' will be added
in the next edition, and also included in the index. This should pre-
vent any misconception arising as to the use of this particular place
in the system.] The provision of a single place for both piano duets
and works for two pianos (VXPD) is disappointing, but a separate
place for the latter scores may be marked VXPDD on Bliss's own
authority. No other place is available.

After piano music, the harp has a complete section to itself,
though one may doubt if the average public library has any harp
scores in its collection. VXR, for violin, includes places for the lute
and the viol. VXT and VXU provide places for the music of wood-
wind instruments. The general sequence is similar to that of class
VWU, but the alterations made are open to criticism. For instance,
VWUC is for oboe and English horn, but oboe music is classed at
VXU and music for the English horn at VXUV, with other instru-
ments intervening. [This separation of the two closely related instru-
ments, the oboe and the English horn, generally known in Britain as

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Music Librarianship

the cor anglais, will be remedied by transferring the latter to VXUH.]
In the Index are about 250 entries under the key word "Music",
while those forms and kinds of musical compositions considered
most important by Bliss are entered in the general sequence under
their own names, and not under the general heading "Music". There
are, apparently, about fifty terms so treated, making the total
number of entries for music and its terms about 300 which is
generous. A personal preference would be for all the entries to be
grouped under "Music" or else for all terms to be scattered through
the index as part of the general alphabetical sequence. The present
half-and-half method seems likely to cause difficulty until familiarity
is gained with both the scheme and the index. Such subjects as
"Anthem" and "Piano" (which has over thirty sub-divisions) appear
in the main sequence while "Chamber music'* and "Scales" are sub-
headings under "Music". These illustrations may give some idea of
the problem.

Without practical experience to back one's judgement, it is diffi-
cult to assess any scheme fairly but this would appear to be soundly
based. Bliss had a wide knowledge of music and a great liking for it;
he also received some assistance in this class from Senor J, Albani of
Buenos Aires to whom acknowledgement is made at the beginning
of Class U. It is obvious that the problems of a music classification
have been clearly seen and considered by Bliss though his solutions
may not win general acceptance. The provision of alternative
methods of sub-division at certain points is in line with that adopted
in other classes in the system; this may be of real value to the classi-
fier providing that the correct choice is made after taking into account
both the current stock of the library and probable future accessions.
Comments have been made, at one or two points, on the chances of
cross-classification but if these ambiguities are settled as they arise
no great difficulty should be experienced in putting the scheme to
practical use. Though attention has been drawn to what may be
considered defects and mistakes, this is probably the best music
classification on what may now be considered to be traditional lines,
in contrast to the methods of division and arrangements used in the
British Catalogue of Music, discussed below.

THE BRITISH CATALOGUE OF MUSIC

The first number of the B.C.M. appeared in 1957 and listed both

168

Classification

music scores and books on music that had been in the

British Museum during the preceding quarter* In general the work
resembles in appearance the familiar B.N.B. but there are two major
differences. The first is purely one of convenience the index to
issue is placed before the classified section and not, as in B.N.B.,
after it. The second difference was more fundamental in the replace-
ment of the Decimal Classification by a new and original
compiled by Mr. E. J. Coates of the staff of B.N.B. The bibliograph-
ical side of B.C.M. has been covered in Chapter II; the following
pages are devoted to consideration of the classification scheme only.

An outline of this scheme is given with each interim issue and
with the first annual volume, which is the only one to have appeared
when these lines were written. Draft schedules of the detailed scheme
were published in November 1957 and have been used for this sum-
mary. To those trained upon a numerical notation the B.C.M.
scheme may appear a complicated and possibly frightening scheme
for the arrangement of music but familiarity should quickly show
that it is not difficult to apply and is highly effective in operation. As
already indicated, provision has to be made for all music received in
the British Museum (with certain fairly well-defined categories of
ephemeral character excluded); this includes not only works pub-
lished in Britain but also those foreign scores for which certain
British firms possess sole agency rights. The best comparison is
therefore with the L.C. scheme, and it may be felt that the new
classification, though superficially the more difficult to understand
and apply, is the more exact and precise in its relationships between
subjects. This is as it should be, since ideas on classification methods
have altered considerably since the L.C. scheme was introduced some
fifty years earlier.

The scheme is a faceted one (based in method on that used by
Ranganathan in Ms "Colon" classification) whereby one builds up a
symbol to show all the essential constituents ; though the final result
may appear complicated it is usually reasonably simple to decode
and it gives an exactness of meaning that is not possible with the
older and more conventional schemes. With the exception of Table 7
which is used to indicate dates and duration the scheme is entirely
alphabetical with a base of twenty-four letters; I and O are generally
omitted for reasons of clarity, though they are used in class B when
coding composers' names and it is proposed to develop an alterna-
tive scheme for chamber music as class O, though B.C.M. will con-

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Music Librarianship

tinue to use N. There are two sequences, often parallel: the first, A
and B, Is for music literature, and the second, C to Z, for scores. As
in Cutter and (to a somewhat lesser degree) in Bliss, the two sequences
have a close relationship which can be quickly indicated by an
example. AQS is for books on the spinet and QS is the class for
music written for the instrument. These parallels will be stressed in
subsequent pages as they represent an important part of the scheme.

Because scores have so great a part of the alphabetical base
allotted to them, this part of the schedules will be considered first.
C begins with places for educational scores of a general nature
(C to C/AL) with C/AY for general collections of music (which can
be divided for different localities if necessary or desirable) and C/AZ
for collections from individual composers. This last has no sub-
division. The remainder of class C is for collections of music, e.g.
folk, incidental and religious music. Class C/A ... is, therefore,
something of a generalia class in the scheme but from CB onwards
the places are for "music of particular kinds (individual works and
collections)". The remainder of class C, together with classes D to
H and J are all for choral music of one sort or another and K is for
vocal solos. Collections of instrumental music are classed at L,
orchestral music in M, chamber music and instrumental groups at
N and P respectively. These are followed by piano music at Q, organ
at R, violin at S, plucked string instruments at T, wind instruments
at U, with sub-divisions for woodwind in class V and brass at W,
percussion at X and other instruments at Y. Z is allotted to non-
European music. This apparent emphasis on choral music is dic-
tated, it seems, because this is the field in which the greatest volume
of accessions is received. The use of a wider base helps to reduce the
total length of necessary symbols to cope with this complexity.

The schedules also include seven auxiliary tables, somewhat
reminiscent of Bliss; Table 1 is the general one for the sub-division
of any particular instrument or instrumental group, while Tables
2 and 3 provide very small modifications of Table I for use with
piano and organ music. Table 4 provides another modification, this
time for books (but not for scores) dealing with instruments and
instrumental groups. Table 5 quotes letters that are used as required to
indicate the most frequently required religious denominations; Table
6 is a series of ethnic/locality sub-divisions and Table 7, which has
already been mentioned, provides "chronological reference points".

The first stage of classification is invariably (as in all schemes) by

170

Classification

the instrument or instruments for which the particular score in
has been written or arranged, e.g. QP piano solo. To this are added
further letters to show the particular type of music QPE piano
sonatas, QPH dances and QPHVH polkas for solo piano, which is a
direct sub-division of QPH and not a division of QPHV as might be
expected. This illustrates the lack of parallelism between the notation
and the logical structure of the schedules. The sub-divisions of QPH
are in alphabetical order and fresh subjects can be intercalated as
necessary though this is true of any part of the schedules. S is for
violin, SP for violin and piano, SPM unaccompanied violin (which
may be regarded as moving backwards in the schedule) and SPM E
unaccompanied violin sonatas.

Common form divisions are given within curves; these apply
primarily to books. Arrangements are always introduced by the
letter "K" and, though not logically required, this is always quoted
with a stroke "/" after it in order to assist comprehension. The stroke
also forms part of the notation of certain topics, e.g. "/XF" repre-
sents Christmas music and the stroke is included when this aspect is
applied in any part of the schedules. Thus, carols are classed at
FDP, and Christmas carols at FDP/LF, while New Year carols are
FDP/LFM. In an earlier example QPH was quoted for dances for
piano; QPJ is for miscellaneous piano works and QPK introduces
solo piano works that are arrangements of pieces originally written
for some other instrument or instruments. Remembering that K is
always followed by the stroke to attract attention, we find QPK/CM
is the pianoforte score of a musical play and QPK/CM/JR of a
filmed musical play score; these follow QPK/CC for the piano score
of an opera. The symbols that appear after the stroke are related to
those of the original scoring. Earlier in this paragraph the notation
FDP/LF was quoted for a volume of Christmas carols and this bears
an obvious relation to a book of carols arranged for piano solo
which would be classed at QPK/DP/LF. The method of building up
symbols in combination to show the instrument, the form, its rela-
tionship to another work if it is an arrangement (and for collections),
its nationality and its place in chronology allows an exactitude that
no other scheme of music classification gives and yet the notation
remains comparatively brief. It may be mentioned here that the
scheme is designed to accommodate without strain new develop-
ments as they occur in the published material, and this is the primary
reason for the non-hierarchical notation. It was also an important

171

Music Librarianship

consideration in the decision to adopt a facet-type structure since this
enables the classifier to see where a new subject should go; a non-
hierarchical notation enables it to be placed at the desired point with
a minimum of complication in the notation.

Class A, musical literature, has the same basic method and is
closely related to the symbols for scores. A book on Christmas carols
is ADP/LF, one on opera AC, on film music A/JR and on musical
plays ACM. These placings may be usefully compared with those
quoted above for piano arrangements of these particular types of
music. It needs no great perspicacity to deduce that an operatic score
is likely to be classed at CC and the score of a musical play at CM.
The common form sub-divisions, from A(A) to A(Z) include the
expected ones such as encyclopaedias A(C), bibliographies A(T),
history A(X) and its related division by place A(Y), but also include
a number of unexpected topics such as statistics A(HM), law A(J),
lists of objects A(WT) (whose use is demonstrated in a later example)
and aspects of music in relation to other subjects branches of A(Z),
e.g. music influenced by another subject, A(ZF).

These sub-divisions are followed by places for other aspects of
music A/ AM the theory of music, A/CY technique (which includes
A/D composition, A/E performance and A/F recording), A/FY
musical character (including A/G folk music, A/H dance music,
A/L religious music, etc.), A/M elements of music (including A/P
pitch and A/R harmony) and A/S forms of music (which includes
A/T theme and variations and A/Y fugue). Two points stand out
here. First, that the sub-division may have a shorter notation than
its containing head, and second, that many of these places use sym-
bols related to those for the appropriate scores. On the first point,
it is simply a matter of practical use; there are likely to be appreciably
more books on musical composition than on the more general topic
of music technique. As for the second, the previously quoted example
of FDP/LF for a collection of Christmas carols can be connected
with A/LF for books on music for Christmas.

Now follows the straightforward division of class A, from AB
Vocal music to AY Other instruments. These topics are for "Works
on particular kinds of music, designated by executants". AD is for
choral music, ADP for carols; AL begins the sequence for books on
instrumental music with ALH as the general place for dance forms,
sub-divided alphabetically from ALHJ Allemand to ALHW Waltz.
Somewhere in the middle is ALHVH Polka; here again, it is simple

172

Classification

to see the relationship between this placing and that of QPHYH
(quoted earlier) for a collection of polkas for piano solo.

Class B is for books on individual composers. Collective works
on musicians are in A/D(M) wMch is made up of the symbol A/D
Composition plus the common sub-division (M) from A(M) for
"Persons in music". A/N is for biographies, so that bio-

graphies of composers are classed at A,'D(N). For individual com-
posers the arrangement is alphabetical using the initial letters of the
composer's surname plus other letters (on the style of Cutter and
other author arrangements) to bring the names into a single sequence.
Thus, a life of Bach is at BBC; the first *"W J is for a work on aa
individual composer, the second "B" for the first letter of his sur-
name and **C* to arrange the name among the other composers
whose names also have B as an initial letter. Beethoven is BBJ
Mozart BMS, Schubert BSF and Schumann BSG. William Schuman,
the American composer, would therefore be allotted a symbol such
as BSFZ to bring a book on him and his works into place in the
schedules immediately before Robert Schumann. This method of
interpolation can be applied at any point throughout the schedules.
Here is a class in which I and O have to be used for books on John
Ireland or Jacques Offenbach and others whose names begin with
these two letters. Not only biographies but any books dealing with
aspects of the life or works of an individual composer are classed
here. The appropriate sub-division is taken from class A and added
to the symbol for the composer. Thus, a biography of Schubert
would be given the symbol BSF(N) and a book on Schubert's varia-
tions BSF/T, since A/T is the class mark for books on variations in
general. Other amplifications can be made by using the symbols from
AB to AY; a book on Schubert's Masses would be given the notation
BSFADG. Such a scheme brings together works dealing with many
varied topics relating to a particular composer. This simple juxta-
position of symbols, somewhat reminiscent of what is possible in the
"Subject" classification, is invaluable. It might be a weakness in the
hands of the unskilled classifier who could link together the various
parts of a complicated notation symbol in the wrong order, unless
he remembers the basic rule which should prevent this happening,
i.e. that symbols should be combined in reverse schedule order (unless
the schedule itself directs to the contrary). Once this is understood
and practised the book on Schubert's Masses will be correctly placed
at BSFADG and not at a place such as ADGBSF.

173

Music Librarianship

Further help in the application of the schedules is given by the
instruction quoted in the 1957 volume that "A is followed by A( . . .),
which is followed by A/ . . ., which is followed by AB, which is
followed by AC ? which is followed by B, etc.". It may be useful to
demonstrate still further how some of the longer symbols indicate
quite clearly the exact nature of the music. Before doing so, mention
must be made of the fact that BZ is allotted to non-European music
(and this can be sub-divided in exactly similar fashion to class A)
and a reminder made that an arrangement of music in a form other
than that originally written is introduced by the letter K followed by
a stroke. The final technical point is that a subject divided by two
common sub-divisions in curves has the two aspects combined by a
stroke so that A(K/C) is used and not A(K)(C).

The first example chosen is an arrangement for military band of
ballet music, UMMK/MM/HM. The constituent parts are U, Wind
instruments, UMM Military band and K for arrangements to show
the actual setting of the score in hand. M is orchestral music and
MM music for symphony orchestra. A/H is the symbol for books on
dance music and A/HM for books on ballet music. Used with a
score the "A" is dropped so that the final symbol is /HM, completing
UMMK/MM/HM.

An apparently more complicated example is AB/FD(YD/XLT
28/WT) but this too can be broken down piecemeal without diffi-
culty. AB is for books on vocal music; A/FD is recorded music. As
in the previous example, the "A" is dropped from the second symbol
when combined with another, so that AB/FD is recorded vocal music.
Y introduces the ethnic/locality sub-division [Auxiliary Table 6]
where D is English or, in this particular context, England. X intro-
duces a period from Auxiliary Table 7, with L indicating 1880 and
T adding 18 years, so that XLT indicates 1898; 28 shows that the
particular work covers a period of 28 years while A(WT) is the
symbol for "Lists of objects". The symbol can therefore be dissected
to indicate a list of recorded vocal music in England from 1898 to
1925 or 1926; the actual book in the schedules is, in fact, the first
volume of J. R. Bennett's The voices of the past: vocal recordings,
1898-1925. If the reader feels that the B.C.M. class mark is too long,
difficult or complicated he is invited to see what results he gets when
trying to classify this particular book by any other scheme.

Generally speaking, the symbols required for scores are shorter
than those applied to books since the latter have a base of two letters

174

Classification

(A and B) only. MSK/DW/GT is the category for a of hunt-

ing songs for light orchestra. M Is orchestral music, MS music for
light orchestra and K introduces arrangements; DW is the symbol
for songs, etc., and GT comes from A; GT, a sub-division of A O,
Folk music. So the three parts of the notation show clearly the actual
executant of the music (the light orchestra), the original executant
(a singer) and the actual character of the composition, in this
the type of song.

VWPK/RXLF shows VW Bassoon, P, piano accompaniment,
K arrangement [from] RW String instruments (R is organ and RW
is therefore not a subsidiary subject but another example of a quite
separate subject sharing the same initial letter for notational con-
venience only) and RX, Bowed string instruments. L comes from
Auxiliary Table 1 (K/L) which indicates a reduction from a score for
orchestra and the same instrument; in this case the interpolation of
RX before the L means that the original orchestra was a string one.
The final digit is F, Concertos, and the complete symbol, therefore,
indicates a work for bassoon and piano which is an arrangement of
a work written for bassoon and string orchestra.

Two final examples show the same sort of built-up notation. IE
XMK/QRGM, X represents percussion instruments, XM percussion
band, K an arrangement [from] QR Harpsichord works and in
Auxiliary Table 1 5 G is suites and GM marches: so the score is there-
fore an arrangement for percussion band of a march originally
written for harpsichord. The last number is AC/E(YDBC/XPP 3);
obviously a book about music, with AC for opera; A/E is perfor-
mance, so that AC/E is operatic performance; (Y . . .) introduces the
locality sub-division from Auxiliary Table 6, so that (YDB) is
London, while (YDBC) is the place for the Covent Garden Opera.
X is the "period introducing symbol" of Auxiliary Table 7, in which
the first P represents 1940 and the second P an addition of 14 years,
making XPP represent 1954, with a duration of three years. The
actual book allotted this symbol is Opera, 1954-1956, the tenth of
the series of "Covent Garden books". Other examples of notation
are given in the comparative lists at the end of the chapter.

Unlike all the other schemes considered, this one is not part of a
general classification but is limited entirely to music.* It can be used
in lieu of the music classification of any scheme but would probably

* By no means the first. An excellent earlier American example is George S.
Dickinson's "V^ssar-Columbia" system (2).

175

Music Librarianship

be most useful with a large collection that is housed in a separate
department. A large collection would benefit from the detailed sub-
division and the different notation would be less noticeable in a
separate department.

SOME SUGGESTIONS FOR THE CLASSIFIER USING
DEWEY 780 CLASS

In the outline and criticisms of B.C., made earlier in this chapter,
some of the pitfalls for the classifier were indicated. Because Dewey's
music classification is often regarded as poor, many libraries have
adapted or revised the 780 section to a greater or lesser degree. The
most widely used variant in Britain is that of Mr. L. R. McColvin
and comment is made on this at the end of these notes. It can be said
here, however, that this is not an amended version of Dewey but a
complete recasting, having only the symbols 780 to 789 in common
with the original. The library with a large collection may decide, if
all books and scores in class 780 are to be reclassified to use the
B.C.M. scheme.

The notes that follow are for classifiers who feel that this is too
great a task but who find the printed tables of D.C. full of unexpected
pitfalls. Libraries with small music collections, in particular, may
find the following suggestions helpful both as to placings and to
simplification of certain sections.

Operas, etc.

Cross-classification results if Dewey's 782 sub-divisions are
strictly followed and the simplest arrangement that would still
separate unrelated items would seem to be:

782-1 All GRAND OPERA, of whatever nationality, in single
alphabetical sequence of composers.

782-6 COMIC OPERA, LIGHT OPERA and MUSICAL COMEDIES,,
i.e. music of the Gilbert and Sullivan, Franz Lehar, Noel Coward,
Rogers and Hammerstein types. Mozart and Rossini would be in
782-1, Offenbach in 782-6. Comic opera is sometimes defined as that
having spoken dialogue between arias, etc., but this must be regarded
as a very approximate guide indeed. In cases of doubt, prefer 782- 1
to 782-6.

782-8 SECULAR CANTATAS, i.e. works for soloists, chorus and
orchestra in which the text is non-religious. Examples of this type of

176

Classification

work are Bach's Coffee Bliss's Coleridge-

Taylor's Hiawatha, etc.

Masses and Oratorios

Masses, such as the Beethoven op, 123, be

classed at 783-2. 733*3 is retained as the number for
7834 for Sacred Cantatas which differ from in 782-8 in that

the subject is usually Biblical, though the text is not
from the Bible itself as is common with Oratorio, Hymnals will be
classified at 783-9 and such works as the Oxford of at

733-6 ? but other sub-divisions in the schedule may well be ignored.

Vocal Music

The simplest method of reducing the chances of cross-classifica-
tion here is to reduce the number of headings. Ignoring the 784-0 . . .
sub-divisions, 784-1 would be retained for glees and madrigals.
Individual songs or albums of songs by a single composer should be
arranged in composer sequence at 784-3. The boundaries
collections of folk songs, student songs and national airs are often
ill defined and baffling and it could well be that the best answer is to
class them all at one of three numbers, 784-4, 784-6 or 734-7, dividing
nationally in the normal method of B.C. where the selection is
limited to the songs of a single country. 784-8 can then be used for
collections of songs for a particular type of voice, e.g. an album of
baritone songs. 784-5, Festival songs is another heading that can be
ignored, since solo songs can be classed at 784-3 if by a single com-
poser (and at the chosen number of 784-4, 784-6 or 784-7 if by
various composers) and at 784- 1 if the songs are for choirs.

Instrumental Ensemble

Many smaller libraries find it simplest to class all miniature scores
at 785, arranging the works in alphabetical order by composer. This
method also separates quite clearly in the classified sequence of the
catalogue the vocal score of an opera (782- 1) and the miniature score
of the same work, the four parts of a string quartet for use by instru-
mentalists for actual performance (785-74) and a miniature score of
the work. If it is desired to retain full Dewey numbers for miniature
scores, particular care must be taken to ensure that staff and public
can see clearly from the catalogue entry which version or versions
are in stock.

177

Music Librarianship
Piano Music

Books dealing with the piano, such as Clossoif s History of the
piano, can be classed at 786-2, purely instructional works (both books
and scores) at 786*3, and 786*4 used for ordinary piano pieces in a
single composer sequence (as recommended earlier in this chapter
and in the 15th edition of D.C.). When in doubt between 786-3 and
7864 (as in the later books of Bartok's Mikrokosmos) the latter
placing is preferable, so that 786*3 is used for strictly pedagogic
works. Three other types of piano music deserve special provision.
These are piano duet, works for two pianos and piano solo scores of
country dance music and similar pieces.

Piano duet is for two players sitting side by side and sharing the
same keyboard, so that one player normally monopolizes the upper
half of it while the second confines Ms attentions to the bass end.
With two pianos both players have a complete keyboard to them-
selves and this gives the composer much greater freedom in his
writing. It is a common practice to arrange the orchestral score of a
piano concerto for a piano, so that the first player takes the solo
part, exactly as in the original, while the second pianist does his best
to represent the orchestra.

In the nineteenth century, without the aid of radio and gramo-
phone to make possible the regular hearing of the classics, many
orchestral works were arranged for piano duet and there is a large
body of good original duet material available, as is indicated in the
second half of this book. Duets are played from a single copy of the
music; it is customary for the two parts to be printed with the primo
on the right and secondo (the bass player) on the left, so that each
has his own part in front of him. Occasionally the two parts are
arranged in tandem one above the other this makes it easier to see
what the other player is doing but requires some craning over the
other player's shoulder during alternate pages. Works written or
arranged for two pianos clearly require two copies of the score for
performance. The two types of composition and arrangement are
related since each requires two pianists but the differences are suffi-
cient to make two separate placings desirable in any classification
scheme, and I would recommend the use of 786-48 for two-piano
works and arrangements and 786-49 for piano duet scores. The
placings can be reversed, if desired, but most libraries will probably
already have some piano duet material that has been classified at
786-49 for years while the number of two-piano scores is likely to be

178

Classification

appreciably less. The occasional freak work for six or at

a single keyboard would also go at 78649 and a work for
hands, two pianos at 786-48.

The demand for country dance music such works as

sword dances and the like is fairly constant and scores tend to
be overlooked if filed in the genera! sequence of piaao works. The
name of Cecil Sharp may be easily remembered but other collectors
and arrangers are not usually so well known and this can
obvious difficulty in searching shelves and catalogue in response to
an enquiry. There is also the point that the music itself is usually of
no interest to the ordinary solo pianist so that a further sub-division
of 7864 would seem to be justified; 736*41 might be suitable. The
alternative, to use the appropriate number in 793 is less satisfactory
since the books and scores are unlikely to be shelved together.

Organ Music

If 786-7 is retained for instructional and pedagogic works and
786.8 (ignoring the D.C. form sub-divisions) used for organ music
arranged in composer sequence, books on the organ as an instrument
can be classed at 786-6. This should reduce confusion between the
three types though Harvey Grace's The organ works of Bach should
be classified at 786*8 BAG (or arranged under Bach's name in that
sequence) so that the music and the criticism of it are at the same
placing.

General Observations

The remainder of class 780 would seem to need neither explana-
tion nor alteration but one or two further comments may help to
clear up some possible difficulties for the classifier who knows little
about music. It is vitally important to remember that music must be
classified according to the medium of the score at hand, which is
not necessarily that of the original. For instance, an arrangement for
piano solo of a Haydn symphony should be classed with piano solos
at 7864 and not at 785-11 which would be the appropriate place for
a full or miniature score of the work. If the arrangement is for piano
duet, then 78649 is the appropriate place and 787- 1 for a version for
violin and piano.

Where the music is written or arranged for two instruments and
one of these is piano or organ the work should be classed under the
other instrument, e.g. a piece for piano and flute is classified under

179

Music Librarianship

flute music. In other cases it is usual to adopt one of two courses.
The work can be classed under the less well-known of the two instru-
ments, so that a Duo for flute and violin by C. P. E. Bach would be
classed with flute music with an added entry under violin; the alter-
native method used is to classify under the instrument with the
higher register; the range of orchestral instruments is easily found in
many textbooks. With three or more instruments in combination,
the work is classified as chamber music.

Rather more difficult for the classifier is the problem presented
by an album of Oratorio songs by Handel. Choice here is between
784-3 (songs) and 783*3 (oratorio); I would prefer the former but
would certainly accept the validity of the latter place. The important
thing here is that the classifier chooses one answer and notes it so
that future volumes of a similar nature are classified in the same
manner and precedent is maintained.

McColvin-Dewey

Mention has been made on more than one occasion of the alter-
native scheme for Dewey's class 780 propounded by Mr. L. R.
McColvin in his Music in public libraries and slightly modified in
Music libraries. Though this uses the same Decimal base as Dewey
the order of subjects is completely different

Music scores are allotted places in 780 to 782 inclusive and the
remaining places in the scheme (783-789) are sub-divided for music
literature. The balance is in complete contrast to that chosen by
B.C.M. The author has attempted to base his schedules upon musical
evolution, so that 780 is for vocal music, 781 for instrumental music
and 782 for chamber and orchestral music since this is the natural
order of musical development. Many of the criticisms made of the
Dewey scheme have been met in this new version; for instance,
780-24 is for "Special types of songs e.g. sea-songs, chanties,
hunting songs", with 780*26 for "Songs for special occasions . . .".
780*25 has been left blank so that the various types of special song
are in adjoining places. Operas, arranged by composer, are at 780-7
and are followed at 780-8 by Musical comedies, light operas, etc,
arranged by title. This last is unorthodox but probably highly effec-
tive as titles are usually much more easily remembered than are the
composers of light operas. The major difficulty is likely to occur with
operettas and the like written by Offenbach, the Strausses and others
in which the library may have the work with its original title and

180

Classification

with varying English titles (Die The bat; Gay

etc.). 781 and 782 appear to be sensible and unfussy and mention
should be made of the alternative placings for miniature scores. The
preferred place is 782-77 (under 782 orchestral music) but libraries
may like to use 782*99 which gives works, which are

certain to be shelved in a separate sequence, the number between
scores and books on music.

783 provides places for general books on music works on
theory; 784 for "practice** books on music that provide the written
background to 780-782 books on singing, on instruments and on
orchestral music. 787 is for aesthetics and appreciation, and also for
music study and teaching; 788 is allotted to history and criticism
while biography and miscellaneous topics use 789.

The author describes this as "a simple scheme suitable for the
average public library" and the schedules have been adopted by a
few British libraries as well as by one or two in the U.S.A. Those
libraries that use the scheme appear to find it very satisfactory though
one may doubt if there is sufficient sub-division for a really large
collection. Notation is commendably brief with a maximum of six
figures (i.e. three after the decimal point) and it seems likely that
many more libraries would adopt this variation but for the thought
of the labour involved in amending the class marks on the entire
music stock. Some librarians may be hoping that the forthcoming
edition of D.C. will provide radical improvements and others may
not realize just how much better is McColvin 780 than Dewey 780.
If the library can find the staff time to make the necessary alterations
to books, catalogues and stock records, then there is a very great
deal to be said for reclassifying according to this scheme.

REFERENCES

1. McCoLViN, L. R., and REEVES, H. Music Libraries, v. 1, p. 25.

2. DICKINSON, George S. Classification of musical compositions: a
decimal symbol system (Poughkeepsie, N.Y.: Vassar College, 1938).

FURTHER READING

Very little appears to have been written about the classification
of music. The student will naturally read the appropriate chapter (the
third) in the first volume of Music Libraries. Another interesting
article is:
N 181

Music Libmrianship

LINE, M. B. A classified catalogue of musical scores: some problems
(Library Association Record, November, 1952, pp. 362-4).

In this article Mr. Line makes some criticism of the L.C. schedules
and deals with a number of the difficulties in applying them in certain
cases. He recommends a revision of the schedules (though no specific
suggestions are made) together with an entirely new scheme for music
written before 1750.

PRACTICAL EXAMPLES OF THE CLASSIFICATION OF
BOOKS AND SCORES

These examples are provided for two reasons. First, they show
the relative lengths of notations for the same book or score in differ-
ent schemes; secondly, students can study, in so far as the necessarily
limited number of examples allows, the relative merits of the schemes
in showing the relationship between works that have a common
factor (as in the first two examples, and the three Elgar scores), and
in the provision or lack of provision for works that have some super-
ficial relationship but for which separate places ought to be provided
(as in the piano and string trios). Except for the D.C. placings, all
have been checked by the appropriate expert mentioned under
"Acknowledgements" at the beginning of the book.

Brown

Cutter Dewey L.C. Bliss B.C.M.
(14th ed.)

BEETHOVEN

Piano sonatas
BLOM

Beethoven's piano sonatas
discussed

C647-9 VZP 786-41 M23(a) VXPI

C647-9 WB

DEBUSSY

Preludes for piano C647-9 VZP

ELGAR
"Enigma" variations,

min. score C761
do. arr. piano duet C647-9
do. arr. 2 pf C647-9

SACKVILLE-WEST & SHAWE-TAYLOR

The record guide C330(c)

NEWMAN
Opera nights [synopses and

criticisms] C781

MOZART

Don Giovanni: vocal sc. C781
MOZART [i.e. Da Ponte]
Don Giovanni: libretto C781

SMETANA

Bartered Bride, v.s. C783

FORSYTH

Orchestration C760

BEETHOVEN
String trios, op. 9 [parts] C777

786-41

MT145 W9,S,I

VWJN, B3

786.4(b) M25

VXPP

QPE

BBJAQPE

QPJ

VYA 785-1
VZPA 786-49
VZPB 786-49

M1003 VXMY
M209 VXPD
M215 VXPD

MM/T

QNVK/MM/T
QNUK/MM/T

VXME 789-9 ML156-2(d) VWYV A/FD(WT)

AC
CC
BMSAC

AM/D
RXNT

W10

782-1

MT95

VWSO

VYO

782- l(e)

Ml 503

VXL3(f)

VYOL 782-1

ML50

VXL5
orVWSI

VYO

782-l(g)

M1503

VXL35(f)

VWT

781-632

MT70

VWVD

VYC

785-73

182

M351

VXNM

Classification

Brown Cutter Dewey L.C. Bliss B.C.M.
(14th ed.) ,____.

SCHUBERT

Piano trio, op. 99 [parts] C777 VZQ 785-73 M312 VXNM NXNT

SPUTA

Life of Bach X BAG VVB 927-S(h) ML4IO VVd BBC N

LESLIE

Polonaise [a life of Cliopin,

In novel form] N020 WZZ 823-9! ML3925 W9, Y BCE(N.EC)

or ML4IO or VV9, L

Notes: (a) L.C. have some editions in MT247; these would be
so-called "instructive" editions. The decision between the two
can be extremely difficult.

(b) Or, perhaps, 78643. Though there is no separate place for
preludes, this number includes "descriptive" music.

(d) This number does not appear in earlier schedules, but is
listed among the "additions and changes . . ." adopted since
publication of the second edition.

(e) Written to an Italian libretto, so 782-5?

(f) Or alternatives, according to the method of division chosen
for use.

(g) But some classifiers would consider this to be a comic opera,
at 782-6.

(h) Legitimate alternatives are 780-92 and 92 B.

183

Chapter V

RECORD LIBRARIES

This chapter attempts to provide a fairly comprehensive picture
of the provision of gramophone records in public libraries, the
methods of administration, thejproblems of cataloguing and classi-
fication, staff and their qualifications and similar related matters ; the
chapter is intended for the librarian who is considering the possi-
bility of providing a gramophone record service in his library and
also for the student. There is some repetition of material used earlier
in this book; this is deliberately done in order to make the chapter
reasonably self-contained.

The novice may well find the different playing speeds and
abbreviations (which often indicate both speed and size) confusing
until familiarity overcomes this difficulty. The matter of record
speeds is dealt with in some detail at the beginning of the section on
administration. The basic fact to learn is that the shellac disc which
plays at 78 revolutions per minute has become known as the
"standard playing" or SP disc, although this speed is no longer
standard for classical music. The plastic disc, played at 33i revolu-
tions per minute, is the "long playing" or LP record and these
abbreviations (SP and LP) are used throughout this chapter to in-
dicate these particular types and speeds. The 7-in. disc with a
playing speed of 45 r.p.m. and the record which plays at 161 r.p.m.
receive due mention later in the chapter.

Manufacturing developments of various kinds are constantly
taking place so that it is only right to record that this chapter gives
the picture, in general, up to the beginning of 1958. The first part of
the chapter may be regarded as theoretical for it provides the back-
ground and indicates something of the field open to the librarian
starting a new collection. The main headings of this half of the
chapter are: History; Preliminary factors; What to provide, and for
whom; What to collect I, Musical, II Mainly non-musical. These

184

Record Libraries

last two sections each have a number of subdivisions* of which
is titled for ease of reference*

HISTORY

Though Britain's public libraries provided music scores
before their American counterparts (as is shown in Chapter 1) the
reverse is true of gramophone records. It would that the in-

novator was a resident of St. Paul, Minnesota, who Ms local
library a small collection of gramophone records in 1913 or 1914.
These were taken into stock and loan was restricted to schools and
clubs. 1 In 1921 the Detroit Public Library collection was started; it
has always been one of the biggest and best-known and its methods
of administration widely copied by other American libraries. In 1939
there were seventeen towns in the U.S.A. with populations of 75,000
and over that had gramophone record collections; 2 their number
was augmented by many other smaller towns that had made similar
provision. In the same year there was but a single British public
library that held a stock of records for loan this was Middlesex
County Library where a collection had been started in 1935 and in
which loan was limited to schools within the county area. The issue
of gramophone records to individuals was first made in 1946 when
the Chingford branch of Essex County Library was the pioneer.

The editorial of The Library Association Record for June, 1949,
stated that there were 37 public libraries in England with gramophone
record libraries at that time. Between 1949 and the middle of 1957
the total number of collections had exactly doubled with Motherwell
as the only Scottish representative. By no means all of these 74
libraries issue records to individuals; a number restrict loans to local
schools and societies. It is noteworthy that gramophone record lib-
raries are mainly provided in residential rather than industrial areas
and that provision is most common in authorities with populations
between 50,000 and 120,000. Gramophone record libraries were in-
augurated at a much faster rate in the U.S.A., for between 1945 and
1948 another 32 libraries in American towns and cities with popula-
tions in excess of 75,000 had started collections; 2 it now seems to be
a fairly true generalization that gramophone records are available
from public libraries in the majority of larger American cities but
that similar provision is still extremely limited in Britain particularly
outside the Greater London area.

185

Music Librarianship

To some extent this slower rate of development of the service in
Britain has been advantageous, for it has meant that librarians in
this country have had a large corpus of information available from
the U.S.A. about every practical aspect of gramophone record lib-
raries and have, in consequence, been able to avoid most of the errors
committed by a few of their transatlantic counterparts. During 1936
and 1937, for example, there were numerous articles in the profes-
sional press in the United States dealing with gramophone record
libraries and these articles indicated immense variations in the stan-
dard of selection, methods of cataloguing, classification, loan pro-
cedure and other points. Partly through articles of this nature but
also from meetings held by the Music Library Association, a con-
siderable degree of standardization has been achieved. This is par-
ticularly true of cataloguing, for the M.L. A. adopted a code of rules
for cataloguing phonograph (i.e. gramophone) records in 1942 and
this code was the basis of that used by the Library of Congress.
American principles and practice still seem to have much to teach
many British gramophone record libraries and to offer us many
interesting comparisons, so that considerable space is devoted to the
American scene. Mention is also made of some American discs of
types not available (except at considerable expense and trouble) in
Britain in the hope that the time is not too far distant when such
records can be imported without restriction.

England has seen much less variation and experiment in the
service, and it is perhaps surprising that only Coventry (1950) and
Leeds (1957) have adopted open-access methods for their collections.
Guildford supplies the single example of a service ceasing to func-
tion. In this case a small collection was provided for use by local
societies but the results did not justify the retention of the service.

The normal, if not the invariable, practice in Britain has been to
keep all gramophone records together; this is not always the Ameri-
can method. The Enoch Pratt Free Library in Baltimore places music
records in the Fine Arts Department while non-musical ones are
kept in the Literature & Language Department. The large American
output of literary recordings (e.g. those of plays and poetry readings)
and of language instruction records may make such a division in the
large city library desirable unless (as in Detroit) Music and Drama
together form one department. The majority of American libraries
include their record collections as part of the Art & Music Depart-
ment but some consider it as an aspect of the Circulation Depart-

186

ment's activities while others place the collection In the Reference
Library. 1 A good case can be made out, In fact, for the division of
the collection into lending and reference sections. The former would
include the great majority of records, the latter would memor-

able performances deleted from the manufacturers" catalogues
not reissued in long-playing form) which are irreplaceable. The refer-
ence section would also contain some of the special types of material
discussed a little later in the chapter. Because, almost without excep-
tion, British gramophone record collections have to be housed In
buildings that were designed and built long before this recent activity
was dreamed of, the collection has had to be placed at some point
where sufficient room can be found, whatever its other defects. In
some cases the collection is housed with the music library or section,
in many space has been cleared in the Lending Department, but a
number have had to keep their records away from the normal public
departments and file them in stock rooms, offices and the like, with
a resultant loss of efficiency in administration.

The legal position for this kind of service in Britain is a little
obscure. Westminster Corporation took up the matter with the
Ministry of Health when about to start a record library, and the
relevant part of the reply is quoted in The Library Association Record
for May, 1947. It reads: "The Minister has consulted the Minister
of Education in the matter and is advised that as music is both a
science and an art, and a gramophone record Is undoubtedly a
specimen of music, the Council have power under Section 15(1) of
the Public Libraries Act, 1892, to form a lending library of gramo-
phone records as an extension of the present library service." In 1956
the Croydon Corporation presented a Local Bill before Parliament
and included in It a clause that would have permitted the provision
of a gramophone record library with the right to charge users a fee
for each record borrowed. This clause was rejected, presumably
because of the financial aspect. Yet a similar clause in a Bill pro-
moted by the Huddersfield Corporation was accepted. Rather ironic-
ally, Huddersfield has yet to begin a gramophone record service
though its powers would appear to be unique. It must also be recorded
that at least two other County Boroughs and a Municipal Borough
run record libraries on a rental basis without apparent qualms or
local opposition, possibly under the somewhat wide and vague terms
of Section 132 of the Local Government Act of 1948 by which local
Councils are permitted to spend a maximum of a sixpenny rate on

187

Music Librarianship

entertainments. Charges certainly cannot be legally made under any
provisions of the 1892 Public Libraries Act. American libraries have
no similar difficulties but appear to be under greater stress with
reference to copyright problems, particularly with users who borrow
records for the purpose of making their own tape recordings of
them.

PRELIMINARY FACTORS

Before a collection is inaugurated a librarian will need to con-
sider his local library service as a whole. A gramophone record ser-
vice should certainly not be provided until that offered by the home
reading and reference departments can be considered adequate; an
expressed local demand for a gramophone record library is impor-
tant but not over-riding. In his report to Ms Committee the librarian
should indicate something of the factors involved, the initial outlay
and the running costs required to provide a progressive rather than
a stagnant service. The provision of gramophone records may well
be regarded as a logical extension of the book service, as a desirable
if not essential adjunct to the music section, and as an invaluable aid
to musical education. The recreational side may be regarded as of
minor importance compared with the cultural and educational
aspects but should not be overlooked since many users will take
records home primarily for enjoyment rather than for education,
while "culture" is a word often regarded with some suspicion.
Honesty demands that the librarian stresses the need for ample
resources and the service should never be provided at the expense of
the book fund. The Library Committee may well find that the gramo-
phone record library, once started, develops into a major service. In
these days when there is a wide public for good music and the
gramophone turntable is to be found in an ever-increasing propor-
tion of homes it is not just a handful of the musically sophisticated
that will use the service to the exclusion of others. The tremendous
output by the manufacturing companies of records and of radio-
gramophones, playing desks, portable gramophones and the like,
indicates something of public demand today. Recordings of classical
music obviously sell well or the companies would not continue to
turn out version after version of the most popular classics.

In preparing a report, consideration will naturally be given to the
estimated potential demand. If the opening collection is small and
the librarian has remote hope of a further grant for buying more

188

records if the public denude his shelves, then It may be best to
loans initially to schools and societies only and not the

tion available to individuals; the may well
Councillors to agree to a more generous and policy.

Where individuals are allowed to borrow, be

restricted at first to local residents; non-resident and, 'or

subscribers may be allowed to join when the stock Is
adequate to meet this extra demand. If a service for all cate-

gories is envisaged from the start, and this is obviously a
aim, then the opening stock must be large to allow

choice to every user. The wider the scope of the collection, the
greater its use is likely to be; this suggests that it is only to

limit the opening stock to classical music of a standard. Light
music and/or jazz should definitely not be provided unless it is
certain that financial resources will allow adequate coverage^ and also
that provision is not made at the expense of permanent music of
greater value. Jazz is considered at some length later in the chapter.
Some practical comments of a more detailed nature will be found
under the heading "Initial cost and running costs* 5 In the second half
of this chapter; this section might therefore be rounded off with
three relevant figures. In 1957 the amount spent on gramophone
records in the twenty-three Metropolitan Boroughs of London that
provide this service varied between the equivalent of 1 and 13 per
cent of the book fund; the proportion of expenses recovered by way
of fines and subscriptions, etc., ranged from 2 to 68-5 per cent (the
latter in a system with many subscribing members and a fairly high
rate of fines). It must be realized that not all the twenty-three lib-
raries allow loans to individual borrowers. Finally, in a most inter-
esting and useful article (listed at the end of the chapter), Mr. L. G.
Lovell considered that library expenditure would need to rise about
4d. per head of population for adequate gramophone library pro-
vision. Where libraries are administered upon a rental or subscrip-
tion basis, an excellent stock can be maintained at a very small cost
to the ratepayers as a whole.

WHAT TO PROVIDE, AND FOR WHOM

What types of records should collections include? Two decisions
must be made. The first and primary one is that of the standard of
selection and of the intended scope of the collection; the second is

189

Music Librarianship

the physical one Involving record sizes and playing speeds. Both
problems are dealt with at length in succeeding pages but can be
summarized by suggesting (as has already been said) that the
standard of selection should be no lower than that applied to music
scores in the library and may usefully and profitably be higher;
the LP disc is now supreme in the field of classical music, though
consideration may be given to the 7-in. disc with a playing speed of
45 r.p.m.

An American view, not necessarily representative, of what should
be provided is given by Oscar Luening, Professor of Music at
Columbia University, New York; 3 he wrote that in the good library
"There are a sufficient number of turntables or listening rooms to
make the collection available to the community, and there is a
phonograph in the auditorium for the use of groups and classes. The
record collection includes a number of foreign language sets, record-
ings of literature, history and poetry, and enough recordings of
children's records to serve local users." Facilities for listening to
records at the library are not regarded by British librarians as a
necessary part of the service, neither is the provision of records for
children.

For whom should we provide? As has been indicated, quite a
number of gramophone record libraries in this country limited the
use of the collection to societies and perhaps to local schools, thus
providing the service only through the medium of organized bodies.
Most libraries admit individual users who are resident within the
library's boundaries of service, though limitation may be made to
ratepayers, those over a minimum specified age, etc. One wishes that
some method of checking their sense of responsibility could also be
discovered. A category of library extends borrowing privileges to
employees working full-time within the local area, while the final
concession is to allow any person with a valid library ticket, whether
he has any connection with the district or not, to use the collection.
Penge, one of the smallest authorities to maintain a collection, made
this generous gesture until 1957 when it modified its policy to the
more usual one of allowing those who neither lived nor worked
within its boundaries to become members, but as subscribers. The
only collection free to all, both callers and correspondents, is almost
certainly that attached to the American Library in London; this is a
most enlightened form of propaganda for American music.

For what types of user should we provide? Another American

190

(Kurtz Myers, Chief of the Music and of the

Detroit P.L.) considered In a letter written in 1954

"the public for records is In the main a youthful one,
about the junior year In high school through and up to the

point where sufficient economic advantage is to pur-

chases answer needs, or where family responsibilities up
and interest. Males predominate, but not in the did for-

merly. Another audience for records is to be found
men, the ones who have retired or who are about to retire. They are
much like graduate students who set systematically the busi-

ness of trying to fill a cultural gap sometimes with rewarding
success." Three years later Mr. Myers modified that statement.
"Record equipment has now become standard in so many homes of
young married couples. I think we get more families and couples
than we used to be aware of. The musical sophistication of some of
our teen-age borrowers is quite terrifying. They don't listen by the
book but rather listen omnivorously and sort out their impressions
confidently. Bartok is a favourite composer with the young and
seems to afford the bridge from the progressive jazz to serious con-
temporary music. The fanciers of old vocal records are becoming
fewer and fewer." British experience is only partially in agreement
with these statements for in this country it would seem that masculine
borrowers predominate under the age of 30 but that family borrow-
ing is common to all ages, while a number of users find it invaluable
to try discs in the public library stock before buying those particular
recordings for their own collections. The need for this policy, unless
one is prepared to buy solely upon the recommendation of a trusted
reviewer, is growing in this country and is most necessary in the
U.S.A. There, many of the larger shops that sell records keep a
special copy of the disc for trial purposes; the customer receives a
factory-sealed copy which can only be changed if it is mechanically
faulty. If no records are provided for trial purposes then the customer
has to decide whether to buy the sealed package and trust that he
will like the record, or else leave it and hope to hear that performance
on the radio, in a friend's house or in the same recording borrowed
from his local public library. It would seem that dealers are beginning
to follow a similar policy of supplying guaranteed unplayed discs in
British shops and this is another factor that will increase the use of
the library that has a gramophone record collection and will cause
greater demand for recent releases by the manufacturers.

191

Music Librarianship

In most libraries the proportion of registered readers at the
library to the total population is between 20 and 35 per cent; for
gramophone record libraries the figure may well vary even more,
from approximately one-twentieth to one-tenth of that ratio, i.e.
between 1 and 3-5 per cent, though still wider variations may be
found. A higher proportion can probably be achieved (as with the
percentage of readers) by lowering the standards of selection but
this must be strongly deprecated. Potential users of the gramophone
library will undoubtedly include many of the most intelligent and
influential local residents the types of readers who make the best
use of our services and who deserve the best we can provide but
librarians must realize how comparatively limited is this number
and plan accordingly.

WHAT TO COLLECT: i MUSIC
General

The unimaginative librarian might feel that the problem of record
selection is capable of easy solution; all that is needed is a collection
of works of different types (orchestral, vocal, instrumental, etc.)
limited perhaps to composers who are already represented in the
music collection, and chosen mainly from the catalogues of the major
recording companies. The question of which version to buy of a
particular work might be answered by noting the consensus of critical
opinion as shown in Record ratings, by reading the comments on the
different interpretations in The record guide, and by checking the
reviews in The Gramophone or other critical periodical for records
issued subsequently to the period covered by the two books men-
tioned. Such a collection could be a very good one and even the
imaginative librarian will be well advised to attempt nothing more
ambitious while the collection is small in numbers for the service
may be hard pressed to satisfy even the demands for standard classics
until the stock is quite large. One may regard Schubert's Unfinished
symphony and Mozart's Fine Heine Nachtmusik as hackneyed
classics yet they will always be new to some of our users and will
always be in demand, while the colourful orchestration of Bolero or
Scheherezade is particularly attractive to the untutored listener who
may find in such works the necessary background that enables him
to progress to music of less obvious attraction but of equal if not
greater value. A small collection that attempts to include the esoteric

192

as well as certain other types of record is

the way for demands upon the service that may be Im-

possible to satisfy. Minority groups may not the

cash resources behind the service even the collec-

tion should be designed to meet specialist rather the * s bread-
and-butter" requests of the majority of users. An American library
has a greater incentive to provide popular run-of-the-mill works,
possibly in several different versions^ since are sure to provide

a steady income, while the unusual composition may a
time to earn a reasonable proportion of its original cost. It is sug-
gested, therefore, that the early days should see the record collection
covering a limited but well-rounded field and doing job well
rather than hopelessly attempting to provide something for all tastes.

That conservative policy is recommended while the collection is
small, but as it grows the librarian should not miss opportunities to
broaden its basis and so add enormously to its value. The average
library collection will naturally consist mainly of musical items: of
orchestral and chamber music works; instrumental and vocal solos;
operatic and other choral works, etc. The two major difficulties here
are that all the works the librarian might like to include in the collec-
tion have not been recorded, or that existing versions may be un-
satisfactory in performance, in recording, or both. In fairness to the
companies it must be stated that the number of important works
still unrecorded is small indeed. Since the advent of the LP record
the gramophone record repertory has widened to an extent that
would have been quite unbelievable in 1939. Comparatively obscure
works never to be heard in the concert hall may be available in alter-
native recordings and the spate of issues during the early nineteen-
fifties was almost the despair of critics, dealers and collectors alike.
On the second point it must be admitted that there are still too many
discs that perpetuate unsatisfactory performances or whose technical
quality of recording falls well behind the steadily advancing stan-
dards of today. Only when there is no satisfactory recording available
should a disappointing disc be bought.

At this point it may be timely to add a word on the "recital"
record. With 78 r.p.m. discs it was unusual to find more than two
songs on a single side of a record; with LP it is not uncommon to
have as many as eight to a side and more have been known. The
private collector is often annoyed because he has to buy so many
items when he may wish to possess but one or two, and the companies

193

Music Librananship

occasionally recognize this desire by issuing some 7-in., or perhaps
10-in. "medium-play'* records with one or two only of the same
performances on each side. These shorter records, however, are often
not issued until an appreciable time after the original LP has ap-
peared. If the library purchases the LP disc it is certain that all bor-
rowers will have their particular preferences among the various items
on each side and many of the users may like to repeat these favourites
rather more frequently than the other items on the same side. This
can result in certain parts of the record becoming well worn while
other sections are still in good condition. As an added difficulty, the
"scrolls" (i.e. the intervening spaces between the end of one item
and the beginning of the next) may be very narrow and this will
make it difficult to place the needle exactly at the start of the desired
piece unless it happens to be the first one on the record. It needs but
one or two clumsy handlings for the grooves to become badly
damaged. The incidence of this problem appears to vary unex-
pectedly between libraries; one with a very large collection has had
to cease buying this type of record unless public demand makes
accession almost imperative, yet other collections find no evidence
of uneven wear. Some librarians consider the recital record to be a
useful if not essential type to have in stock. It may contain the only
available recording of a brief work or may contain just those separate
excerpts that are most popular. The recital record presents major
problems for the cataloguer, as indicated in the appropriate section,
and the difficulty of discovering whether a particular work has been
recorded if it is included in a disc of this type is a further handicap
for the gramophone librarian. One final point worth mention is that
the actual choice of music on these records, which may be vocal,
instrumental or orchestral, is often inartistic and sometimes deplor-
able though Lieder recital records may be generally exempted from
these strictures.

Alternative recordings

Once a gramophone record library has begun to function the
demand for certain popular works is sure to be heavy. Rather than
duplicate the particular version already in stock it is usually better
to provide an alternative recording even though the second perfor-
mance may be somewhat less satisfactory, in one way or another,
than that already bought. Comparison of recordings can provide a
source of great enjoyment to the music-lover (the B.B.C's "Composer

194

and interpreter" series of is a or

hearing of the same work with a different soloist, etc.); It is certain!>

a method of sharpening one's critical and can give

both to the interested amateur and the musi-

cian. In any event, it is most unlikely one of a

recorded work will possess all the virtues compared with its rivals;
a better performance may be offset by a less satisfactory
etc.

Complete works and limited

It is generally agreed with book selection that the public library
should provide the important but expensive book so far as its
will allow. Only a minority of our readers can afford to pay a high
price for books, and unless a work is required for regular use over a
long period, private purchase may well be considered uneconomic.
It was possibly easier for a man to buy a symphony on SP discs,
record by record, than to buy the same work on LP; the total cost
may be almost the same, but the newer version requires the money
to be paid at one time. The shorter excerpts necessitated on 78 r.p.m.
discs were advantageous to the person who wished to buy part of the
work only rather than the complete composition. Another aspect of
uneconomic purchase is provided by the work that one might like to
hear two or three times, or perhaps once a year, but whose use does
not really justify buying for such occasional performance music, in
fact, that one likes to savour occasionally rather than music to live
with. Here the public library can help by including in Its stock the
expensive and also the unusual work, providing that the latter is not
so out-of-the-way that only one or two patrons (to use the American
term) will borrow it. The obvious case is opera; few people can
afford to buy the six LP discs of Parsifal, and fewer still can find the
time or would wish to play the work with any frequency. The demand
for recorded opera has been growing immensely over the last few
years and many works that are never staged in Britain can be heard
on records. The librarian has to balance, once again, the conflicting
demand of the standard repertory work that has a large body of
admirers and which will be in regular demand by library users, and
the less-known and often expensive sets that the minority of users
feel should be provided through the library rather than bought for
themselves.

Other examples of the work considered to be of limited appeal

195

Music Librarianship

but of great musical value were the pre-war "Society" issues. The
name was somewhat misleading, since it was simply an issue of works
considered by the manufacturer to have small popular appeal and
given the somewhat artificial stimulus of a limited circulation. An
album (usually of five, six or seven records) had to be bought as a
complete entity; single discs were not sold separately and the broken
pieces of a damaged record had to be produced before a replacement
could be bought. The records themselves were issued at the normal
price, but the containing album was of superior quality and there
was a ceiling (usually unspecified) on the number of sets of each work
that were made available. One could buy a single volume and there
was no compulsion to buy the first album in a series nor all the series.
In a few cases some of the "Society" sets issued by H.M.V. did reach
the permitted maximum and the company felt itself bound to issue
no more. Even today, the first volume of the Hugo Wolf Society
(issued in 1931 and the precursor of all "Society" issues) is at a con-
siderable premium on the rare occasions when one can buy a second-
hand set of these records. It is an interesting reflection on both public
taste and demand that none of the major companies has thought it
necessary to revive the limited edition with LP records despite the
fact that many discs have been produced which contain music that one
might have thought to be of far more specialized interest than that
issued under "Society" auspices in the nineteen-thirties. Only one
company, apparently, has made a condition that certain LP sets
must be sold complete and that the sale of a single disc will not be
permitted, but this is a most unusual (and apparently unnecessary
restriction). A similar restriction was made in Britain with the issue
of the Beethoven piano concertos with Rubinstein as the soloist,
though no restriction was placed on buying the records separately
when they were originally issued in the United States. When a public
library owns any of the various sets of limited or restricted editions,
the matter of damage and breakage is important, particularly with
the SP sets which have now all been withdrawn from the catalogues.
These records might be considered an obvious choice if a reference
collection of gramophone records is being maintained, though some
of the pre-war "Society" issues have been issued in 1957 in LP form
and without restriction as to the number of copies available for sale.
Consideration now follows of three different types of record, all
of which may be called "historical" though not necessarily for the
same reason.

196

The composer as interpreter

It has long realized the printed caa an

approximation of what the composer wishes to
carefully he may indicate tempi, phrasing dynamics. the

introduction of the phonograph and gramophone records, the com-
poser has had the means to hand down to posterity a
demonstration of his intentions. He may play or conduct the
himself; if that is not practical he may be able to the

musical side of a recording so that the resultant Is to

his satisfaction. Examples of the composer as executant on
phone records include Elgar, Richard Strauss, Rachmaninov
Benjamin Britten, while the (English) Decca version of the first six
symphonies of Vaughan Williams includes a spoken tribute from
the composer to the conductor and orchestra at the end of the last
work a verbal imprimatur. Records of this nature deserve generous
representation in a library possibly for reference use only,
they have been made on LP discs or have been re-made in this form.
Many of these authentic performances have been available only on
SP discs but a number have been reissued in LP format, using the
original recordings as a starting point, and the skill of the engineers
in these cases is often almost unbelievable. Almost invariably, these
"re-creations" have managed to reduce surface noise to a minimum
(though the original SP discs may have been very noisy in this way),
they have provided excellent and unobtrusive joins where one side of
the original version ended and the next began, and have rarely lost
more than a tiny fraction of the original tone quality; in fact, some
records appear to have gained in clarity and immediacy in their new
guise. Outstanding examples of this type of record are the Rachman-
inov piano concertos and Ms Rhapsody on a theme ofPaganM with
the composer as soloist in every case; even the Enigma variations*
recorded as long ago as 1926 under Elgar's baton, has a tonal quality
that is still acceptable today. In any case, the historical value of
records such as these renders their technical virtues and vices of
secondary importance.

Of a different nature, yet perhaps of equivalent value, is the
recording of Mozart's Linz symphony under the baton of Bruno
Walter. The conductor was unaware that the microphone was "live"
during a rehearsal of the symphony, and the two LP discs consist of
three sides of rehearsal with the fourth side devoted to the finished

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Music Librarianship

performance. It is a most practical and enthralling demonstration of
a very great conductor at work.

It seems true to say that such performances are better appreciated
in Britain than in the U.S.A., where the technical standard of the
recording may cause complaint despite a statement on the record
sleeve quoting the actual date of the recording. The American user
is apparently tending to become more interested in the actual work
recorded and to pay less attention to the particular artist; the
assumption is growing that any orchestra or soloist, etc., that is good
enough to achieve a contract with a gramophone record manufac-
turer must be competent. In Britain, the relative size of the name(s)
of the performer(s) compared with that of the composer on the front
of the record sleeve suggests irresistibly that the companies expect to
sell the disc mainly through interest in the performer and only
secondarily through the composer or the actual work recorded.
These comments probably do not apply with equal force to those
borrowing discs from the library, where there is likely to be a much
greater interest in composers but the records one wishes to borrow
are by no means necessarily those that one would wish to buy.

Musical history

There are many records which contain music whose interest for
the majority of listeners is probably historic rather than intrinsic;
some of the works will be played on instruments no longer in general
use and many will use a harmonic language that may seem harsh and
rudimentary to ears accustomed to listening to music of the seven-
teenth century and later. Such discs may include works by composers
whose names remain in the music histories but whose compositions
have long since disappeared from the concert repertory, usually
rightly so. Posterity ruthlessly winnows the wheat from the chaff but
is certainly not infallible. Not least of the gramophone's virtues is the
opportunity it has given us to discover how much we have under-
rated certain composers, e.g. it has done much to rehabilitate the
reputation of Boccherini and Vivaldi with many music-lovers. Works
may be played on the clavichord, viol da gamba, lute and other
instruments that are regarded with dubiety and suspicion by a large
number of listeners. Music written before the time of J. S. Bach and
his contemporaries presents almost as many harmonic problems as
that of Bartok or Schoenberg to a host of untutored music-lovers.
This comparatively early music is gaining an increasing representa-

198

Record Libraries

tion in the gramophone record catalogues, often In per-

formances, but is still rarely heard in the concert hall The
Interest in "old" music, particularly in authentic performances, is
almost entirely to the credit of the LP record. Many are

finding their interests diverted from the massive works charac-
terize many nineteenth-century composers in favour of the smaller
scale pieces of the sixteenth and seventeenth centuries of the
twentieth century). This trend is, at the time of writing,
marked in the U.S.A. than in Britain.

There have been some outstanding recordings, on SP discs, before
1939 and on both SP and LP discs since the end of the Second World
War. If the Dolmetsch family in Britain can justly claim to be
pioneers in the revived tradition of playing music on original instru-
ments or reproductions of them their lead has been followed in many
other countries. Three well-known series before 1940 were of French
origin "L'Oiseau lyre", "L'Anthologie sonore" and "Lumen". All
these discs contained out-of-the-way music, nearly all of it written
before 1800. In the U.S.A. a number of records of Gregorian chant
were issued under the "Kyriale" label, while another excellent series
of limited scope was the French "Sept sidcles de musique sacree".
All of these SP discs have now apparently disappeared off the market
and a library that possesses any of them might do well to transfer
them to a reference or restricted access collection. "L'Oiseau lyre"
has made a welcome reappearance on LP discs with a series of new
recordings, while a most Important series of records (originally SP
only, but later available on LP also) is that of "The history of music
in sound", issued by His Master's Voice to illustrate The New Oxford
History of Music. These valuable discs are of a generally high stan-
dard though not all achieve perfection in performance and recording.

An outstanding issue on LP discs (later supplemented by 7-in.
"extended-play" records) is the German "Archive" series. These
discs are produced by the "History of music Division of the Deutsche
Grammophon Gesellschaft" and the music is limited to works of the
eighth to eighteenth centuries. The years between 700 and 1800 are
divided into nine "Research periods" which are sub-divided as
necessary. There are, for instance, three divisions for both "Gregor-
ian chant" (Period I) and the "German pre-classics (1700-1760)"
(Research Period XI) compared with twelve sub-divisions for J. S.
Bach, alone in Research Period IX, and thirteen for "The High
Renaissance" in Research Period IV. Instead of the analytical notes

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Music Librarianship

usually found on the back of the record container each disc is
accompanied by a card which gives details of the performers, instru-
ments and edition used, strength of choir and orchestra, etc., and
which also quotes the appropriate Research Period and its sub-
division. Thus a record of organ music by J. S. Bach is shown as
"Research Period IX, Series F'. "Series" in this context means sub-
division. This methodical classification may sound formal in the
extreme but it must be emphasized that almost without exception
both performance and recording are of the highest quality; it should
also be mentioned that the music itself can be enjoyed by a very high
proportion of music-lovers without worrying too much about the
historical import of the music. There is apparently no indication of
the total number of records that will complete the series (though it
will obviously be extremely large), nor is there any work in book
form to which the series forms a practical illustration. No analytical
notes accompany these records (which is often unfortunate, particu-
larly with some of the more obscure composers and lesser-known
works), nor are the records issued in chronological order. Originally
issued on 12-in. and 10-in. LP discs, the format was widened in 1956
by the inclusion of 7-in. EP discs, which usually contain pieces not
otherwise available in the series, i.e. they rarely repeat any of the
items already recorded on the LP discs.

Rare and early recordings

These records are historical also but in a somewhat different sense
from that used in the preceding paragraphs. This is the type of record
that in the nineteen-thirties could be found listed at the back of the
ordinary H.M.V. catalogue as part of the "No. 2" catalogue; since
the 1939-1945 war it was briefly revived in Britain as the "Archive"
series (which must not be confused with the D.G.G. LP records) and
in the U.S.A. as the Victor "Heritage" series. Subsequently, a num-
ber of these performances have been issued yet again, when in 1956
H.M.V. issued the first of their new "Celebrity series" on LP discs
which have been devoted mainly to vocal music. The series has in-
cluded, for instance, recordings of Caruso and also the Rachman-
inov performances mentioned earlier. The SP "Archive"/"Heritage"
series was limited exclusively to old vocal recordings made around
the turn of the present century, the so-called "golden age" of singing,
particularly in the operatic field. By modern standards the recording
is most inadequate, the accompaniment a travesty and the surface

200

hiss deplorable yet, can still

show something of the that

world famous, particularly when played on a

reproducer. Many of the records, long from the com-

panics* catalogues and not reissued in one or other of the

series, have a high scarcity value. The library any

discs in fair to good condition has to face the double of

safeguarding and of wear, for replacement is likely to be

These records give practical demonstrations of the that

have taken place during the last half-century both in

nique and in ideas of musical interpretation and for are

invaluable to the serious student of singers and singing. Here

it would seem that this type of record is better kept in a

collection and not be issued for hearing outside the library.

The H.M.V. "No. 2 catalogue" mentioned above also contained
such items as speeches by members of the Royal Family, politicians
and other famous people. One may doubt if there was much
for a "dehydrated" version of Lloyd George's Budget speech of
(on H.M.V. D381) and cannot now assess the appeal of Fred Terry
reciting "The charge of the Light Brigade" (on E360), but the
for old vocal discs is apparently insatiable. Catalogues compiled for
those interested in these old recordings include Robert Bauer's New
catalogue of historical records,, 1898-1908/9 (Sidgwick & Jackson,
1947) and John R. Bennett's Voices of the past: a catalogue of vocal
recordings (Oakwood Press), a wonderful example of detective work.
The first part appeared in 1956 and the work is still in progress at the
time of writing. The day when one could discover a Patti or Plangon
disc mixed up with a pile of other old but valueless records in a local
"junk" shop and buy it for a few coppers is almost done and the
librarian who considers providing this sort of gramophone record
"incunabula" for his patrons can only really do so through the
medium of the various microgroove reissues that have appeared and
continue to appear during the last few years. In many cases the
original matrices have been lost or destroyed so that these new copies
have been made by recording the performance of an actual copy of
the original disc; if the state of that is good then the new recording
may be adequate or better but any blemishes acquired down the years
will also appear in the new recording.

Where the gramophone company still possesses the original matrix
a reissue is comparatively simple though the master may well have

201

with age and frequent use. In 1937 1938 the
Parlophone Company in re-pressed a number of early vocal

it was American demand that H.M.V. to

search its vaults at Hayes for matrices of its early singers. Only after
the "Heritage" series had on sale for three years were the new
pressings available to British buyers in 1951, and then at a cost
more twice the price of current releases. It is an interesting and
pleasing change of policy that has brought the new LP "Celebrity
series" within the reach of many more music-lovers; although the
white label so long associated by H.M.V, with rare recordings has
been retained, the cost has been reduced to a mere two or three
shillings above that charged for the standard red-label issue. Later
still, the "Great recordings of the century 5 * series (devoted mainly to
issues of the mneteen-thirties) has been issued at the same price as
normal new Issues but in a stouter package and with an excellent
booklet of very full analytical notes with each disc. In the U.S.A.
this reissue policy has been carried even further in some cases, since
SP recordings of famous artists of the nineteen-twenties and thirties
have been reissued on a very much cheaper label; for example,
almost all of Rosa Ponselle's recordings have been released on two
discs by RCA-Victor in the "Camden" series at a total cost of less
than four dollars.

Folk music

Though a gramophone record collection may limit itself to classi-
cal music, there should be little argument that coverage ought to be
extended to folk music. There are a number of recordings of folk
dances and folk songs to be found in the general catalogues of many
British gramophone companies; several American companies (as
indicated below) have specialized in this field and have recorded such
works sung and played by indigenous musicians. There are one or
two British specialist suppliers who import records of this type,
though they become extremely expensive under present restrictions.

Somewhat different in scope and much more popular with British
audiences are the folk dance records of England, Scotland, Ireland
and the United States (Welsh music seems quite unrelated to these
and represents a specialist taste of a different calibre). These records
are in demand both by country dancers and by those who just like
to listen to this type of music; mention should also be made of the
comparatively few students for whom such records have a text-

202

book value. The major In

Scottish and Irish supplements wherein are

reels and strathspeys, etc. Within years the for

dancing in Britain has added a fresh hazard for the

librarian, for many of the tunes have little and are

completely lacking in any genuine folk-music

British folk music is well represented in the

rarely is it sung by a local singer. The usual practice is to record a
professional vocalist, normally with an instrumental
and sometimes with a chorus. As with square-dance it is diffi-

cult to decide where to limit representation in the library's stock.
While there are many genuine examples of sea shanties, negro
spirituals and hill-billies, there are as many synthetic examples.

American libraries are much more fortunate in their potential
range. The Library of Congress has issued no less than twenty-two
volumes of SP discs of Folk music of the U.S. and Latin
The recordings were made "on location" with local folk singers and
this helps to ensure a genuine and unedited version of the music
though some listeners find them rather too authentic for enjoyment.
Many of these recordings have subsequently been transferred to LP
form and further discs issued, including such rarities as traditional
Red Indian songs transferred from an old collection of cylinder
recordings. A number of the big American commercial companies
release folk material, particularly the Decca and Capitol firms. But,
since this type of material can be recorded fairly cheaply, this is the
hunting-ground of many smaller companies who often make but a
fleeting appearance before insolvency overtakes them. Some of the
better-known minor companies are: Folkways (Folkway Record &
Service Corporation, 117 West 46th Street, New York City); River-
side records (418 West 49th Street, New York, 19); Elektra Records
(361 Bleecker Street, New York, 19); Stinson (Stinson Record Dis-
tributors, Inc., 27 Union Square West, New York, 3); Vanguard
(Vanguard Recording Society, Inc., 256 West 55th Street, New
York, 19) and Period (304 East 74th Street, New York, 21). "Folk-
ways" is the best known and some of its issues can occasionally be
bought in Britain. It apparently started life as Asch-Stinson, changed
its name to Disc and again to Ethnic Folkways before adopting its
present title. Before the war, under the "Disc" label, the firm, issued
a number of sets of 10-in. SP records, each album consisting of
between three and six records, of folk music of Armenia and the

203

Music Librarianship

adjoining Russian provinces and of similar sets devoted to Haiti and
Ethiopia; the same firm issued a number of American Indian songs
and dances and six sides of Cuban cult music. All were recorded on
the spot and may be regarded as authentic. Modern issues of these
types are sufficiently frequent and well established to receive review
in the "Ethnomusicology Newsletter" and less detailed coverage in
such magazines as "Western folklore", "Journal of American folk-
lore", "New York Folklore Quarterly", etc. These recordings have
been mentioned in some detail in the hope that the time is not too
far distant when it will again be possible to import American records
into Britain with a minimum of formality and at a reasonable cost.
If and when that day arrives, the British gramophone librarian has a
fruitful field of choice and can cover most of the New World and
parts of the Old through these enterprising firms.

Most countries with coloured inhabitants appear to issue records
for their native populations using local singers and instrumentalists,
There are, for instance, Bantu records in South Africa, and a number
of recording companies in India but these discs are generally ex-
tremely difficult to obtain in Britain, though Collet's in London do
supply some Chinese records. A collection of African and Oriental
music could well be of great interest and use to the music student
and to the budding anthropologist. Occasional discs, such as those
of Balinese theatre music, have been included in the British cata-
logues. Suitable records are listed in the International catalogue of
recorded folk music, edited by Norman Fraser (Oxford U.P., 1954)
and in A list of American folksongs currently available on records
(U.S. Library of Congress ; Music Division, 1953).

Jazz

This is a most controversial field when considering provision.
The librarian is usually on safe ground when providing the normal
classical repertory, though here he will have some difficulty in decid-
ing upon the quality that separates light music from classical music
a dividing line between the permanent and the ephemeral. That
must always be, to an appreciable degree, a matter of opinion. If
jazz is provided a similar criterion can be used by attempting to in-
clude in the collection only jazz recordings of lasting value, and this
is a considerably more difficult proposition. The question of the
musical stature of jazz is an entirely different one and one upon
which attackers and defenders are never likely to agree; the only

204

Gramophone Record Libraries

common ground is the mutual dislike of "concert jazz", a hybrid
that attempts to combine jazz with a symphonic style of writing and
orchestration.

In Britain only one or two libraries have provided music of this
type in gramophone record collections, but provision is much more
frequent (though far from universal) in the U.S.A. There are various
possible reasons for this; the most likely is that it is often related to
the experiments connected with Youth work. A collection of jazz
records is considered to have a strong appeal to adolescents, yet an
investigation into the types of jazz audience (made at the expense of
a firm of watch manufacturers) suggested that, in fact, the strongest
appeal was to the 20 to 40 age group; the survey also found that the
audience is predominantly male ? is educated above average and also
earns more than the national average. While this result, if correct,
completely undermines the suggested provision for adolescents it
may justify the inclusion of jazz records because of their growing
"respectability". If jazz becomes as fashionable in Britain, then
stronger demands will be made upon our libraries to include jazz
records in our collections.

The essence of the case for including jazz is that it is alleged to
be an important form of contemporary music which has achieved
much prominence and a wide audience and which has also accumu-
lated a large corpus of critical writing. To prove its importance the
jazz enthusiast may well point to the fact that records made twenty,
thirty or even forty years ago are still in the companies' catalogues
in various forms the same recording may be available as one side
of a 78 r.p.m. disc and also as part of a 7-in. record and/or a long-
playing record. This suggests that such works are regarded as
classics in their particular field. Such artists as Louis Armstrong,
Duke Ellington, Earl Hines and the like are studied seriously, their
methods and techniques compared with knowledgeable fervour.
Jazz has very little to do with the commercial dance band record of
a "hit" tune that gets played to death for three months and then
mercifully disappears; records of these tunes also disappear from
makers' catalogues a year or two later. While this fate overtook
many of the early jazz records, the best (or those played in a style
that has revived in vogue) have been exhumed and reissued, some-
times more than once, and later appearances are provided with much
detail the names of the band personnel, the date of the recording,
etc. As with classical music, the dividing line between true jazz and

205

Music Librarianship

commercial jazz is a blurred one with plenty of border-line cases.

Since the major interest in many jazz records often centres on the
improvisations of the soloists, handbooks have been Issued which
list the personnel responsible for particular recordings. A band may
make records for a period under the same name yet change its
members to a greater or lesser degree from one recording session to
the next many bands, in fact, had no corporate existence outside
the recording studios but were assembled from the star instrumental-
ists of several regular bands. Charles Delaunay's New hot disc-
ography (New York; Criterion Music Corporation, 1948) is an excel-
lent example of a type of reference book that has come into existence
in order to fulfil a known need and the growth in numbers of this
type of work on jazz performers that has taken place during the
nineteen-fifties may be regarded as symptomatic while with many
LP discs the note on the back of the "sleeve" (i.e. the outer envelope)
will normally be expected to quote the names of instrumentalists.

Because of its wider and more popular appeal, it may be regarded
as certain that the provision of any jazz records will provoke im-
mediate demands for more; it is also likely to lead to criticism of the
selection since the disciples of the different "schools" of jazz will be
sure to feel that their particular interest has not received sufficient
representation. Classical music has no equivalent of the "tradition-
alist" versus "modern" jazz battle that provokes heated arguments
and claims. American libraries that allow public use of playing
equipment in the library sometimes find themselves having to cope
with groups of high-spirited youngsters in contrast to the rather
more decorous classical music-lovers. Jazz records may be borrowed
for parties and often seem to receive rougher handling, with a
resultant brief useful life in the library stock. Most librarians would
probably agree that it is an excellent thing to have some of the im-
portant and valuable anthology records of jazz for use in connection
with the books in the music library records that depict a phase such
as the return to the beat in jazz music after the bop era, the rebirth
of traditional jazz, or the trend to absorb modern classical influences;
the problem, apparently insoluble, is to ensure that the records are
borrowed and used only by the serious student of jazz. Even alloca-
tion to a reference collection opens the way to a fresh set of difficul-
ties, as the American Memorial Library in Berlin found to its cost.
Here, the catalogue entries for jazz records had to be removed after
twenty-four hours as, during the single day that they were displayed,

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Gramophone Record Libraries

the listening booths were besieged by eager listeners. That, of course,
may be regarded as the most convincing argument for the provision of
records of this type. If the librarian does start to supply jazz records, he
will have plenty of problems to solve as this section may have indicated.

Educational records

Records of an educational nature cover quite a wide field; indeed
many of the types already discussed could be classified under this
heading. Once again the librarian is advised to make an early decision
as to what he expects to provide in this field and to try to define his
limits fairly closely. Nearly all libraries, for instance, provide records
intended to assist the learning of a foreign language; "Linguaphone**
and "Assimil" are the best-known British examples. These records
will normally require special rules for their issue, a matter that is
considered in detail in the second half of the chapter.

On the musical side the History of music in sound and the D.G.G.
"Archive" records have already been mentioned; these and other
similar series may be regarded as the successors to the Columbia
history of music., a pioneer project before World War II, of five
albums containing 10-in. discs and accompanying descriptive notes
by Percy Scholes. The records gave an excellent, if necessarily brief,
survey of a very wide field and most of the music was well worth
playing for its own sake irrespective of its importance in musical
history. Few people could write so well for the interested novice as
could Dr. Scholes, and the set achieved a deserved popularity with a
wide audience. A somewhat similar set, though shorter and cheaper,
was the Parlophone 2,000 years of music.

In the late nineteen-thirties the German firm of Telefunken issued
a series of records under the title "Spiel mit". These records con-
tained single movements from famous chamber works but with one
performer missing in the recording. The intention was that the pur-
chaser should perform the absent part himself and a copy of the
missing part was issued with the record. Movements were selected
from various works but the missing parts were limited to first violin,
violoncello or piano and the recording artists were the Vienna String
Quartet. By buying the appropriate record a 'cellist, for instance,
could practise the Andante from the opus 99 trio of Schubert with
two professional partners; the major drawback was that the record-
buyer had to play his part at the same tempo as that chosen by the
recording artists. Telefunken also issued some records with piano

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Music Librarianship

accompaniments to songs by Brahms, Wolf, etc. Here again, the live
performer had to follow the recorded accompaniment rather than
be accompanied, in the true sense, by the pianist. Shortly after the
Second World War the American Columbia Company issued a
similar series of music records under the title of "Add-a-part" ; these
covered a wider field than the German original and included com-
plete works rather than single movements from records. On LP the
scheme has been continued on the "Music Minus One" discs which
include nearly a dozen records for pianists and more than that for
violinists, as many for recorder and single discs for flute (Mozart
quartets), bassoon (Beethoven/Mozart) and French horn (also
Beethoven/Mozart). The same firm produced a number of jazz
records with rhythm sections playing the basic accompaniment for a
number of "evergreen" jazz tunes. The buyer can then improvise
on his own particular instrument. A more ambitious scheme is that
of Vanguard which has supplied the accompaniment to a handful of
piano concertos. There will be many pianists who can get immense
pleasure from playing the solo part with full orchestra provided via
the gramophone.

The records considered so far in this section are intended mainly
for individual use though musical history may well be studied in
class. An entirely different type of record, apparently unique, was
the recording (during 1929 and 1930) of one hundred lectures by
eminent men and women. The recordings were made under the aus-
pices of the International Education Society and issued by the
Columbia Graphophone Company; the discs were listed as a sup-
plement to that company's normal catalogue. The range of subjects
was very wide from "The care of the teeth" to "Ants and their
habits" (this last by Professor Julian Huxley); from "Smallpox and
vaccination" to "Latin pronunciation". Most of the lectures were
contained on two 12-in. discs and lasted between fifteen and twenty
minutes; almost all of the set survived until the general withdrawal
of SP discs in the middle nineteen-fifties when they all disappeared
from the Columbia catalogue. One of the "lectures" was a recording
of Virginia Sackville-West reading her own poem, "The Land".
Columbia also issued a series of six 10-in. discs of Morse code
recordings, starting with single letters and ending with messages
transmitted at comparatively high speed.

The Gramophone Company (H.M.V.) also issues periodically
some records intended primarily for schools. Examples are the

208

Gramophone Record Libraries

Picard Bateman French course records and a number of recordings
by choirs of schoolboys and schoolgirls of different age groups. The
latter records provide a useful comparative standard for any particu-
lar school form and may also serve as an example when a song,
available in this series, is being learned* The ordinary music-lover
may also find himself getting much enjoyment from these records,
overlooking their educational intent but delighting in well-chosen
songs, zestful singing and a technical competence that puts many
adult choirs to shame. The same manufacturers also issue records for
use with percussion bands in nursery and infant schools.

Records demonstrating in turn the different instruments of the
orchestra, giving each a brief solo passage to illustrate its tone-
colouring and range are of obvious value though it seems that there
is still no really successful British issue of this type. Benjamin Brit-
ten's Young person's guide to the orchestra is not exactly in this
category for it is written as a continuous piece of music; certainly it
is highly skilled in its combination of demonstration piece and music
that is enjoyable for its own sake. For educational use the spoken
commentary, originally written for the film in which the music
appeared is excellent, and a recording incorporating this is therefore
preferable to one containing the music only.

WHAT TO COLLECT II : MAINLY NON-MUSICAL

Local collection

This is a field unexplored in Britain, with few exceptions, though
its possibilities have been recognized in the U.S.A. for some years.
Nearly every public library possesses a local collection which nor-
mally represents as many aspects of life in the town as possible. The
rapid growth of private recording and the recent advances in tape-
recording make possible the provision for posterity of sound pic-
tures of local events and the voices of local celebrities. This matter is
referred to again at the end of the chapter in the comments on tape-
recordings, but selected recordings may be more generally useful on
disc and there are many professional sound engineers and firms that
will transfer a tape to disc form, so that extra copies can be made if
required and the recordings can be played on gramophones.

The spoken word

One naturally associates the gramophone with music but poetry

209

Music Libmrianship

and drama have been increasingly represented since the introduction
of the LP disc, particularly in the U.S.A. which is far ahead of
Britain in the numbers of records of these types available. In both
countries there are a number of records which perpetuate poetry
readings both by actors and actresses and also by the poets them-
selves. Records of this last type may be regarded as an equivalent to
composers recording their own works the results may not always
equal those achieved by the professional performers, but they have
the inestimable value of providing authoritative interpretations.
Recordings in Britain have included T. S. Eliot and C. Day Lewis,
while in the U.S.A. personal readings have been made by Robert
Frost, Carl Sandburg, Archibald Macleish and W. H. Auden, to
mention but a few examples. In addition to purely commercial
recordings there are a number available from the Library of Con-
gress.

Drama was for years barely recognized by the gramophone com-
panies but perhaps the success of the excerpts from the film of
Shakespeare's King Henry V with Sir Laurence Olivier in the title
part encouraged the companies to become more venturesome. Since
then a number of plays, as well as some shorter excerpts, have been
issued both in this country and in the U.S.A. If any librarian is
sceptical that such records will receive adequate use it may be
recalled that non-musical recordings were introduced into the lib-
rary of Boston, Mass., with considerable misgivings but they im-
mediately proved a great success, particularly the play recordings.
This experience has been paralleled elsewhere.

With the disappearance from the catalogues of the Columbia
lectures, mentioned earlier, there is nothing in the British catalogues
to compare with such American discs as the "Informal hour" series
which includes authors such as S. J. Perelman, J. B. Priestley and
Dorothy Parker reading selections from their own works, or the
"Distinguished playwrights" series, which includes Arthur Miller "in
a provocative discussion of attitudes to character portrayal, with
readings from his Death of a salesman and The crucible". Westminster,
the issuing company of both these series also produce the "Golden
treasury of verse" series which includes readings of German verse,
French verse and drama, Irish verse (read by Padraic Colum) and a
selection of John Betjeman poems read by the poet himself. Finally
there are the "Great artists" series (with recordings by Siobhan
McKenna, Frank Petingell, Anthony Quayle, etc.) and the "Dis-

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Gramophone Record Libraries

tinguished teachers 95 series which includes university professors of
the calibre of Jacques Barzun and Robert M. Hutchins giving
recorded lectures. Another label, "Caedmon", specializes in the
spoken word, with "Monuments of early English drama", readings
by William Faulkner, Frank O'Connor, Dylan Thomas, Edith and
Osbert Sitwell, Sean O'Casey, Ogden Nash, Tennessee Williams,
Colette, Thomas Mann and W. H. Auden, among others. None of
these discs have been issued in Britain. Folkways have a "Literature
series", while Period release an impressive number of French classics
of Moliere, Racine and Comeille performed by La Comedie Fran-
gaise and another series ("Their works and their voices") with authors
such as Jean Cocteau, Paul Claudel and Andre Gide. Mention has
been made of the poetry recordings sponsored by the Library of
Congress; this national library has also issued three discs of animal
tales recorded in the Gullah dialect of the coastal islands of South
Caroline and two discs of "Jack tales" (in which Jack the Giant-
killer, whose exploits were brought into Carolina by English settlers,
has become adapted over the years into an American character), a
few lectures (including "Whitman the philosopher" by David
Daiches) and an unscripted and unrehearsed interview with H. L.
Mencken. These are listed in the hope that these discs will, at some
future date, be freely imported into Britain when they should be
promptly bought by British librarians with gramophone record lib-
raries. To conclude this section, mention should be made of an ex-
cellent discography, compiled by Henry C. Hastings, on "Spoken
poetry on records and tapes; an index of currently available record-
ings" published in 1957 by the Association of College and Reference
Libraries. It occupies no less than fifty-two pages.

Children's records

Selection in Britain is limited in numbers though fairly wide in
scope. There are nursery rhymes, some children's tales, dramatized
excerpts from "Alice in Wonderland", sound track recordings from
Mickey Mouse films and tunes such as the Teddy Bears' picnic. The
great majority of these recordings are likely to make little appeal to
the gramophone librarian though a few are very good of their type
and there is also the rare musical work for children that is also good
music; the outstanding example is Prokofiev's Peter and the Wolf.

Once again it has to be regretfully admitted that American prac-
tice is well ahead of British. A number of children's stories, told by

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first-class readers, have been issued in the U.S.A. Gudrun Thorne-
Thomsen recorded stories which were released under the sponsor-
ship of the Children's Section of the American Library Association.
Later, the Victor Company issued an album of children's stories
under the auspices of the same Section; in this set the narrators were
Ruth Sawyer, Frances Clarke Sayers and Jack Lester. On LP discs
there is an impressive section of the Folkways catalogue devoted to
the "Children's series" which includes folk tunes, English versions of
folk tales from Indonesia and West Africa, Bible stories and the
story of jazz. An indication of the importance attached to children's
listening is given by the publication of at least two guides: The
children's record book: an authoritative guide to the best recorded
music for children from six months to sixteen years, by Harriet Buxton
Barbour and Warren S. Freeman (N.Y.; Oliver Durrell, 1947) and
A guide to children's records: a complete guide to recorded stories,
songs and music for children (N.Y.; Crown, 1948), by Philip Eisen-
berg and Hecky Krasno. It will be noted from the dates of publication
that both these works deal with SP discs only.

Miscellaneous records

Several recording companies have issued discs for the use of
technicians or keen amateurs in search of high-fidelity sound repro-
duction. These records usually contain notes, briefly sustained, of
given frequencies from the squeak of 15,000 cycles down to the near-
grunt of 30 cycles; the lowest note on a piano has a frequency of 32
cycles. Records of this type will therefore demonstrate the effective
range of a particular record reproducer or one's own hearing, which-
ever is the less. One of the most interesting discs of this type is that
issued by Vox under the title This is high fidelity; issued in a special
case and accompanied by an explanatory booklet, the total cost is
about 50 per cent above the normal LP price. Test records of this
type appear to have a shorter playing life than the normal record.

There have been one or two records issued in Britain with the
sounds of motor cars of various types, but here again the Americans
have been much more enterprising (though one may wonder, occa-
sionally, who is likely to buy some of the records). There is a disc
Adventures in cacophony with recordings of a squealing pig, chickens,
cows, a dog and "a vocal family of felines". On the reverse side the
sounds include watch ticks, a typewriter and tugboats. There are
records of circus calliope music, of a rotary saw and hammering a

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Gramophone Record Libraries

nail, of rare old music boxes, of sea animals, of medicine (operation
and human body sounds: "Actual operation performance on the
spot . . ."), of a South African homestead and of earthquake tremors.
Folkways have issued two LP discs of Sounds of steam locomotives,
and the different types are carefully categorized; similar discs in
Britain might well find an extensive sale.

American public libraries are expected to provide records which
include particular sound effects, atmospheric music or items suitable
for use with a particular dramatic production. English assistants
might well be confounded if they were to receive normal American
requests for "background music" for weddings, for family movies
(Hawaiian music to accompany the pictures taken at Waikiki, etc.),
for teas and various social events. The larger systems have had, in
fact, to repeat the practice of the musical director or the cinema
organist in the days of silent films and build up indexes of standard
music that is suitable for background use in particular situations.

One other type of record of obvious value that does not seem, to
have been copied in Britain, though popular in the U.S.A., is that
for use by shorthand students. On these, passages are read at given
speeds for dictation use.

Summary

From the foregoing sections it is hoped that no librarian starting
a gramophone record library will consider limiting the selection to
music only. The well-rounded collection includes much other mate-
rial, though this is not to suggest that every type of record mentioned
in the preceding sections must be bought. Each category should be
considered in the light of local conditions.

PART II : ADMINISTRATION

Before dealing with the day-to-day running of the gramophone
record library some preliminary items will be considered. These are
all of importance and are dealt with in the following order: Record
speeds; Accessibility; Initial cost and running expenses; Free pro-
vision and rental collections. The remainder of the chapter is divided
into the following headings: Selection; Accessioning; Classification;
Cataloguing; Gramophone and soundproof room, and The depart-
ment in action. This last head is further sub-divided and its sections
listed for ease of reference.
p 213

Music Librarianship
Record speeds

Gramophone records are manufactured in different standard
sizes and are made to play at one of four speeds. These variations
compel an early decision as to which type or types should be included
in the library stock and the librarian should have sufficient informa-
tion before making his choice. Those who have no interest in this
aspect of the subject or who already know enough about it are
advised to omit the next few pages and continue with the following
section.

In the early days of the gramophone the playing speeds of records
varied from company to company, but in the first decade of this
century the normal speed was standardized at 78 revolutions per
minute. When earlier discs were reissued to satisfy public demand
(as with the recordings of many famous singers) the correct speed
was noted, though this was sometimes in rather vague terms, such
as "over 80", "below 75". With such records the turntable speed
must be adjusted accordingly or, if still revolving at the standard
78 r.p.m., the whole timbre of the vocalist's tone is altered and the
music will be reproduced at a different pitch from that originally
recorded. Many modern machines make no provision for slight
adjustment of playing speed and upon such reproducers these old
vocal records are almost useless. Even with the reissues on long-
playing discs critics have occasionally questioned the pitch at which
the re-recording was made; in at least one case a record was with-
drawn and new copies with one item corrected in pitch were issued
as replacements. Although 78 r.p.m. became the standard speed it
was many years before it became universal; as late as the end of the
nineteen-twenties the Columbia Graphophone Company (the
"graphophone" was originally a different instrument from the
"gramophone") was using 80 r.p.m. as its standard. 78 r.p.m. discs
have become known as "SP" records, i.e. "standard-playing"
(though it has also been claimed to mean "short-playing") since the
introduction of long-playing discs at a slower speed. The usual dia-
meters of these discs have been 10-in. and 12-in., with a playing time
limited approximately to three and five minutes per side respectively.
The records themselves are made from a shellac compound; this is
brittle and the surface noise during performance varies from the
quiet to the highly obtrusive. Much of this noise can be eliminated
on the more expensive playing machines by the use of a scratch filter
which cuts out the band of frequencies at which scratch is apparent.

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Gramophone Record Libraries

In an attempt to overcome the disadvantages of a comparatively
short playing time for each side some German records were made in
the early nineteen-fifties with a maximum playing time of eight
minutes. This was achieved by means of a "variable micrograde*'
(or "microgroove" as it would probably be called today), i.e. the
width of the groove varied the softer the music, the narrower the
groove. A string quartet, for instance, would be able to utilize the
maximum eight minutes without loss of tone quality but narrower
grooves could only be used for quieter passages of an orchestral
work, so that a shorter side would normally result. A similar idea of
a variable groove was also tried with 45 r.p.m. discs but was appar-
ently unsuccessful.

With the introduction of the long-playing record the SP disc lost
very much of its earlier popularity though much light music and
commercial jazz is still produced on 10-in. SP discs. For longer works
the disadvantages of four-minute instalments and the break in con-
tinuity between one side and the next were obvious. The use of twin
turntables and automatic couplings (in which the first side of the
music is backed by the last, the second side by the penultimate one,
etc.) lessened these drawbacks twin turntables almost overcame
them, but at a comparatively high cost. Machines were sold with
automatic record-changers, some of which could change records at a
higher speed than could be achieved by hand though the set had to
be turned over by hand at the half-way stage and the machine then
worked through the reverse sides of the records; such machines
required automatic couplings, while the usual method of backing,
whereby the first record contained sides 1 and 2, the second record
sides 3 and 4 became known as "manual" couplings, for obvious
reasons; the companies issued longer works in both formats using
different series of catalogue numbers in separate sequences to differ-
entiate them; only in the last days of the classical SP record, when
automatic couplings were often the only type issued for long works,
did the [English] Decca company use the simple device of prefixing
the record numbers with an "A" for automatic couplings, e.g.
manual coupling K 1332 to 1334 and automatic coupling AK 1332-4.

In 1948 the long-playing record made its first appearance in the
U.S.A., where the Columbia Company (which has long ceased to
have any connection with the English firm of the same name) issued
12-in. records that would play for twenty to twenty-five minutes per
side. The tremendous increase in playing time has been achieved

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Music Librananship

partly through, the reduction in playing speed from 78 to 33J revolu-
tions per minute, but mainly through the use of much finer grooves
on the record ("microgrooves") which demand the use of a light-
weight pick-up of not more than 10 grammes weight on the needle
(and preferably nearer 5 gr.) and a needle-point of I/ 1,000th inch
radius compared with the three or four thousands of the SP needle.
This drastic innovation was followed immediately by another.
RCA-Victor, the great American rival of Columbia, produced a
wafer-thin 7-in. disc with a playing speed of 45 r.p.m. and a centre-
hole of some li-in. diameter. This new disc was also of the micro-
groove type but only contained about the same playing time as a
12-in. SP record, so that it was not a direct competitor of the LP
disc. Both types of record were made of a plastic (vinyl) which was
much lighter than shellac and almost unbreakable, it also virtually
eliminated surface noise.

The Decca Record Company in England began to make discs for
the American market in 1949 and these were marketed in the U.S.A.
under the trade name of "London" records. The same company
made its initial British issue in June, 1950, with about fifty records
and quickly followed this with two further releases to bring the total
number of available discs to some 140. Since then, the firm's cata-
logue has expanded at a somewhat slower rate and the company has
also acted as British agent for both American and continental firms.
The actual pressings have been made in London but the records have
carried the name of the original issuing company. At a later date,
this company began to issue 45 r.p.m. discs for short items (often
four-minute excerpts from a long work, or separate items originally
included in a "recital" disc) and introduced a new form, the 10-in.
"medium-play" record which is used for items that conveniently fit
a side playing for ten to twelve minutes. The medium-play (MP)
discs are, perhaps confusingly, played at 33J r.p.m. and not at the
45 r.p.m. that one might expect from their title. Here again, though
by no means invariably, the issues were of works that had previously
been released as one side of a 12-in. LP disc, and this is a particularly
attractive investment for the collector who is interested in the work
on one side only of an LP disc, and several issues with an ill-matched
pair of sides have benefited by this form of separation. As has been
already indicated, the 45 r.p.m. disc is the equivalent of the 12-in.
SP and is valuable for the operatic aria, a brief overture, a song, solo
instrumental piece and the like. To the collector it provides the

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Gramophone Record Libraries

opportunity to purchase the individual item he wants rather than the
entire collection on a "recital" disc where a number of the items
may be uninteresting to Mm or duplicate works already owned. It
must be added that by no means every LP which contains a com-
plete work on one side of a 12-in. disc, or every LP recital record,
appears in MP or 45 r.p.m, form later.

The E.M.I, group (His Master's Voice, Columbia, Parlophone)
made its first LP issue in October, 1952, when both LPs and 45s
were put on the market. After this a minor host of companies made
their appearance, many the affiliates or subsidiaries of American or
continental firms, and almost all have limited their issues to 10- and
12-in. discs at 33^- r.p.m. The large centre-hole of the 45 r.p.m. disc
soon gave way to the normal size but these records are still manu-
factured in a fashion that allows the centre to be pressed out easily
if one's machine will only deal with 7-in. discs with the large centre-
hole. A later innovation in record types, a possible counterblast to
the MP, was the "extended-play" 7-in. disc which contains up to
about eight minutes' playing time per side, i.e. up to double the
normal 45 but appreciably less than the MP. The EMI group who
introduced this type of record in Britain made four different cate-
gories (with a different colour label for each) issued at different prices
to permit (it would seem) some relationship between the amount of
music provided and the cost. The less music provided, the cheaper
the record would appear to be as a general rule, though there are
numerous exceptions. Many of the recording celebrities are invari-
ably limited to the highest-priced category only. D.G.G., Nixa and
Phillips (the latter with two price categories) have all issued EP discs
but no four-minute 45s. Decca, with the introduction of EPs in
October, 1957, provide both types of 7-in. record.

The five different types of record generally available are therefore:

The SP disc at 78 r.p.m., 10- or 12-in. diameter (up to 5

minutes per side). [Before 1952, all companies; now only jazz

and light music on 10-in.]

The "45" disc, 7-in. diameter (up to 5 minutes per side)

[E.M.I. and Decca only.]

The EP disc, also at 45 r.p.m., 7 in. diameter (up to 8 minutes

or so per side) [D.G.G., Decca, E.M.I., Nixa, Philips and

Cetra].

The MP disc at 33f r.p.m., 10-in. diameter (up to 12 minutes

or so per side) [Decca only].
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Music Librarianship

The LP disc, at 33J r.p.m., 10- or 12-in. diameter (up to 25-30
minutes per side and 16-18 minutes per side respectively)
[All companies].

This does not complete the possibilities. For some time one was
able to buy in Britain 7-in. discs at a playing speed of 33J r.p.m.
under the Concert Artist label and the description "Special play".
Though the slower speed should have made longer playing time
available the actual records issued apparently provided no more
music than could be accommodated on an EP disc. French records
of a similar size and type appear to be rather more successful.
Russian records (available in Britain through Collet's) include some
of 8-in. diameter and 33-J- speed, and also some 78 r.p.m. micro-
groove records.

As though this variety of speeds was insufficient a number of
gramophone motors now incorporate a fourth speed 16f r.p.m. A
7-in. disc at this speed could contain the equivalent of a 10-in. LP
record, but suffers from the drawback that the slower speed needs
extra steadiness in motor and governor since the slightest variation
in playing speed produces a most noticeable variation in the pitch of
the music. Despite the production of these four-speed motors no
commercial records are available at this slowest speed in Britain
(though "talking books" play at 16f r.p.m.) and American produc-
tion was limited to similar records on the Audio Book label. At the
end of 1957 Vox issued a few records, and a typical 12-in. disc in-
cluded the Beethoven Coriolan and Leonora no. 3 overtures, the
violin and Emperor concertos. The makers claimed up to 120 minutes
of music per disc, and some jazz recordings were also issued at this
speed on the Prestige label. At the time of writing there is no sign
that this lead will be followed by other manufacturers. It is note-
worthy, though, that classical music in the U.S.A. is tending to
appear on 12-in. LP only; the 10-in. disc has proved unpopular while
7-in. records are limited to popular use. This standardization has
obvious pros and cons.

With the occasional exception, such as [English] Columbia's
Anthology of English church music, the newly established gramophone
record library may well afford to ignore the SP disc entirely since
almost the entire range of classical records issued in this format
have now been withdrawn from the catalogues. There appears to be
no major objection to the inclusion of 45s and EPs in the collection
though it has been alleged that the minute grooves of EPs cause a

218

Gramophone Record Libraries

higher proportion of unsatisfactory copies than with other types,
yet very few (if any) public libraries include them in their collections.
Some excellent performances (not all available at 33| r.p.m.) are to
be bought on this size of record.

Accessibility

The great majority of American record libraries have been run on
open-access principles but quite a number have reverted to staff
service for long-playing records. In Britain, closed access (a contra-
diction in terms though common usage) is the rule with the excep-
tions of Coventry and Leeds. The three major arguments against
open access are: (i) that one cannot browse with a record in the sense
that browsing is possible with a book; (ii) open access is bad because
LP discs are very easily damaged by careless handling, for although
the material itself is nearly unbreakable, the fine grooves are ex-
tremely susceptible to finger pressure, dust, etc. ; (iii) the high cost of
an LP disc requires extra precautions against theft. The first argu-
ment is true for SP records but it has lost much of its force since the
arrival of the LP disc with its generally attractive cover (though some
of the best records have been saddled with the most appallingly
designed sleeves) and the provision of notes on the composer and the
music on the back of the envelope. Constant handling is undoubtedly
bad for both record and sleeve but if the shelving is designed so that
the records are visible face on and do not have to be withdrawn side-
ways from a rack for inspection, then little damage should result.

Mr. Ernest Simpson, City Librarian of Coventry, maintains that
non-access by the public compels the use of some sort of indicator,
which is expensive and unattractive even at its best. He also suggests
that the arguments in favour of open access for books are almost as
valid for gramophone records. Finally, he reports that in seven years
not a single gramophone record has been stolen from the library,
though there is a small but constant loss from the book stock. This
happy experience, it must be admitted, has not been paralleled in
the U.S.A. where losses in some cities have been appreciable. It
seems that closed access has gained general acceptance in Britain
for two reasons precedent and space. Librarians have naturally
tended to follow the example of established collections, and since
many of the earlier British collections were for restricted issue to
schools and local societies only, open access was pointless. Gramo-
phone record libraries are, almost invariably, a post-war service

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Music Librarianship

operating in a pre-war library and many of the buildings are pre-
World War I. As a result, the collection has had to be sited wherever
sufficient room can be found; this space may be insufficient for open
access which ideally requires a rather larger area than a service in
which borrowers handle records only over the staff table or counter.
Librarians starting a collection should seriously consider this prob-
lem and weigh the arguments in relation to local conditions rather
than assume from the beginning that the public will not have access
to the available records.

Initial cost and running costs

These are the two items likely to be of paramount interest to
many members of a local Authority, yet it is most difficult to quote
definite figures, particularly in respect of furniture and fittings since
very much will depend upon local circumstances.

The size of the opening stock in different libraries has shown im-
mense variation; it is an obvious truism to say that the bigger it has
been, the more satisfaction it has been able to give to users and
the more adequate its coverage of the standard repertory. At least
two British libraries opened with a stock of between 800 and 1,000
SP discs and found this barely adequate as a starting figure; another
began with 600 and had issued them all to borrowers long before the
first day had ended. Translating these figures into terms of LP discs
it envisages an opening stock of between 200 and 250 discs. It can
easily be seen how narrow a margin this will provide, for even a small
town will have no difficulty in enrolling 200 users (particularly as
the service will be a novelty), and works that occupy more than a
single disc are normally issued together to the same user. Until 1945
a very high proportion of the opening stock in the collections of
smaller American libraries were donations and the median opening
stock was only 200 discs. This must surely be an important factor
in the present stagnation of many of these collections. The opening
stock was too small and there was not sufficient allowance in the
budget (which often apparently assumed a continuing stream of
donated discs) to build up the collection quickly in response to the
early public demand so public demand withered and died.

The make-up of the initial stock also varied considerably between
libraries, but experience suggests that orchestral works and complete
operas should provide some 30 per cent each of the stock. Record-
ings of complete operas have been much more popular than antici-

220

Gramophone Record Libraries

pated some years ago; on the other hand, demand for piano music
has been less insistent than might have been expected, though Chopin
discs are an exception to this. Chamber music, instrumental works,
vocal and choral records, and plays and poetry-readings might be
allotted the remaining 40 per cent in fairly even shares. Once started,
there will be three factors to take into account for new monthly
accessions to the library's collection the amount of money avail-
able, the types of record that are receiving heaviest use and considera-
tion of what has been issued by the manufacturing companies since
the last batch of purchases. Organ music may prove unexpectedly
popular but if the companies do not issue any organ records for
some months, the library cannot increase its representation. Even
though a growing proportion of the record-buying fund may have to
be spent on the replacement of worn-out discs, the three factors
mentioned may result in a noticeable change in the proportions of
the stock once the collection is established, and such a change would
be justifiable. The librarian must, however, ensure that there is as
wide a variety as possible in the original stock to allow many differing
tastes to find something of interest in the collection; this only
reinforces the desirability of having as large an opening stock as
possible. It is more expensive to buy or replace records that were first
issued in mid- 1955 or earlier. The Autumn Budget in that year in-
creased the rate of Purchase Tax from 50 to 60 per cent on the whole-
sale price and most record companies took the opportunity to increase
the basic price slightly at the same time ; prices rose again in 1 957 (and
Purchase Tax automatically rises as the basic price increases), and
the discount allowed to public libraries on the net price has been
decreased from 15 to 10 per cent. At 1957 prices, therefore, an initial
allowance of 500 for records will probably buy less than 300, and
this total will include a small number of 10-in. discs, both LP and
MP. Even the smallest library, therefore, should not start below this
figure for its beginning, keeping 50 perhaps on one side to fill the
immediate gaps indicated by requests for records not in stock.

One might wish, in some ways, that it was possible to emulate
American practice here. Elizabeth L. Andersen's thesis 2 records that
only 34 per cent of the American public libraries covered by her
survey bought all their original stocks; no less than 47 per cent were
started entirely on gifts, and the remaining 19 per cent bought only
a proportion of their initial collection. Gifts provided the nucleus of
the collections of such large libraries as Boston, New Orleans, New

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Music Librarianship

York, Philadelphia and Pittsburgh. When the library at Akron,
Ohio, started its collection in 1949 it was assisted by gifts totalling
$1,000 and records of an equivalent value. One of the disadvantages
of gifts is that the records are not necessarily those that the librarian
would choose to buy, and there is the further point (already sug-
gested) that such a start may persuade the city fathers that they need
provide only a very small allowance for new records on the assump-
tion that gifts will continue to fill the gap. Many American libraries
have received large donations of SP records from residents who have
"changed over" to LP, and a few have been given LP recordings
but usually in versions that have been superseded by later and better
ones. British librarians may hope to receive an occasional donation
of this nature but cash or new records are rare gifts indeed.

There is no standard rate of discount in the U.S.A., librarians
reporting variations between 10 and 40 per cent, but the lower figure
would appear to be fairly general in small libraries. If the librarian
is willing to take the trouble to order from New York discount
houses he can rely upon a 25 per cent, reduction on the list price. It
would appear that many records are intended to be sold at less than
the official list price, and New Records quotes two prices for many
new releases the list price and the current market price. Further
variation is introduced by the availability of many recordings in two
editions a de luxe and a thrift package, the chief differences usually
being the quality of the package itself and the provision of detailed
notes with the more expensive version. For standard works many
libraries buy the cheaper packing (since the record is exactly the
same in both coverings) but for works not previously represented in
the collection or for operas and other works that require a libretto
for full enjoyment, the de luxe package is preferred.

The American scene also differs from the British in its much
wider price range for new records; in Britain there appears to be an
agreement between the companies to keep prices almost exactly in
step. Sales of new gramophone records at reduced prices are a regular
feature of the American scene and envy is enhanced with the fairly
recent introduction of some cheaper series of records. RCA- Victor
have been releasing a stream of important 78 r.p.m. recordings in
skilfully engineered LP form under the series title of "Camden"
records; these cost $1-98 each, just about half the cost of an ordinary
current LP disc. Columbia has a similar series, originally entitled
but now called the "Harmony" series. American prices, in
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Gramophone Record Libraries

general, fell appreciably after the introduction of LP discs (in com-
plete contrast to British experience) but were showing an upward
trend again at the end of 1957. Only in one field does Britain offer the
chance of a bargain; there are no second-hand gramophone record
dealers in the U.S.A. as there are in this country.

Though the standardized price of British discs may be regarded
as a disadvantage it does allow the cost of the opening stock to be
worked out quite accurately before any records are actually bought.
Allowance will be made for selected works that are available at the
lower price level the H.M.V. plum label and its equivalent in certain
other companies and for any SP discs that the librarian may decide
to acquire. Except for the important series mentioned in the first half
of the chapter (language-teaching records and other educational
types of record not available at 33J r.p.m.) there would seem to be
no place for the SP disc in a current collection except for items in a
reference collection. With some works duplicated on LP, it is more
economical to buy one version than another, sometimes because a
particular recording is issued on a cheaper label but more frequently
because of the different amount of music that may be included in a
disc. Beethoven's Choral symphony took four sides in the early days
of microgroove; a little later the recording companies were able to
get the complete work, without appearance of undue haste or the
deterioration in tone quality towards the centre of the disc that is a
consequence of congested grooves, on three sides leaving the
fourth side free for another complete work, such as the same com-
poser's first or eighth symphonies. In 1957 Vox issued a highly
praised version, lacking only two repeats, on a single disc containing
sixty-five minutes' playing time. This reduces the cost by 50 per cent,
compared with the earliest version; on the other hand, not every
music-lover would choose the Horenstein version for his collection
despite its economy. In other cases one company will take a com-
plete disc over a work while a second contrives to find room for an
extra piece of music. All things being equal, the second version is
obviously the one to choose, but it very rarely happens that all things
are equal and the record containing the shorter measure in terms of
the actual amount of music may well be the one to buy. Another
point arises with these extra works ; a collection can easily include
three or four versions of the same comparatively short piece because
it has been used as a "fill-up" to different works by different manu-
facturers who have tried to give purchasers better value for their

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money, in terms of playing time. These extra items present a cata-
loguing problem, too, but that matter is discussed in the appropriate
section later.

With book-buying it is often possible to await a cheap edition
of a popular work while the valuable but unsuccessful (as well
as the valueless and unsuccessful) book may be remaindered and,
if it is a good work on its particular subject, can represent a
really economical purchase. Similar conditions do not exist with
gramophone records. [But see p. 241.] Though it may well show
its age because of the steadily improving standard of recording,
the 1950 LP is no cheaper to buy in 1958 ; it is, in fact, dearer because
of the higher basic price and increased rate of Purchase Tax. It is the
latter that causes some prices to include an odd halfpenny (and
11s. and 8d. in addition, in a total of 41s. 8^d.) and makes prices
the more difficult to calculate. Records are not remaindered in
Britain but are simply withdrawn from the manufacturers* cata-
logues, usually with a few months' notice. In short, the only alter-
native to buying a disc at list price, less the accepted discount, is to
try to get it second-hand. There are a number of shops, particularly
in the London area, which sell second-hand gramophone records,
both SP and LP, but the condition of the playing surface needs to be
carefully examined before purchase and the record tried over if poss-
ible. Prices vary, but average around two-thirds of the gross price of
a new record. A librarian will invite adverse comment if he starts his
library with a noticeable proportion of used records; in any case, it
is natural that many of those offered for sale in slightly used condi-
tion are versions of works that have been superseded by later issues
that offer better performance, superior recording, or both. The
second-hand market may be useful as a source of replacement for a
single record or a set, or of a work that has been deleted by the
manufacturing company but which the librarian would still like to
have in stock, such as the withdrawn recordings of Haydn string
quartets made by the Schneider Quartet and released in Britain by
Nixa. At least one of the largest gramophone record dealers is pre-
pared to accept "Wants' 5 lists and to report as and when any of the
desired records become available. Generally speaking, however, the
gramophone record market is not nearly as well organized, as yet, as
the book market in tracing and obtaining second-hand and out-of-
print works.

Having selected the opening stock (though the situation cannot

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Gramophone Record Libraries

be imagined where the librarian can buy every disc that he would
like to have available for potential users) and kept a certain amount
of money in hand for emergencies, he has to solve the question of
housing. As with books, much less space will be required than
would be needed to accommodate the entire stock. In fact, the fairly
small collection may find itself in a very short time looking some-
what forlorn with most of its shelves empty. It is likely that shelf
space for a maximum of a third of the collection will be ample,
though some temporary provision will be required for discs that
cannot be brought out until the first borrowers have taken out their
initial choices. If the service is being run without giving members of
the public access to the records themselves, then floor space must be
found for an issue desk, for the shelving of the discs, for a catalogue
(if one is maintained), indicator and circulation space. The last
should be as generous as possible. Since the issue and return of
gramophone records when properly done is a slow process, queues
are likely at busy times; in addition, patrons will be checking the
indicator to see which records are available; these considerations
predicate plenty of floor space if users' comfort is to be consulted.
If the system is open access a rather larger floor space should be
provided since the records must be well spread to allow as many
people as possible to browse at any given time, and also because an
indicator system can function with records filed on shelves that are
both higher and lower than would be desirable for public use.

Slightly more space still would be required for a method of com-
bining, to a large degree, the advantages of open access with the safe-
guards of the indicator system. If the individual discs are kept in
polythene "inners" which fit inside the sleeve and the sleeve in turn
is issued to the borrower in a manilla or similar folder, then the disc
can be kept while at the library inside the folder, with the polythene
jacket protecting it from dust and handling. The sleeve can then be
displayed empty (as is done in many gramophone record shops). This
allows all the advantages of browsing, is a safeguard against theft and
rough handling, and permits the sleeve to act as its own indicator.
If the sleeve is displayed, then the record is available; the potential
borrower takes it to the assistant, who finds the record on the non-
public shelves, checks the condition of the disc with the borrower
and then inserts it in the sleeve. The catalogue number of the disc,
and perhaps brief details, can be quoted on the manilla folder which
can also be used for the date label, etc. This would obviate the prob-

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Music Librarianship

lem, mentioned later under "Issue methods" of deciding the best
place on the sleeve to paste the label.

So far as is possible the record library should be housed in a part
of the building not subject to extremes of temperature. Where the
shelves are not open to the public, accommodation for the records
can be made cheaply. Some libraries have successfully if not beauti-
fully adapted old bookcases or shelving; in others, shelves consisting
of a simple series of cross-slats and uprights made of softwood
suffice. If the records are stored vertically, as is most common, then
the uprights should be fixed at 5- to 6-in. intervals; wider intervals
increase the lateral pressure as the discs lean to one side or the other
and thus the likelihood of warping or, if the section is fairly full,
make it less simple to insert or remove a disc from the middle of the
sequence. Solid shelves are not essential, for four cross-pieces of 1-in.
planed timber each 2 in. from front to rear will provide sufficient
support, if firmly affixed to the uprights. The depth of the shelving
should be about 13 in., and the same distance should separate one
shelf from the next in order to allow an adequate margin between
the top of the record sleeve and the shelf above. Ten-inch discs
should be shelved separately and not intermixed with 12-in. records;
three cross-slats and a vertical height of about 1 1 in. between shelves
should be enough. Seven-inch records, if stocked, will require a third
sequence of shelves. The third possible type of shelving is the metal
cabinet or metal shelving made to a standard specification by sup-
pliers of library furniture. Messrs. Libraco Ltd., for example, supply
a metal cabinet that will hold about 1,200 records. It has five shelves
with nine compartments in each; the individual compartments are
12J in. high, 3| in. wide and 13 in. deep. With double doors that lock
(a precaution when the library may be open for longer hours than
those in operation for the gramophone record collection) the current
cost is about 50, while the same model without doors is rather
cheaper.

There is much to commend the storage of records in a flat posi-
tion as this appreciably reduces the chances of warping; at the same
time it is more difficult to find an individual record unless it happens
to be on top of the sequence. Leeds uses this method of shelving,
with an inch between shelves and an arc cut out of the front of each
shelf for ease of handling. Each compartment holds five or six
records only, so that it is not difficult to trace an individual disc. The
shelves themselves are f in. thick and the front edges are used for

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Gramophone Record Libraries

guiding. Gold lettering on leather is used and for the more prolific
composers the colour of the leather background denotes the particu-
lar type of music to be found on that shelf. This assistance is carried
further by quoting the composer's name on some shelves, while the
intervening ones carry the word "Overtures" or S4 Symphonie$* 9 or
other appropriate form. It may be remarked here that the Music
Library Association has stated that "No scientific investigation has
confirmed the superiority of storage horizontally or vertically". 4

Where SP discs are in stock, provision should be made for stouter
covers than the paper envelopes provided by the gramophone com-
panies since this protection is too flimsy to withstand much handling.
The recommended type includes a top flap that will act as a dust
excluder, for dust is abrasive and is probably the major enemy to the
long life of records. The envelopes should be made of kraft paper,
manilla or similar material. LP discs have a stouter covering; some
libraries leave them without further protection, but it is advisable to
strengthen the edges with transparent cellulose tape. If and when the
manufacturer's jacket becomes shabby it is possible to buy a replace-
ment if the record is still current, though the price may be considered
high; alternatively the record may be kept in a plain cover. Some
American libraries transfer all new records to plain jackets and split
the original jacket, mounting it with a plastic adhesive on the front
and back of its plain counterpart. This is an excellent idea but is
expensive in time and material. The earliest British releases of LP
discs, on Decca and Capitol, had thick cardboard sleeves but these
were soon superseded by thinner and lighter covers, some of them
quite unsuited to withstand handling with any frequency. From the
first releases many of the sleeves carried varied designs upon their
faces (ranging from the extremely attractive to the artistically appal-
ling, from the apt to the incongruous) though a minority were
austerely plain. At a later date the jackets were covered with a
laminated plastic that was dirt-resistant and this improvement led to
the introduction of some photographic covers. A further modifica-
tion introduced by two or three companies was to thicken the spine
of the sleeve and to print the title and artist's name there; this
allowed brief details to be seen without withdrawing the record a
great boon to the dealer, record librarian and individual collector
alike. The back of the sleeve is normally used to supplement the
details of the items and artists shown on the front, and also to in-
clude a programme note. Some companies give the names of the

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music jLioranansmp

writers of these notes, others maintain anonymity. As with cover
designs, the standard of the programme note has varied from the
extremely helpful to the bald, useless or downright misleading and
incorrect. The record companies soon provided extra protection to
supplement the cardboard cover since dust is an even greater enemy
of the narrow grooves of the LP disc than it is of those on the
coarser shellac. One company experimented with transparent cello-
phane covers that were slipped over the cardboard sleeves but these
were quickly torn. Other experiments included various forms of rice
paper inner envelopes but these, too, are easily crumpled as the
record is returned to the sleeve. Practically all companies now pro-
vide either polythene covers that are comparatively tough and which
offer good protection against dust when the record is stored, or else
they use a stiff white paper envelope with a transparent polythene
inset which allows the record label to be seen. As the envelope is
placed inside the sleeve its open top edge fits snugly against the top
of the sleeve, whose own opening is in the side, and so an efficient
dustproof container results. D.G.G. use a different type sleeve to the
other companies with a polythene envelope sewn into the inside of
the sleeve, which opens like a book. The moral of these experiments
should be plain that record librarians should see that discs are as
well protected as possible from dust.

In the U.S.A. the distributors of E.M.I, records (under the trade
name "Angel", which was merged into the group's associate,
"Capitol", at the end of 1957) offered new records in alternative
packagings, as has been mentioned. The de luxe packages were of
the highest quality with an appropriate cover of high artistic stan-
dard, extra protection in the form of telescoping jackets, elaborate
notes with music illustrations and, in the case of vocal works, the
complete text. "Thrift" editions offered a standard jacket design and
omitted the notes though the text was still quoted for vocal works.
Angel later introduced a middle level, suitably entitled the "library"
series, which offers a relatively plain package but includes notes.
Releases were confined to chamber music, so that such records were
slightly cheaper to buy than music played by symphony orchestras.
Another type of record unknown in Britain is the Westminster
"laboratory" disc which is intended for the collector to whom the
quality of the sound is of paramount importance. Only about half
the amount of music found on an LP is provided so that the music
grooves are limited to the outer part of the disc; it is the inner

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Gramophone Record Libraries

grooves towards the centre of the record that are most likely to suffer
from distortion. The package is contained in a polythene bag with a
zipp fastener, while programme notes stress details of the recording.
The same performances are usually available on ordinary West-
minster LP discs. Thus a work which occupies two normal discs will
be sold by Westminster at $4.98 in a de luxe package and $3.98 in a
thrift package. The same work will occupy four "laboratory" discs
and cost $7.50 per disc (prices are those of 1957). It is interesting to
note that most recordings in these alternative forms originate in
London.

In the eyes of British manufacturers the 7-in. disc does not
appear to warrant the same treatment as its larger brother. First
releases of Decca 45s were contained in flimsy paper envelopes of a
similar pattern to those used with SP discs and E.M.I, followed suit,
except that the group used cardboard instead of paper. When Nixa,
Philips and D.G.G. entered the 7-in. market they used a sleeve
similar in design to those of 10- and 12-in. records without any pro-
gramme notes on the back and it was not until late in 1956 that
E.M.I, gave classical 7-in. records adequate treatment with sleeves of
plastic finish and a programme note on the back cover. Polythene
inners are, at the time of writing, provided only by D.G.G. and
Decca, but there are many firms that make these protective covers
in all three sizes so that libraries can ensure at fairly small cost that
every record in the collection has the protection of both sleeve and
polythene inner envelope.

The space required for housing records may be estimated on a
basis of approximately six records to each inch of shelving for LPs
and eight for SPs. While the latter are thicker and heavier (which
may need to be remembered when drawing up the specification for
shelves) the single paper envelopes allow for closer spacing of
records.

Because of the potential damage to sleeves from constant with-
drawal from the shelf and subsequent return, the open-access library
will advisedly make different shelf provision from that needed where
the collection is handled only by members of the staff". The potential
user normally wants to see the sleeve, so that the best form of
shelving is that which shows the cover face-on. Something based
upon the "browsing boxes" of the gramophone shop is what is
required and Coventry's shelving appears to be excellent. These are
made in units either 5 ft. or 2 ft. 7 in. wide and are about 12 in. in
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Music Librariamhip

depth. In the bottom of each case are filed SP discs which are kept
in cardboard boxes, each duly labelled with the name of the com-
poser and title of the work contained. Above this is a smaller shelf
for filing miniature scores; all the library's stock of these is kept on
these shelves and a score may be borrowed at the same time as a
record or set of records. This liaison has increased the use of the
scores and also the pleasure of many users. At the top of the case is
the filing space for LP discs, arranged in three ascending tiers with
the records facing the potential user. Nearly all discs are therefore
immediately visible; Leeds* choice of flat filing is less attractive. It
causes little difficulty to the patron who has definite ideas as to what
he wishes to borrow, but the borrower who has no settled choice but
who wishes to see what is immediately available before reaching a
choice is less happily placed. For the library with no SP discs, or
only a handful, the Coventry method may be regarded as unecono-
mical since it requires a fairly generous allowance of floor space in
proportion to the number of records displayed, though this has the
compensating advantage of allowing adequate elbow room for quite
a number of browsers at any one time. Shelving in racks, particularly
when used by members of the staff only, houses a much greater
number of records in less space, since the height of the lowest shelf
can be just above ground level and the top shelf can be some 5 ft. up.
In short, shelving deserves careful consideration, but a fairly accurate
price for the various types can be obtained before figures are pre-
sented to the Library Committee for consideration.

Where the public has no access to the records themselves, finan-
cial provision must be made and space found for some sort of in-
dicator to show users which records are available at the times of
their visits to the library. The cheapest form is probably one made
from ordinary book-pockets; the records that are available are in-
dicated by book cards filed in the pockets, and the borrower takes
the book card to the staff counter in order to obtain a particular
record. Such an indicator can be efficient but it does give an air of
improvisation and parsimony that the collection may well not
deserve. The most popular type with British librarians is the indicator
based upon some form of "visible index" marketed by most sup-
pliers of office equipment. Cards are suspended in a metal frame,
each card nearly overlapping the one below it, so that only the bottom
half-inch or thereabouts of a card is visible except for the top card
in the frame. Full details of the record are typed upon the body of

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Gramophone Record Libraries

the card (and these details may be sufficient for the cards to act as
accession register also), and brief particulars are typed again on the
bottom edge that will be immediately visible. A reader will see the
brief details of composer, title and (perhaps) artist, and can lift the
cards above in order to see the fuller entry on the body of the card
should that interest him; there he can find details of the orchestra,
artists, allocation of movements or acts to sides, etc.

This type of indicator is efficient and attractive in appearance but
it may be regarded as rather expensive. A typical example is a frame
that holds seventy-two cards and which cost 2 12s. in 1957, plus
Purchase Tax. A collection of 1,000 discs will therefore need fourteen
such frames. The cards act as a catalogue to show the library's stock
and they also act as an indicator by a simple device. The bottom of
each card consists, in fact, of a folded edge (upon the front of which
the brief entry is typed); this edge is cut off at one end or a small
hole is punched in it. This allows the book card (a misnomer, but
the term in general use) which must be of a different colour, to be
seen. When the record is in the hands of a borrower no coloured dot
or portion of book card is visible, so that the would-be listener knows
that the record is not available. An alternative method is to make
book card and catalogue card of the same colour and to print a
coloured spot behind the punched hole; in this case the appearance
of the coloured spot shows that the book card has been removed
and that the particular record is "out". The former method would
seem to be cheaper and is possibly psychologically better, but the
point is not of major importance. When a record contains two major
works by different composers, one on each side, the entry for the
second side will show a spot of a different colour or the catalogue/
accession card will be of a different colour to act as a permanent
guide to the fact that information as to the availability of the record
must be sought under the name of the other composer; details of
this reverse side must be shown in the entry. Slips of paper of a third
colour may be placed in the fold of a catalogue entry to show that
the particular work is reserved by a reader; this may be regarded as
an unnecessary refinement as the reservation of records can be made
without the use of such a slip in the catalogue, but it does provide
information to potential borrowers who will realize that they will
have to wait some time before the record becomes available again.
While it is best that the metal frames holding these entries be kept
upright and spread along a wall or walls to permit as many patrons

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Music Librarianship

as possible to use it at once, the catalogue/index may be filed flat in
a series of shallow metal drawers or may be filed on a revolving metal
stand, with each frame attached by one edge to the centre. This
allows some degree of movement so that adjoining frames may be
pushed away and the particular one required inspected. With both
of these methods the use of the index is limited to one person at a
time and this can be an important defect except at the quietest
periods of the day.

A compromise method between the cheapness of the "home-
made" indicator and the somewhat expensive office equipment is
used by Woolwich; there the cards for each record are filed in racks
which are actually manufactured for use in factories and works
where employees clock on and off duty to file their time cards. These
racks are less attractive than the visible indexes but they are also
very much cheaper and operation is even simpler. Woolwich prepares
two cards for each record a buff one which acts as a book card and
a white one which contains accession details and which is filed
behind the buff card. To borrow a record, the reader takes the buff
card to the assistant who finds the appropriate disc. With the book
card gone, the white card is now visible and this indicates that the
record is "out" a similar result to that achieved by the visible index.
Whatever type of indicator is used, its cost can be worked out in
advance once the size of the opening stock has been determined and
quotations can be obtained accordingly. Provision should obviously
be made for probable expansion of the collection.

Though the indicator also acts as a catalogue it does not permit
added entries for performers, title entries and the like, and a good
case can be argued for the additional provision of a normal sheaf or
card catalogue in the gramophone library. This could give fuller
entry than on the indicator entry which could then be limited to the
basic information on that part of the card which is immediately seen.
It would also allow adequate entries for the "fill-ups", those shorter
pieces of music that are apparently included to give the purchaser
good value in terms of quantity, if not always of quality, when the
main recorded work alone is of a length that does not conveniently
fit on to an exact side or number of sides. There are also the records
that contain four overtures or a series of brief orchestral or instru-
mental pieces. A library may have two or three versions of an inter-
mezzo or aria yet each version as the secondary item on a disc; the
patron who wishes to borrow this short work may find it difficult to

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Gramophone Record Libraries

trace in the visible index type of catalogue but simple if a normal
catalogue (with necessary analytical and other added entries pro-
vided) is maintained. The pros and cons of this extra provision are
considered later in this chapter when discussing cataloguing. In
addition to a fairly full catalogue at the library there is much to be
said for the issue of a printed or duplicated catalogue of the collec-
tion supplemented by occasional lists of later additions. Such a
catalogue would suffer the obvious defect of being quickly out of
date if the collection is well used but it can be a useful form of pub-
licity, it gives readers the opportunity to study the library's holdings
at leisure and make their own lists of the records that they would
like to borrow and it may provide some of those added entries which
are lacking in the visible index. Most of the collections started in
Britain up to 1952 or so seem to have issued catalogues of their
gramophone record stocks but later starters appear to have dispensed
with the adjunct to the service, except in isolated instances.

The most expensive item in the cost of each loan is probably
staff time, but this is the last item upon which to economize since so
much of the value of the service and its efficient running depends
upon the human element. If there is already a music librarian in-
cluded in the establishment of the system the addition of one or two
junior assistants should be enough. When a gramophone library is
started in a library that has no music librarian there is a strong case
for creating the post unless the collection is open on a part-time
basis only. The creation of a new senior post may prove extremely
difficult in the small library and may well require much hard work
by the librarian in a larger system, but in the medium-sized and large
library the potential use of the collection should make such an
appointment a necessity if members of the public are to receive the
expert, informed attention that is so highly desirable. In the very large
library it is likely that there will already be a music librarian on the
staff and an assistant can be appointed in charge of the gramophone
library to work under the general direction of the music librarian.
One might again instance the example of Detroit where there are
seven professional staff in the Music & Drama Department. Each
member of the staff has both general and special duties and the
supervision of the record collection and room is the special duty of
one assistant. She is responsible for all ordering and selection, though
other members of the department will make suggestions, supervises
the catalogue in the record room and trains and oversees the two

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half-time clerks and the one half-time page allotted to the record
room. All members of the professional staff spend approximately
eight hours weekly at the record desk and another twelve hours
weekly at the main desk where music and book materials are
handled. This interchange of duties is doubly valuable; it assists the
integration of the service and also provides all members of the
professional staff with experience in the gramophone record section.
Except in the very large British libraries the gramophone record col-
lection is likely to have but one professionally qualified assistant ; while
usually called "Gramophone librarian" it would be better in almost
every way to make the appointment that of "Music Librarian" with
responsibility for the stock of books and scores relating to music in
addition to the gramophone library. The two collections should show
co-ordination, particularly in the choice of miniature scores, and the
ideal should always be held in view whereby the two collections are
housed as closely together as possible, preferably in a separate
department. The person appointed should be a Chartered Librarian
and the arguments in favour can be found in Chapter I. Despite the
specialist knowledge possessed by the good gramophone or music
librarian the salary offered is likely to be low. As for the number of
staff required, it may be repeated that for collections where the public
have no access to the records except via an indicator, an average of
150 transactions- daily is a reasonable figure for each assistant; for
open access the average may rise to approximately 200. It may be
extremely difficult to determine how many staff will be required when
a gramophone library is opened but the qualified assistant should be
appointed, hours of opening possibly limited (both to reduce the
need for part-time assistance from other departments and to gauge
public demand) and a regular understudy be appointed as soon as it
is obvious that the service will be beyond the capabilities of a single
person. This second member of the department will almost certainly
be unqualified professionally but choice should be made (if at all
possible) of an assistant who has an interest in and some knowledge
of music and who is keen to develop both. The use of any assistant
who can be spared from another department or service point to act
as relief assistant is to be deprecated; where such relief is necessary
attempts should be made to limit the number of assistants who may
be called upon for the duty, perhaps to two or three. One reason for
this is that the assistant on duty should invariably set a good example
to patrons in the ways of handling gramophone records, and careless

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or inexpert treatment will lower the service in the eyes of the know-
ledgeable borrowers and provide a bad example for the person who
has just begun to use a gramophone; another point is that the
relationship between the music-lover and librarian must be closer
than is customary because of the need to check each record individu-
ally on issue and return. Basic instruction in the technique of hand-
ling gramophone records should be given to as many assistants as
possible, under the supervision of the gramophone librarian and if it
can be arranged for each junior assistant to spend some time in the
department, again under supervision, it will provide useful training
and also help to indicate those assistants who may be usefully
seconded for duty with the collection when the need arises.

The final item to be considered in connection with maintenance
costs is that of record replacements. Figures vary widely between
libraries and this suggests a parallel with books; in some areas the
stock receives less careful use than in others, while librarians vary a
great deal in their judgement as to the deterioration that must be
accepted in a disc before it is considered unsuitable for further issue.
With SP records there seems to be fair agreement that a collection is
unlikely to exceed an average of some thirty loans per record, though
loud orchestral works and other heavily recorded items will wear
much more quickly than this. LPs last longer because of the different
material used in their manufacture (which is much less abrasive than
shellac) and because the lightweight pick-up necessary for playing
bears less heavily on the grooves. Estimates as to the average poten-
tial life vary from fifty to eighty loans per record. Questions to users
of the collection at Coventry indicated that the average user played a
disc between two and three times before returning it to the library; if
this figure is valid elsewhere then it suggests that a record will
achieve some 120 to 200 playings before withdrawal. This is low
compared with the figure that one would expect from records in a
personal collection, but less careful handling and use on a variety of
machines reduces the potential life of a library copy of a recording.
This average figure will prove utterly wrong when applied to records
used for assistance in learning a foreign language. Here, under-
standably enough, the borrower is likely to play the record as often
as possible while he has it, and the number of individual loans from
the library before withdrawal is not likely to average more than
twenty-five to thirty. Another point to be mentioned here is that long
works (operas particularly) which run to more than one LP disc are

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Music Librarianship

more likely to last longer in manual than in automatic couplings
when a company issues the same recording in both versions. When
automatic couplings are used, one disc drops on top of the preceding
one when used with an automatic record-changer and if the mechan-
ism of the latter is at all out of adjustment damage to the grooves of
the record is likely; with manual couplings the user normally re-
moves each record after its two sides have been played. Leeds Public
Library includes in its regulations one that prohibits the use of
automatic record-changers and the rule may be a useful deterrent
even though it is probably unenforceable. The combined causes of
wear and deterioration are likely to result in an average withdrawal of
some 20 per cent of the stock each year and this allowance for
replacement should be made.

Two other useful, though not essential, items might be considered
in this brief survey of cost ; the first is a gramophone and the second
the provision of record-carrying cases for the use of the borrowing
public. The library's own reproducer can be used for trying over new
records, for testing those returned by patrons when damage is sus-
pected, for checking upon the general condition of a record when it
has been borrowed enough times to make its withdrawal likely, and
for use in the provision of gramophone record recitals within the
library. A fairly cheap and compact machine may do for the first
three tasks but if the last-mentioned possibility is carried out then a
really good high-fidelity record reproducer is necessary since many
of the potential listeners will be used to good-quality reproduction
and the library should show the remainder of the audience, by
example, what can be achieved by a good recording played on a
high-class machine. Library recitals have a successful history in many
places; the lunch-hour concerts given at Holborn are an outstanding
example. Some American libraries have tried the experiment of relay-
ing concerts throughout much of the building but too many non-
musical people have objected for the experiment to be more than a
qualified success. The possibility has been canvassed of a gramo-
phone record recital running during the library's hours of opening,
to be heard through earphones located at selected points in the
building. This would allow music-lovers to have their fill of music
without causing annoyance to others using the library. Many large
American libraries provide first-class concerts of gramophone
records; those given in New York 6 and Cincinnati are regarded as
models of their kind. If concerts are given then, as has been suggested

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Gramophone Record Libraries

earlier in this paragraph, high-class equipment must be regarded as a
necessity. A radio-gramophone is not likely to be satisfactory; lib-
rarians tempted by its apparent economy in performing two different
though related tasks are referred to almost any textbook on high-
fidelity sound reproduction for information upon this point. It is
generally agreed that the loudspeaker should not be housed in the
same cabinet as the amplifier.

A number of public libraries provide record-carrying cases for
use by the borrowing public. Records may well receive damage
during the journey from the library to the user's home or on the
return trip; an unprotected sleeve will suffer badly in wet weather.
The simplest and cheapest protection is a brown-paper carrier bag
similar to those provided by gramophone record shops. The life of
this protection is likely to be short, particularly in wet or windy
weather. Although the first cost is much greater, a high degree of
protection is given by the use of specially made boxes of cardboard
or fibreboard with corrugated paper used as packing within the box
to reduce possible movement. Some American libraries use canvas,
cloth or plastic bags but the capital cost of an adequate supply is
high. A polythene bag, with corrugated card sheets inserted on each
side to cushion the record(s) might well be an inexpensive and long-
lasting answer to this problem. Where records have to be sent
through the post, as is common in county libraries, extra stoutness
is required. West Sussex County Library, for instance, uses vulcan-
ized fibre boxes with full-depth Mds. Cross-pieces of fibre are inserted
in both lid and box to act as springs and prevent damage. These are
excellent containers but necessarily expensive. Prices in 1952 were
10s. 9d. for a box suitable for 12-in. records and 14 in. deep, and
14s. 3d. for a similar box but 3 in. in height. Current prices are likely
to be appreciably higher.

It has already been explained that few figures are quoted in this
section because needs and conditions vary so much between one
library and another. The size of the opening stock, the style of
shelving provided, the type of catalogue or indicator these and
other factors cause immense variation in estimated initial outlay for
libraries serving comparable areas and population. Helpful infor-
mation can always be obtained from the Library Association's Lib-
rarian & Information Officer as well as from other librarians who
provide this particular service for the public. The only general rules
are to provide the best possible in music, staff and furniture; to

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have as large an opening stock as can be achieved, since it can never
be too large or varied, and third (perhaps most important of all) to
defer or abandon any thought of providing this service in a library
that has not got a good book fund or is not providing a better-than-
average service to its readers, and to realize that a gramophone
record library that is expected to run on the proverbial shoe-string
is highly unlikely to become a source of pride and satisfaction to
either the librarian or the local public.

Rental collections

The rental collection is a common feature of the American scene.
Discs are loaned for a stated period upon payment of a fee, and the
monies from such transactions are devoted to the purchase of more
new records for the collection. In some cases the library also main-
tains a "free" section, and discs from the rental collection may be
transferred after a certain period; in others, such as Minneapolis,
rental collection records are available for playing in the library (if on
the shelves) providing that they have been in stock for more than
six months but none of these discs is ever made available for home
listening without charge. When rental collections are maintained it is
a frequent corollary that patrons shall be allowed to vote for future
accessions to the collection, the items receiving most votes being
bought with the funds available. With libraries that maintain both
rental and free collections it is not surprising to learn that the latter
receive more use ( 2 p. 75), although "The length of time the collec-
tion has been established, the size of the collection, or the number of
discs which may be charged out at one time appear to have little
effect on the circulation the collection gets. Other features, such as
the location of the collection, interest and ability of the department's
staff, the effectiveness of the library's publicity, may be more
important."

Theoretically, rental collections are of academic interest only to
British librarians but in fact, as has been mentioned, at least two
libraries run their gramophone record collections on these lines. In
one, the fee is 6d. for each LP disc for a loan not exceeding one week,
plus a fine of 2d. for each day beyond that period (unless the loan is
renewed). SP discs are lent at Id. each for a week (though only major
works are included in the collection so that the minimum charge is
3d. and many works will cost more to borrow), while language-
teaching records are rented at Is. for a week's loan because of the

238

Gramophone Record Libraries

greater use they receive during the average loan. Fines and fees for
1956-7 amounted to just over 1,500 from an issue of 38,750 records
and all of this money, together with an annual allowance from the
local Council, was spent on records. In the second library the rental
fee is higher at Is. per disc per week though users have the option of
purchasing a "season ticket 9 ' for 2; this is valid for twelve months
and allows its possessor to change a single disc or work as frequently
as desired without extra charge. Non-residents are charged, in addi-
tion, a subscription of 15s. a year. These charges may be thought to
be high but are still appreciably less than the sum required to borrow
and return the same number of records from a commercial lending
library. Both public libraries claim busy and successful gramophone
record libraries with a clientele that is apparently quite prepared to
pay a fair sum for this particular pleasure. It could even be argued
that since payment is made according to the use made of the collec-
tion by an individual this is the fairest method and that the service
is the more appreciated because it is not provided entirely from the
local rates. On the other hand, there are a number of British librarians
who feel that to charge for records is a retrograde step and that this
part of our service should be as freely available as book borrowing.

Selection

Selection of the basic stock presents a difficult task. The problems
to be faced involve the musical level of the collection, the proportions
of the different types of music and the choice between alternative
versions of a selected work. The choice should be made by the Music
Librarian though the chief officer must accept final responsibility
and may well lay down certain general rules for the guidance of his
subordinate. Suggestions may be received from local gramophone
societies, music teachers, etc., but these (useful as they may be)
should not be allowed to upset the general proportions of the collec-
tion. There is probably good sense in keeping a small proportion of
the money allocated for records in reserve to strengthen representa-
tion where demand proves heavier than expected, or to buy particular
recordings in response to requests. A typical analysis has already
been given on page 221. Selection can be made within predetermined
limits by popular appeal. One American library ran a series of ballots
in the local newspaper, listing a total of eighty-two works and
ordering the fifty that received most votes. This may well have been
most effective publicity, but it may also be considered to be an ex-

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Music Librarianship

pensive method of selecting fifty records, particularly as the selection
was for the opening stock and the series of advertisements should
have resulted in an initial enrolment of many more than fifty would-
be users. Westminster made a somewhat similar experiment with a
rather different purpose. Balloting was held for the two most-desired
items in a list of some half-dozen rather recondite complete operas.
This scheme was apparently aimed at those users for whom the
normal repertory is insufficiently wide, and allowed the librarian to
gain some idea of the potential demand for each work and to stimu-
late interest in the collection as a whole.

A study of the gramophone catalogues issued by some of our
public libraries will show that standards of selection are fairly gener-
ally agreed at a high musical level. These lists will also provide the
questing librarian with a check on the opening stocks of these lib-
raries, while supplements (where issued) will indicate if particular
attention has had to be paid to certain sections of the collection.
Selection of the basic stock can be simplified by the use of two valu-
able aids. The first is The record guide (and its supplements) which
indicates which version of a work is that recommended by its know-
ledgeable compilers and draws attention to outstanding performances
and recordings by means of a starring system. The other is Record
ratings where each record has appended brief details of where
reviews can be found plus a symbol indicating whether the review
was favourable or not, or whether it tended to be somewhat non-
committal. Fuller details of these most admirable guides will be
found in Chapter II. It must be remembered, however, that neither
of these works can hope to be really up to date so that files of The
gramophone and similar reviews must be checked for later perfor-
mances; supplements to Record ratings appear in each number of the
periodical Notes. There are other guides; one well-known gramo-
phone shop in London issues a handbook with its recommended
selection of the best recordings; selection is limited to much the same
range that a public library is likely to cover. One of the commercial
lending libraries of gramophone records issues a similar list; the firm
goes much beyond this in that it offers to supply the entire collection
and in return to provide some basic training free of charge for the
assistants who will be administering the library collection. It is
highly unlikely that these various sources will agree upon the "best"
recording of more than a handful of works but they may give useful
warning, by implication, of versions to avoid.

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Gramophone Record Libraries

Once the basic stock is chosen current releases present much less
of a problem, since this is a matter of keeping abreast of the various
reviews of new records. Some criticisms will be too brief or be pub-
lished months after the librarian has made Ms decision upon a par-
ticular recording, but the periodicals listed in Chapter H deal
adequately in most cases with gramophone records; some consider
very few where others review nearly all new classical issues but all
have their use. Record reviews have much in common with book
reviews in that some are mutually contradictory; a few are much
more interested in the technical aspects of the records at the expense
of the music or the performance. This should be taken into account
in selection for there is a minority of users in every library who are
interested primarily in the frequency range demonstrated by a new
issue, in the orchestral balance achieved by the recording engineers,
in the fidelity with which a triangle or a trombone has been caught
by the microphone, etc., and only secondarily in the work played or
its interpretation. Though this type of user may be regarded on
occasion as a minor nuisance it is only proper that, in cases where
two recordings provide equally satisfactory versions of the same piece
of music, preference should be given to the recording that is the more
adequate from the technician's viewpoint.

Record "clubs", on the lines of book clubs, have been a familiar
part of the American scene for some years and there are now at least
three which operate in Britain. There are similarities between book
and record clubs for both provide works likely to be in popular
demand at a price appreciably below normal and in a sleeve that is
adequate but not nearly as attractive as ordinary commercial issues.
Both performances and recordings are usually acceptable but rarely
equal to the best available. In a few cases the record clubs have
produced works that are not otherwise available, so that librarians
will find it useful to keep in touch with these clubs and buy some of
the issues, both of rarities and popular works in heavy demand. A
difficulty is that these issues are rarely reviewed in newspapers or
periodicals and so have to be bought on trust. The growth of these
clubs seems to have stimulated the Decca Record Company to
initiate an "Ace of Clubs" series in the spring of 1958. These discs,
at nearly half normal prices, are reissues of older recordings (some
originally on SP discs) and are limited to popular classics. This
represents the first British "cheap edition"; one hopes the habit
spreads.

241

Music Librarianship

Accession

Records will be ordered in the normal manner, generally from a
local dealer or dealers. It is useful, however, to include a specialist
London firm among a library's suppliers since such dealers can often
provide an urgently required record by return of post and can also
obtain special or unusual discs with the minimum difficulty and
delay. It is good practice to require that all discs supplied to the
library shall be "factory fresh". Not only does this avoid the record
that may have been in stock for weeks or months in the gramophone
shop and may have been played over several times, but it also means
that when a recording has been re-engineered and its quality im-
proved (though the original tape is still used), the library will receive
such a version.

On receipt of a disc, it should be carefully examined for flaws. It
will not be possible to play through all accessions, but any with
scratches or pinholes or other blemishes should certainly be tried. At
least one British library has installed a "Parastat", a machine which
frees the disc from static electricity (which attracts dust to the
grooves) and gives it a reasonable degree of immunity through many
playings.

Accessioning may be carried out as with books, though libraries
using a combination of catalogue and indicator may use the part of
the card not normally visible for the inclusion of accession details
and so make one card serve three purposes. Many libraries do not
use their own accession numbers but use the manufacturer's cata-
logue number instead, with the suffix "A", "B", etc., in cases of
duplication of discs. Difficulties may arise when records are with-
drawn by one manufacturer and later reissued by another as has
happened with many records originally issued in Britain by Colum-
bia, withdrawn and then subsequently reissued by Phillips with
entirely different numbers.

Catalogue numbers used to be fairly simple in SP days since
manufacturers normally used a single or double letter prefix and the
numerical sequence started at the number "1" and worked its way
upwards over the years to numbers such as DB 4420 and K 1771.
With LP discs manufacturers apparently decided that a prefix of
three or four letters was required plus a four, five or six figure num-
ber. New sequences rarely start at the number 1 but with a minimum
of four figures, though there is no apparent reason for this. Perhaps
as a precaution against mistakes when ordering discs, the companies

242

Gramophone Record

often arrange that numbers do not overlap but that a different
sequence is used for each size and price, so that an order with a
slightly incorrect prefix but the right numerical suffix might well still
produce the desired record. Makers are not always consistent on
this point, however. One might instance the English issue of Decca:
12-in. classical discs were numbered from LXT 2500 onwards and
the 10-in. equivalent from LX 3000 upwards. The cheaper red-label
category began the 124n. sequence at 4000 and the ltt-in. from
LM 4500. Records of overseas companies for whom Decca acted as
British agents were allotted different numbers again. Capitol discs
began their 12- and 10-in. sequences at CTL 7000 and CCL 7500,
and the same method was continued with six-figure numbers for
Telefunken and Ducretet-Thomson, etc. It will be noted that all
12-in. issues included the letters "L" and "T" in the prefix with the
exception of the cheaper LM category. When the LXT series reached
LXT 2999 a fresh sequence was started at LXT 5000. All of this is a
consistent scheme, yet when the firm introduced its "medium-play"
records they were given the prefix LW but numbered from 5000
upwards and thus duplicated the second LXT allotment.

Libraries that give their own accession numbers to records may
find it a good policy to follow manufacturers and make different
sequences for the different record sizes; this is useful for shelving
purposes as it is best to put all 12-in. records together, all 10-in. and
all 7-in. Such a plan also assists identification of a record by its
number. The process may be carried a stage further with the acces-
sion number providing an approximate indication of the type of
record by relating accession number to classification. Details of this
method are given in the following section on classification.

When records arrive from the supplier they need to be checked
against order and invoice and then examined carefully for possible
flaws or damage. Even "factory-fresh" specimens may be imperfect.
The library's possession of a record player is useful in this connection
as doubtful sections can be played over, and if every disc has the first
few grooves played the occasional "swinger" can be discovered at
once. A "swinger" is a record that is incorrectly pressed so that the
grooves do not centre on the spindle hole; the pick-up wavers from
side to side as the record plays and the tone wavers with it. With a
long-playing record even a very small error can produce distressing
results. There must be a limit to the time spent on checking and it
will be generally agreed that the American library that has the

243

Music Libmnanship

cataloguer play through each and every record, following the score
to discover any cuts in performance and listening carefully for any
imperfections in the record, is taking the matter much too seriously.
There are two general methods in use to indicate library owner-
ship. The first is to paste a piece of paper with the library's name on
the record and the second is to use an electric stylus. With SP records
it was simple to have printed semicircular labels with the library's
name and perhaps leaving room for accession number, etc. Because
of the increased amount of music on an LP side it has been found
necessary by some manufacturers to use much more of the label to
give details of the contents of a side and of the performers and to
reduce the space used for the trade name and design accordingly. In
order to avoid covering any of this information libraries usually now
have small gummed slips about an inch long and half as wide which
will paste over the trade name on the record; this is not likely to
cause any difficulty in identification. When an electric stylus is used
the identification mark will be written in black or white according to
the colour of the record label and the library's initials and possibly
the accession number of the record can be easily marked. The infor-
mation can be incised on any convenient part of the label; it will
usually be somewhat less neat and uniform than an adhesive label
though possibly less easy to remove. Library initials should be
enough, partly as an economy and because ownership will also be
shown, in all probability, somewhere on the record sleeve. A lost
disc initialled "B.P.L." is likely to be returned to its owning library,
be it Battersea, Bebington or Burnley and not sent to the wrong one.

Classification

Where the library is so organized that members of the public do
not handle the records on the shelves there is little apparent need for
classification of the stock; arrangement by the accession number or
maker's catalogue number will be adequate for the assistant in charge
to extract the correct disc on request. Shelf arrangement in sequences
of manufacturers' numbers is the normal practice of shops that sell
gramophone records and even the British Broadcasting Corporation
with its immense collection finds this method the most satisfactory
so that smaller libraries should have no difficulty in making such a
system work.

Neither of these numerical arrangements is likely to be satis-
factory when the collection is open to users. Various methods of

244

Record

classification are possible. One may use the scheme already adopted
for music, with a prefix such as "P 1 * or "G" to Indicate a disc. This
method was advocated more than twenty years ago by Dorothy G.
Amesbury (in the Library Journal for 1st June 1937) on the sensible
grounds that a library user already familiar with the music library
would quickly adjust himself to the problem of finding gramophone
records of a particular type of music. A slightly earlier article in the
same periodical (15th February 1937) by Ethel Louise Lyman
recommended a form of alphabetico-class arrangement, mainly
mnemonic. This scheme began with CS (Choral works, sacred),
CSe (Choral works, secular), and so on through Flute (F), Masses
(M), Organ (ORG), piano trios (P.3), string quartets (S.4), to His-
torical sets (X), Anonymous works (Z) and Folk songs (ZF). Such a
scheme has obvious limitations (Masses, for example, are also sacred
choral works) but should be easy both to apply and understand with
most records in a collection. A third method of classification, used
with a large collection, was the arrangement of material in broad
groups by means of accession numbers. The numbers 10,000 to
19,999, for example, were allotted to single SP records (i.e. brief
works that were accommodated on not more than one disc) and this
block was sub-divided into different types: 10,000 to 11,999 for his-
torical recordings; 15,000 to 15,999 for folk music; 18,000 to 18,999
for children's records, etc. Within each group the earlier numbers
were given to 10-in. records and the later ones to 12-in. This scheme
has its attractions but the difficulty was that some sequences were
completed long before others, so that secondary sequences had to be
used in some cases. A modification, which does not classify but
separates sizes and speeds, is in use at Detroit. A 12-in. LP might be
numbered 332-1234 (the prefix indicating first the speed and then
the size, with the actual accession number after the dash), a 10-in.
330-5678 and a 7-in. disc 457-001.

A fourth method is that adopted at Coventry where a single
sequence under composer is used for all 12-in. records with a second
sequence for 10-in. discs and a third sequence for non-musical works.
This brings the works of a composer, in most cases, into one of two
places and the method is simple to grasp and administer. Where
more than one composer's name is shown on the record sleeve
(e.g. where a disc contains a work by Brahms on one side and a
composition by Schumann on the other) the disc can be filed either
under the name of the composer who appears first on the sleeve or
R 245

Music Librarianship

else under the one whose name Is first alphabetically. The former is
perhaps the simpler, the latter the more consistent. The catalogue
entry, however, must make it clear that the work by the second (or
third) composer will not be found in its apparently correct place but
instead is with the works of another composer. Such a method,
rough and ready as it may appear, brings together nearly all the
works of each composer, avoids any problems of classification (such
as those between "grand" and "light" opera) and should be generally
understood. With "recital records", arrangement will be under the
name of the artist, conductor, person or group that has made the
batch of recordings. If records are shelved so that only the fore-edge
Is showing it is good policy to stick a strip of coloured paper at a set
distance from the top or bottom of the sleeve to indicate the genre
of the disc thus opera might have a red slip, symphonies a blue one,
etc. Such a guide to the type of music would still be useful when
the record was visible face on, where this type of shelving is in
use.

Wohlford 1 mentions eight common methods of filing which have
been adopted in various American libraries. The first is alphabetical
arrangement by composer; the second is by record number; the third
choice is by accession number allotted by the library; the fourth
arrangement is by Cutter number for the composer; the fifth is also
by Cutter number plus the Dewey class number to allow sub-division
of the works of a single composer; sixth is classified arrangement by
Dewey Decimal classification, and seventh a classified arrangement
used by the Library of Congress music scheme. The eighth and last
arrangement Is that according to a classification scheme produced by
Philip L. Miller of the New York Public Library, the man generally
regarded as the doyen of American record librarians. The first, fourth
and fifth arrangements are all basically by composer, the second and
third methods by an arbitrary number and the last three by actual
classification.

Cataloguing

On no single matter does British and American practice diverge
so sharply as on this point; while a considerable amount of trans-
atlantic method has been adopted in England the detailed entry with
its many secondary cards for performers, analytical, etc., has been
ignored in favour of brief entries under composers only. The lengthy
section that follows devotes considerable space to full cataloguing,

246

Gramophone Record Libraries

even though a British librarian may decide,, having read it through,
that Ms own method is justified by its economies.

Gramophone records present many parallels with music scores
but have a number of distinguishing features that necessitate
cataloguing rales. The entry may be divided into the usual four divi-
sions of composer, title, imprint and collation. The title may be that
shown upon the record itself or it may be one that the cataloguer has
had to supply (a similar situation to that which is not infrequent
with sheet music). Imprint, with books, consists of place of publica-
tion, name of publisher and the date. Place of publication presents
no real difficulty with records but is not likely to be required except
with obscure or oversea firms. The publisher is probably best shown
by use of the name on the record label rather than the actual name
of the firm, though the two may well coincide. The date of issue is
never shown on the record, and though it can often be found with
little difficulty it rarely has much value. It will, of course, give the
reader an idea of how old the recording is, or perhaps one had better
say, how new; the disc may have been issued in one country for
months or years before it is released in another. In the latter place
the date of issue will perhaps mislead. Some discs give the date of
recording, particularly with a special occasion (though D.G.G.
"Archive" discs always include this date on the information card
presented with each record), and this may be worth adding in a note.
Rather than quote the date of issue, the cataloguer is more likely to
quote the manufacturer's catalogue number. Though there are many
exceptions it is fairly general practice to issue records in fairly regular
numerical sequences so that the catalogue number will often indicate
a comparative date of issue so far as each particular record "brand"
is concerned. Since collation describes the physical format of a book,
it has a similar function with a record but instead of listing pagination,
illustrations, etc., it includes such items as the diameter of the record,
its playing speed, the number of sides allotted to the work and the
fact as to whether it is microgroove.

The Music Library Association issued a Code for cataloging
phonograph records in 1942. It was, according to the preface, "de-
signed as an integral part of the larger 'Code for cataloging music' "
and consisted of four introductory pages and twenty-eight pages of
text. The work was divided into four parts. First was a section on
cataloguing itself; second, comments on special types of phono-
graph (gramophone) records; third, suggestions for filing and

247

Music

shelving, while the last part quoted sample entries. This code appears
to have the starting point for the Library of Congress rule

number 9a, "Phonorecords 59 , which appeared In a preliminary edition
in 1952 and which contains the L.C rules for discs, cylinders, wire
and tape-recordings, player-piano rolls, etc. This single, though much
sub-divided rale, reappeared almost unaltered in the second edition
of the A.L.A. and M.L.A. Code for cataloging music and phono-
records in 1953. Both the earlier and later versions are described in
some detail below, the former because it allows for further comment
upon some of the problems facing the gramophone record cataloguer
while the latter gives a better arrangement of items and shows some-
thing of the value of a preliminary edition which is amended later in
accordance with the ideas of people who have been putting the trial
version to the test of everyday use.

The first section of the M.L.A. 1942 Code is divided into two
parts ; the first deals with sources of information and the second lists
the items to be included in a catalogue entry. The three suggested
sources are the record label, reviews of the record(s) and special
record bibliographies. With SP discs the label identification was
often fantastically vague "Gavotte, by Bach" or some equally un-
helpful title was quite commonplace. The situation has improved
immensely with LP discs, possibly because the back of the covering
sleeve is normally used to give details of the music. Even so, record
companies are still far from perfect in this matter. Where a gramo-
phone company omits information or even gives wrong details the
mistake is often indicated by a record reviewer particularly when he
is a specialist on that particular composer, period or instrument. If
reviewers fail to notice the error it may well be corrected in The world
encyclopaedia of recorded music where some minor miracles of
identification have appeared. W.E.R.M., however, can only be of
value in this connection if the actual recording is of sufficient age to
appear in one or other of its volumes.

The M.L.A. suggested order of entry under composer was as
follows: (1) the conventional title, i.e. the form of title under which
all versions and extracts of a work will be filed, whatever the lan-
guage of the record label. The use of a "conventional title" has been
discussed in the earlier chapter on cataloguing. (2) The actual title as
it appears on the record label, the record sleeve or on the album in
which the record is contained or on the title-page of any analytical
notes which may be issued with the work. After the title is added

248

Gramophone Record

(where necessary) a note as to the form of of the music, e.g.

Symphony, Song for tenor, etc. (3) Imprint, which the

place of publication (useful mainly with imported discs in Britain,
but of wider application in the U.S.A. where are many

recording companies in different parts of that vast country),, the pro-
ducer, i.e. the name on the label ("Parlophone" rather "Elec-
trical & Musical Industries"). British cataloguers would normally
treat discs actually issued in Britain under the label name, which
be that of the original ("Supraphon", "Telefunken", etc.), or of the
English agents ("Westminster" and "Bach Guild" issued in Britain
with the "Nixa" label). Place of publication may be useful for
records which have to be specially imported and which are not
usually available from gramophone shops, e.g. the Chinese records
imported into Britain by Collet's. The final items of the collation are
date of issue and date of recording (though the code suggests that it
is not worth taking too much trouble to discover either date), the
catalogue number(s) of the record(s) allotted by the manufacturer
and the matrix numbers. These last are the equivalent of an identity
number and are quite independent of the catalogue number. The
matrix number is engraved on the record in the space between the
label and the inner grooves of the recording; this same number is
usually repeated in small type somewhere on the record label itself,
With SP discs the matrix number was often valuable. In many cases
it indicated the country or place where the work was recorded
(H.M.V. discs recorded in their London studios were numbered in a
single sequence with the prefix "OEA" or "2EA" ; the former was
for 10-In. discs, the latter for 12-in. Recordings in Vienna by this
company had the prefix "VH", in Scandinavia "CS" and so on) and
usually the matrix number consisted of a prefix followed by a num-
ber, as in the examples quoted. In certain cases the matrix number
was followed by the number of the "take", i.e. it indicated the
number of attempts required before a satisfactory recording was
achieved; this was usually once or twice, but I have found numbers
as high as eight and even higher figures may well be in existence. As
with the publishers' plate numbers on sheet music so the matrix
number was an excellent method of finding a relative date for a
recording. Incidentally, it sometimes made nonsense of a reviewer's
comment that "Madame X was in much better voice than last
month" when the matrix numbers would clearly indicate that the
two discs were made at the same recording session.

249

Music Librarianship

This quite useful aid has lost most of its value since with LP
discs the number is simply that of the completed side which may
well contain items recorded at different times and even in different
places; there is no indication of the number of attempts required
before the side was recorded to the mutual satisfaction of both artist
and manufacturer simply because the whole technique of recording
has altered with LP discs. In the old days, a complete side of three
to four minutes had to be made at a time; now much longer periods
are possible since the recording is made on tape. Where a few bars
are unsatisfactory, the defective portion can be performed afresh
and re-recorded and the new piece spliced into the original tape to
replace the excised section. For various reasons the conductor or
artist may still prefer to record in brief spells, relying upon the tech-
nician and splicer to join the sections together into a coherent whole.
Normally these tape joins are quite indistinguishable but occasion-
ally a difference in recording level, of tape hum or (quite inexcusably)
a slight variation in the actual pitch of the notes makes the join
obvious. What the buyer often gets, in fact, is not a recording of a
single performance but a synthesis of the best parts of two or three
recordings. There is, therefore, little excuse today for a record that
contains wrong notes or bad intonation.

The album or set number of a lengthy work may be regarded as
the gramophone record equivalent of a series note and in Britain is
peculiar to SP discs; thus Brahms's second piano concerto played by
Artur Schnabel with the L.P.O. conducted by [Sir] Adrian Boult was
contained in H.M.V. "Album 245" and bore this number in gold
lettering at the base of the album's spine. Comparatively few LP
works require albums the need is usually restricted to complete
operas and the companies have not found any need to allot num-
bers to these, it would appear. After the set number the M.L.A. Code
suggested that the number of sides and the size of the disc(s) should
be quoted; this is a useful place in which to add the playing speed of
the record. That item of information was not necessary in 1942 since
all commercial discs were then of the 78 r.p.m. type. The next item,
"Method of recording", is likely to require mention only for the
items that are acoustically recorded, i.e. those made before the intro-
duction of electric recording around 1924 or 1925. Some American
libraries also have "instantaneous recordings", which are similar to
tape-recordings in that they can be played back at once. "Medium of
performance" quotes both the actual instrument(s) used in the

250

Gramophone

recording and, if different, the instrumentation for the work

was originally written, e.g. "Faure - Dolly, op. 56; for orchestra.
Originally written for piano duet, and orchestrated by Henri Rabaud."
This item is followed by the name or names of performeifs), the
language of the text if a vocal work and the author of the words. The
provision of an analytical booklet or album of descriptive is

mentioned and this in turn is followed by a note of any cuts (ie
omissions) in the recording. This information is usually
from a reviewer's criticism; it has already been suggested in this
chapter that to listen to every new disc, following the performance
with a score, is time consuming and expensive though it may provide
considerable enjoyment to the members of the staff detailed for the
task.

The Code's next item is "Complete identification" for such works
as ballets compiled by one man from the music of another or for a
work such as Tchaikovsky's Swan Lake ballet which is rarely
recorded in full and in which different recordings select different
excerpts. This information may be contained in reviews or, for older
recordings, in W.E.R.M. Cataloguers should always check this
source since a "new" recording may have appeared some time pre-
viously in another country. The MX.A*s specimen entry continued
with a contents note together with a statement as to other works
recorded on the same disc or employed as a "fill-up" on the last side
of an album set. Where a work took, for example, seven sides to
record it was common practice to use the eighth for a short work or
excerpt, generally by the same composer and normally by the same
artists; a blank side was apparently not popular with the manu-
facturers. With LP discs, the spare side on a similar recording may
well be utilized for the recording of a major work. An obvious
example is provided by recordings of Beethoven's ninth symphony
which require three sides; the fourth may well contain the first or
eighth symphony complete.

This completes the sequence of details listed in the MX. A. Code,
though the work also contained suggestions, based on Dr. Harold
Spivacke's article, "The cataloging of folk-song records" in Notes
for November, 1937, for dealing with this type of material.

The Library of Congress rule (and the 1958 MX.A. revision)
amends this somewhat erratic order. Briefly, the L.C. sequence is as
follows: (1) Composer; (2) Conventional title, to which is added a
descriptive word to show that the entry refers to a recording and not

251

Mime Librariamhip

to a music score. For gramophone records the word added is "Phono-
disc'\ and this allows entries for books, scores and records to be
filed in a single sequence with the possibility of confusion between
them reduced to a minimum. (3) The transcription of the title is taken
from the record itself or the containing sleeve. (4) Imprint is limited
to the trade name of the publisher, serial identification (i.e. record
number plus album number, if any) and date of release of the record
to the public by the manufacturer. The recording date is given only
when provided on the disc or its sleeve. (5) Collation for records
notes the number of albums (if more than one), the number of sides
(including fractions of a side) and notes that a single-sided record is
counted as one side. The diameter of the record and its playing speed
are then quoted. (6) Notes include the name of the performer and
the medium, the edition used in the recording (if easily discovered),
details concerning performance, the duration of the work, contents
and a reference to other works on the same disc that have received
separate entry.

These meticulous rules raise the problem of how much detail is
required in a gramophone record catalogue. Mary Wohlford 1 quotes
what would appear to be an extreme case of full cataloguing. Fort
Wayne, Indiana, has a population of about 140,000 people and
required six extra staff three full-time professional cataloguers, one
sub-professional and two clerical employees for its gramophone
record collection. The reasons can be found in an article in the
Library Journal for 15th March 1949 (p. 428 et seq.). It is obvious
that many American librarians are perturbed at the amount of detail
involved in full cataloguing and the staff time expended. "Several
people mentioned that the life of a record is fairly short, and that
therefore detailed cataloguing is a waste of time and money in
a heavily used collection." 5 This is emphatically the view of
British librarians, since almost all have restricted cataloguing in
their collections to a brief composer entry and ignored all
added entries except for discs that contain two works by different
composers. Though this may be regarded as being below the mini-
mum that readers would expect, it seems in fact to have been found
reasonably adequate for most enquiries providing that other guides,
particularly the Gramophone Long-playing classical record catalogue,
are at hand to answer enquiries for recordings by particular artists,
etc.

However brief the main entry, it should always contain the opus

252

Gramophone

number of the work recorded or the number

(which is its equivalent) in the of Bach, Mozart, Domeaico
Scarlatti, Schubert, Vivaldi, etc, This is a
against the unintentional duplication of works
titles (Fugue in F, Sonata in C minor). Although some of the items
listed in the M.L.A. and L.C. rules may be as unnecessary,,

there is much to be said for making the main entry as full as possible,
particularly if it is the only entry. Libraries using a visible index as a
combined accession register, catalogue and indicator can usually find
space on the card, above that strip which is immediately visible, for a
fairly full entry which would supplement the "finding title" that is
all that can be shown on the small space which is normally visible.
If the card above is lifted, the interested user can then find fuller
details of the record. If full cataloguing to a greater or lesser degree
is to be carried out, there is much in favour of a card or sheaf cata-
logue which can include entries for artists, musical forms, etc., which
cannot be shown on an indicator. There is also a fairly strong case
for the production of a printed or duplicated catalogue in which
fuller information could be provided than is normally visible on the
index entry* Music-lovers would be able to decide at leisure which
records they wish to borrow and would use the visible index purely
as an indicator and ignore its secondary function as a catalogue; one
patron consulting the detailed entry on the body of the card must
automatically obstruct the use of many other cards while he is
making his search.

Where all added entries are omitted information must be found,
as suggested in a previous paragraph, from various other sources.
The quarterly catalogue published by The Gramophone has already
been suggested as an invaluable guide to discovering the recordings
made by an individual artist (and will also show when a particular
record was reviewed in The Gramophone) but omits any records
which have been deleted from the manufacturers' catalogues, some
of which may still be in the library's stock. Printed guides (the One-
spot guide in the U.S.A., The Gramophone's quarterly catalogue and
The Record guide and similar works in Britain) are often extremely
useful in tracing a single work in a recorded anthology where the
library has failed to make analytical entries. Limited cataloguing of
this type provides very real economies but at the expense of the bor-
rower who is primarily interested in recordings of piano concertos
or of works conducted by Karajan, etc.

253

Music Librarianship

Added entries can be brief and simple and need consume little
time in preparation. Form entries, in particular, can be very brief,
e.g. under the general heading "Symphonies" all important informa-
tion would be conveyed by "SCHUBERT no. 2 ; Boston S.O. (Munch)"
followed by the manufacturer's or library's catalogue number. If
this is still thought to take too much time then the card or sheaf
could bear the heading "SYMPHONIES" followed by the composer's
name and a stereotyped form of entry, or even a rubber stamp, with
such words as "For recorded works in this form, consult the com-
poser's name in this [or the composer] catalogue". The enquirer
interested in the history and development of the symphony or in
symphonic recordings would then look under the composer's name
to discover which of his symphonies were in stock and in which
recordings, etc. Added entries for executants would appear to be
justified on at least two grounds. First, two performances of the
same work may vary considerably in tempi, dynamics and outlook.
One has only to compare (on SP discs) the last movement of Mozart's
popular Eine kleine Nachtmusik played by orchestras conducted by
Sir Thomas Beecham and Bruno Walter to find two utterly different
accounts of the same music. Secondly, there are many occasions
when a work is recorded at the request of the artist rather than at the
desire of the recording company to have what is possibly a second
or third version of a work in their catalogue; this is one reason for
the multiplicity of recordings of certain hackneyed works. Another
major reason is apparently that many people will buy the latest
recording irrespective of its merits, though that point is only partly
relevant here. Thirdly, the name of the performer is often the sim-
plest and most easily remembered method of differentiating between
versions of the same work, particularly when issued by the same
company. Title entries have obvious value for operas, cantatas and
other vocal works, symphonic poems and nicknamed orchestral
works and the like; this is particularly true since titles are not in-
dexed in a separate sequence in W.E.R.M. or the other gramophone
record guides.

Whether printed, duplicated, typewritten or in manuscript, en-
tries in the catalogue should be so laid out that the performer's name
is easily visible as in the Detroit examples quoted later in this section.
The name should be followed by a word or abbreviation, preferably
in brackets, to indicate the type of voice or instrument, e.g. (tenor),
(flute) or standard abbreviations of such terms; the name of the

254

Gramophone Record

instrument Is generally preferable to the longer though perhaps more
accurate form (flutist) or (flautist). To avoid possible confusion be-
tween the name of the soloist(s) and that of the conductor in works
with orchestra it is suggested that individual performers be named
before the orchestra and the conductor afterwards, and that the
conductor's name should still be listed after that of the orchestra For
music without soloists. Thus, to use the set quoted earlier of a num-
bered album, the Brahms concerto would be shown, in its shortest
form, "Schnabel (pf), L.P.O. (Boult)". A symphony would simply
require an entry as "Halle O. (Barbirolli)". Main entries would
normally expand to include Christian names though the standard
abbreviations of orchestras could well be retained for all entries.
There are two further points which arise from this method of entry.
First, despite the precedence given in this form to the orchestra over
the conductor, I would still prefer added entry to be made under the
latter's name rather than that of the orchestra. While not, perhaps,
usual practice, it can be justified on two grounds: (a) that it is almost
invariably the conductor's reading of a work that constitutes the
vital difference between versions and (b) because the orchestra's
name does not always appear on records or may appear in pseudony-
mous form for reasons of contract. It would seem that conductors
invariably record under their own names. The second point concerns
abbreviations of orchestral names. Some are, musically speaking, com-
mon currency in this country, e.g. L.P.O., L.S.O., R.P.O., B.B.C.S.O.
For overseas orchestras such initials as N.Y.P.S.O. orV.P.O. are
equally acceptable but to use "Phil.O", "P.O." or "PhiLOrc." is
bad, since the abbreviation might refer to either the Philadelphia
or Philharmonia Orchestras; both have made many recordings.

A printed or duplicated catalogue is prepared for the library user
to take home and browse through at leisure so that he can note those
recordings that he would like to borrow. Though out of date as soon
as it is issued, unless the collection is unhappily static, the catalogue's
value can be high; if it is well produced it should be an excellent
advertisement for the library in general and the gramophone record
collection in particular. Most catalogues are sold at a low price
which usually covers only part of the cost of production. Since it can
be read at home without haste, the argument can be made that a
fairly full entry under composer is all that is required, other entries
being dispensed with in order to keep the bulk of the catalogue as
small as possible. Another method of reducing the length of entries

255

Music

is to indulge in abbreviations but, except for orchestras, these are
ideally to a minimum. The space saved by printing "Cone. vn.
& o." rather than "Concerto for violin and orchestra" can only
really be justified for a very large collection such as that maintained
at Westminster or Hendon, but their double-column entry is not
attractive though it saves considerable bulk in the catalogue. The
smaller collection should not have the same compulsion for highly
abbreviated entries and the librarian should be prepared to list
entries in a single column and to limit the number on a single page
rather than crowd in the maximum possible. No better example of
attractive layout for a medium-sized collection is likely to be found
than that issued jointly by Lambeth and Finsbury in 1949. Composers 9
names were printed in 24-point Bembo, ignoring Christian names
with the single exception of Johann and Richard Strauss. There was
no sense of constriction in the individual entries. If printing is not
considered possible for any reason, then duplicated catalogues
(particularly if produced on the multilith machine) can be clear and
attractive, providing, once again, that sufficient space is allowed for
entries. The limitations of a typewriter are admittedly very real com-
pared with the variety of type faces used in The record guide, where
different playing speeds and record sizes are clearly distinguished
typographically (and much more successfully than in the World's
Encyclopaedia of Recorded Music), but good typewriting can produce
perfectly adequate and attractively laid-out entries as the Lewisham
catalogue of 1952 showed.

There is no British code available for the cataloguing of gramo-
phone records, though a sub-committee was set up by the Library
Association in 1944 to consider this matter. It held a number of
meetings over a period of some eighteen months but its findings
have never been published. This seems particularly unfortunate since
it is understood that considerable progress was made in reaching
agreed solutions to many of the really difficult problems that face
the record cataloguer and the sub-committee contained some dis-
tinguished names. In the U.S.A. the Code formulated by the M.L.A.
and the Library of Congress rule 9a appeared long after many public
libraries had instituted rules for their own collections. One of the
best individual codes is that of Detroit Public Library which codified
its rules in preliminary form in 1951; these require just over five
quarto pages of single-space typewriting. The first two paragraphs
deserve quotation in full:

256

"In so far as is possible general of book are

followed in the cataloging of phonograph records. Variations in card
forms and entries are described In the following code.

"The catalog card carries the following items of Information:
Accession number; main entry; conventional title; title;

issuing firm; album number; disc number; of issue; number of
sides; size of disc; series note; performer and of text;

of recording; descriptive notes and booklet; cuts; contents; contents
of other parts of a side, of the other side, or of remaining sides of an
album."

This clearly suggests very full cataloguing and the remainder of
the Code amplifies these points with the addition of rules for subject
and added entries. But Detroit, in common with many other Ameri-
can libraries, is constantly attempting to simplify its procedures and
to omit entries that are of doubtful value or which contain informa-
tion easily found elsewhere. By 1957 no mention was of
descriptive notes (since practically all LP records carry them) nor of
the contents of a disc if it contained more than ten Items. Cuts are
no longer indicated and certain of the added entries such as analytical
entries (with certain exceptions) and "history cards" (mentioned
below) are no longer provided. Cataloguing is no longer centralized
and branch libraries make their own catalogue entries for gramo-
phone records in accordance with their own estimates of local needs
and this method, though perhaps unorthodox, appears to work quite
efficiently. Entries are made for certain arrangers of music (if
thought to be of sufficient importance) while the history card was
used to show such things as the personnel of a string quartet with
dates and details of changes as individuals drop out and are replaced,
or to give details of the movements of Handel's Water music selected
by Sir Hamilton Harty for his popular suite. Useful as these cards
were, it was felt that they absorbed too much valuable time to com-
pile and that such questions can usually be answered by reference to
books.

The following card samples, including tracings, should help to
make much of this part of the chapter clear and indicate something
of the detail necessary if full cataloguing is to be attempted. It may
be remarked that Detroit follows the Library of Congress rules for
Russian transliteration where a British library would probably follow
the spelling found in Grove; it should also be noted that series and
other added entries are not made automatically but only for specified

257

Music Librananship

Items. For example, the arranger only warrants an added entry when
he has made a definite contribution to the particular work; one might
cite Vincenzo Tommasini's arrangement of Scarlatti sonatas and
fugues which provide the basis of the ballet The good humoured ladies.
In an example quoted, Robert Russell Bennett is given separate entry
since he orchestrates many Broadway shows, especially those of Cole
Porter and Richard Rodgers, and his orchestral arrangements are
generally considered superior to those of other arrangers of the same
music.

Examples

MAIN ENTRY 332-2253 Rimskii-Korsakov^ Nikolai Andreevich,

1844-1908

[Grande PSque Russe. Overture]

Russian Easter Overture, Op. 36.

Mercury MG 50028. [1954]

Is. 12"
Detroit Symphony Orchestra: Paul

Paray, conductor.
Reverse side: Symphony, no. 2. Op. 9.

"Antar".
1. Overtures: I, Detroit Symphony

Orchestra. II, Paray, Paul, 1886-

III, Rimskii-Korsakov, N. Symphony,

no. 2. Op. 9. "Antar".
x T. x T: (Russian) x Rimskii-Korsakov,

N. Russian Easter Overture.

SUBJECT CARDS 332-2253 Overtures:

Rimskii-Korsakov, Nikolai Andree-
vich, 1844-1908 [Grande PSque Russe.
Overture]

Russian Easter Overture, Op. 36. Mer-
cury MG 50028. [1954]
Is. 12"

Detroit Symphony Orchestra: Paul
Paray, conductor.

Reverse side: Symphony, no. 2. Op. 9.
"Antar".
258

Gramophone Record Libraries

MAIN ENTRY 332-2752 Verdi, Giuseppe, 1313-1901
FOR A COL- [Operas. Selections]

LECTION Arias. Capitol P 8279. 1954.

Robert Weede, baritone ; Concert Arts Or-
chestra; Nicholas Rescigno 9 conductor.
Contents: s.L Un ballo in maschera.
Eri tu. Falstaff. Ford's monologue
II trovatore. II balen Rigoletto. Pan
siamo; Cortlgllanl. s.2. Otello. lago's
credo La traviata. Di Provenza.
Don Carlo. Death of Rodrigo.
1, Opera Recordings. I, Weede,
Robert, 1903- . II, Resciagno,
Nicholas. Ill, Concerts Arts Orchestra.

Until the middle nineteen-fifties analytical entries would have
been made for all the above excerpts; now such entries are limited to
records which contain four or less separate titles. This means that
such entries are usually for lengthy excerpts and not for brief arias.
At the same time it was realized that this economy would make it
difficult to trace short items that are in popular demand and which
often appear in record collections and anthologies works such as
Debussy's Claw de lune, Rimsky-Korsakov's Flight of the bumble bee,
etc. These are not normally listed separately in the various record
guides to current releases. Similarly it was considered helpful to note
works featuring less usual instruments and certain composers whose
names appear in musical histories but rarely in performance. Finally
the need for a title index for such popular songs as were in the lib-
rary's collection and which may be regarded as "evergreens", and
for folk tunes was also appreciated. As a result of these diverse needs,
a Record Analytics File has been created in the Music & Drama
Department and is maintained by that department. This is indepen-
dent of the main catalogue created by the Catalog Department.

Three examples of different types of card found in this file should
help to make its functions clear:

Bassoon:

330-0418 Vivaldi. Concerto in D minor for bassoon, string orches-
tra and harpsichord London LS 591

332-1536 Phillips, Burrill. Concert piece for bassoon and string
orchestra Columbia ML 4629
259

Music Librarianship

Dufay, Ouiliaiiftie:
332-3070 Gloria in History of Music in Sound, Vol. 3

71 Victor LM6016

332-3597 Motets of the 15th & 16th centuries with Easter themes
(Welch Chorale) Lyrichord LL 52

In the still of the night (from Rosalie -1937)

(Porter)

332-3218 Cole Porter songs (Carlyle & Shaver)
Walden 301

In the last entry above Carlyle and Shaver are the names of the
performers on the record. All three entries are part of a single
alphabetical sequence which is kept primarily for staff use. The final
example is of an entry for arranger and is taken from the main

catalogue:

ADDED ENTRY: Bennett, Robert Russell, 1894- , arr.

ARRANGER 35135 Porter, Cole, 1893-

36 [Kiss me, Kate. Selections; Arr.

orchestra]

Kiss me, Kate Orchestral selection
by Robert Russell Bennett. Columbia
Album X336: 13073-74.
[1950]
3s. 12"
Houston Symphony Orchestra: Efrem

Kurtz, conductor.

Descriptive notes printed on inside
cover, s.4: Faure. Pavane. Op. 50.
F$ minor.

These examples may be regarded as achieving a very high stan-
dard ; though few libraries in Britain are likely to be half as thorough,
it is as well that cataloguers should see what can be done and also
remember the Detroit catalogue does not make exhaustive entries
some added entries are purposely omitted, as has been shown, and
minor items such as playing time, matrix numbers, etc., are not
included. These entries may well serve as a guide even with a simpli-
fied form of cataloguing. My own preferences, for limited cataloguing,
would be a fairly full main entry under the composer plus brief added
entries for performers and conductors, but omitting entry under the

260

Record

latter when entry has already been made under a soloist. Using
again the example quoted earlier In the chapter of the second

piano concerto, the work should have a fairly full entry under the
composer, brief entry under the name of the soloist (Schnabel), but
no entry under Sir Adrian Boult or the orchestra. For orchestras all
that is necessary is a simple See reference: London Philharmonic
Orchestra. See under the following conductors: Beecham, Sir
Thomas; Boult, Sir Adrian, etc. The main entry would satisfy those
who wished to know which works the library had by a particular coin-
poser and the added entries would answer 9 by reference, questions
on recordings by particular artists. Consideration might be on

the lines suggested earlier in this section to the inclusion of extremely
brief form entries, such as "Symphonies", "Overtures* 9 , "String
quartets" and the like. Title entries might be omitted, use being made
of manufacturers* catalogues to answer enquiries for a work with a
particular title; an index could be compiled, or references included
in the catalogue listing names of pianists, sopranos, string quartets,
etc., represented in the collection. This would answer the needs of
the user whose greatest interest might be in tenor singers and who
would enquire what examples of tenor arias are in the library. For
details of such works, the enquirer would need to check under the
name of each individual artist but he would have been given the
names of all tenors represented in the collection and so have the
major part of his question answered.

Entries on the lines suggested would almost certainly answer the
great majority of questions asked. This is not likely to alter the
fact that, in general, British librarians prefer to make a single entry
under the composer, trusting to answer other enquiries by a com-
bination of good memory, catalogues and reference books and
possibly a certain amount of good fortune. When one considers the
expense and time involved in full cataloguing this attitude has some-
thing to commend it and many American libraries are having to
simplify and reduce entries through economic necessity. Although
printed cards for records have now been available for some years
from the Library of Congress it would seem that only a fairly small
minority of American libraries make use of this service. Only 17 per
cent, of the sample libraries replying to the questionnaire sent out by
the special committee on Bibliographic Control of Audio- Visual
Materials 6 bought L.C. cards for the gramophone record collections.
The major criticisms appeared to be that too few titles were available
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Music Librarianship

from this source (a difficult problem to solve in a country where
there appear to be dozens of small manufacturers), that the time lag
between the issue of a record and the availability of catalogue cards
for it was too great and that the printed cards were too detailed and
inflexible. The last complaint is one that cannot be answered in a
system that prints cards for use in almost every type of library. It is
for the library to amend and simplify the L.C. card if necessary
rather than for L.C. to lower their standards and so create fresh
problems for other libraries.

Detailed cataloguing is not confined to American libraries, for
the American Memorial Library in Berlin takes an immense amount
of trouble over its discs. Entries are duplicated on cards approxi-
mately 5i in. wide and 4 in. high, and a single UP disc may require
two or three of these cards a "recital" record even more. The exact
dates of a composer's birth and death are given under his name. For
symphonies, sonatas, etc., the tempi of the individual movements are
shown. Details (the year and, if known, the place) of the composition
of a work are given, the place and date of the first performance of
the work and the actual playing time of the record are shown; the
latter is usually to the nearest minute but is not infrequently to the
exact second. With a jazz record, such as an LP by Duke Ellington
and his Orchestra the playing time of each individual item is given.
Analytical entries are duly made for all discs which contain more
than one work. It may be doubted if all these items are of general
interest but the Berlin collection is used primarily by students, and
recitals are a regular part of the programme; these facts may possibly
justify the immense amount of time and trouble that are required
for cataloguing to this degree.

GRAMOPHONE AND SOUND-PROOF ROOM

The uses of a gramophone record reproducer have already
received comment in this chapter as an aid to the staff; the machine
can also be useful to patrons. In the U.S.A. the provision of listening
rooms has been fairly common but these are now being superseded
in many libraries by machines which have one (or possibly up to
four) earphone attachments. Wohlford 1 reported on listening facili-
ties in twenty-five libraries. Of these, seven made no provision at all,
five had listening rooms and thirteen had earphone attachments.
Andersen 2 states that out of fifty-two large municipal libraries,

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Gramophone Record Libraries

thirty-two allow borrowers to hear records before taking them froni
the building but says that this practice is not generally encouraged.
In some places (Detroit and Minneapolis are examples) gramo-
phones may be used for reference purposes and both records and a
machine may be reserved at a given time on a specified date for the
maximum of one hour. A disadvantage of the provision of listening
facilities is that many users expect to be able to play over their own
records on library equipment and are aggrieved when they find that
this concession is not made.

The machine with earphone attachments has many advantages;
the user can be in full view of the staff, two or more machines can
be used in a very limited space and since no problems of sound-
proofing arise, their proximity creates no rival areas of sound.
Machines with more than a single pair of earphones attached may
have their own difficulties it is not always easy to decide, for
instance, which of the people around the machine is nominally the
borrower of the record and is in charge. The whole scheme of allow-
ing people to listen to records in the library may create other prob-
lems when the system is wholly or mainly a rental one, though the
consistent method would be to charge a hiring fee for the use of the
machine. While it is useful to have the user of the machine under
direct observation experience has shown that not infrequently it is
the over-cautious user who has the worst accidents with records and
it must be admitted with some regret that music-lovers, in general,
are not mechanically minded. Certain libraries have the earphones
or cubicles at a distance from the turntable which is in the staff
enclosure or near by. An outstanding example of this is again pro-
vided by the American Memorial Library in Berlin where records
are not issued at all for home use but can only be played in the
library. The sound-proof cubicles in this building will hold three or
four persons. Each cubicle contains a loudspeaker, a volume control
and a telephone which is connected with the playing desk; on this
last, listeners can report technical defects in the record, request
repetition of a part of a disc, etc. With each playing, the date is
added to a card which is kept with the record, so that the exact
number of performances and general condition of the record are
immediately available.

The question as to the best type of machine for public library use
does not permit of a simple answer. Though it is more than ten years
old, an article in the Library Journal for December, 1947, on "Some

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Librarianship

findings on sound equipment" still has much validity. The machine
with earphone attachments has become increasingly popular in the
larger gramophone shops in Britain together with the provision of
small cubicles which have no doors, loudspeakers in the ceiling and a
system of damping that absorbs nearly all of the sound and allows
only a whisper to escape from the cubicle. These types may be
regarded as self-policing. The provision of one or more machines of
either type will obviously add to the capital cost of the record library
as will the provision of any sort of sound-proof or sound-absorbing
cubicle, but one cannot doubt that such a provision will receive
excellent use and it should be regarded as highly desirable even if
not absolutely necessary.

THE DEPARTMENT IN ACTION

This section of the chapter is divided into the following sub-
headings: The issue desk; Rules and regulations; Period of loan:
Fines; Damage and fragility; Issue methods.

The issue desk

Although the provision of shelving for the collection has been
considered, no mention has been previously made of the desk or
counter from which discs are issued to users and to which they are
returned after borrowing. Within general limits the size of the desk
will depend upon the amount of room that can be spared in the
department, the possible adaptation of existing furniture, etc. The
issue and return of records at the same enclosure used for book loans
is not recommended. The two things are very dissimilar in format
and it is much more difficult to discover damage to a gramophone
record than to a book; this affects the time factor. For preference the
gramophone desk, counter or enclosure should be constructed so
that the assistant on duty can sit comfortably and not have to stand.
Secondly, it is desirable to have both good natural and artificial
lighting (and the latter is doubly important if the former is poor) to
allow the careful examination of the surface of each record as it is
borrowed and again when it is returned to the library. This separation
of books and records should also mean that only trained staff handle
the discs; if the general issue desk has to be used for both books and
records, keen music-lovers may well be horrified by the inexpert
handling the discs may receive from certain members of the staff.

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Record Libraries

This Is one of the major points In which the library staff
attempt to educate by example. An aid, both practical and psycho-
logical, to checking the condition of each side of a disc is the provi-
sion of an inspection lamp of the type used by manufacturers;
Hornsey has found this to be a valuable accessory. The third desir-
able feature of the desk, which again makes the general enclosure
unsuitable, is sufficient space to allow the record to be taken out of
its sleeve and examined without the assistant needing to be a con-
tortionist or to be unduly cramped for space. A free space 5 ft.
in width and 3 ft. in depth would seem desirable.

Rules and regulations

Every library will need to make its own rules and regulations for
users of the gramophone record library; these will probably be based
upon those of other libraries and upon the specimen set prepared by
the Library Association. The first rule may deal with eligibility,
e.g. whether individuals may join, if provision is limited to those
actually residing within the library's area, if there is a lower age limit.
Use may be restricted to ratepayers, though this is difficult to en-
force; societies and schools are usually allowed to borrow records
through the Chairman and Secretary in the one case and the Head-
master and Music Master in the other. Societies may have to prove
a certain minimum membership, for cases of "one-man" societies
have not been unknown in areas where individuals were prohibited
from making use of the collection. The privilege of free use of the
collection may be extended to non-residents who are employed in
the library area; on the other hand, all those who live outside this
area may be asked to pay a subscription which may or may not be
fixed to cover estimated use. The income from subscriptions of this
nature varies considerably. Some London boroughs whose neigh-
bours do not provide a gramophone record library find that many
"outsiders" are prepared to join as subscribers and this experience
may prove relevant in other urban areas where one authority pro-
vides a record library and an adjoining one does not. In many cases
a deposit is required before any discs may be borrowed; this may
vary from a few shillings to the cost of a single LP record. The sum is
usually regarded as a useful deterrent to the casual enquirer who has
no serious interest in the service, and the deposit also acts as some
sort of safeguard against damage and default. To cover the possi-
bility of non-return of a long operatic set in a single album a very

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Music Librarianship

high deposit would be required and this would undoubtedly prevent
many honest residents from becoming members, so that 2 is the
usual maximum sum that libraries demand. Whatever the deposit, it
is refunded when the borrower ceases to use the library though any
monies outstanding for loss of or damage to records is automatically
deducted.

So far as is known all British libraries use a special application
form for potential users of the gramophone record library and issue
a special ticket which can be used for records only. In some cases
the form asks for the name of the manufacturer of the motor and
pick-up; it is useful to ask if the potential borrower has a sapphire or
diamond needle fitted to his pick-up if he does not know the
answer, it is almost certain to be a sapphire. Certain libraries have
reserved the right to visit users' homes and inspect the machines
which it is proposed to use. This may perhaps be considered as some-
what high-handed until it is remembered that one user with an un-
suitable gramophone can steadily and rapidly cause the condition of
the stock to deteriorate, spoil the enjoyment of subsequent users of
those discs which have been maltreated, and cause a higher propor-
tion of the fund for records to be used upon replacements than would
otherwise be necessary.

In general, only one ticket is issued and is coloured or otherwise
printed so that it is immediately distinguishable from the library's
ordinary tickets upon which books are borrowed. The one ticket
usually allows a single LP disc, or a given number of SP discs, to be
borrowed at the one time though it is customary to allow a complete
work, such as an opera or symphony, which occupies more than a
single disc to count as one disc. In the United States, particularly
where mechanical methods of book charging are used, patrons have
no special ticket for borrowing records. Conditions may be extremely
generous. Detroit allows a maximum of ten LP discs at a time and
even this limit was only introduced to reduce the risk of loss from
new patrons who join, borrow records and promptly disappear.

Rules and regulations will always contain one concerning copy-
right. A typical one is that of Hornsey which reads: "Records will
be issued to borrowers on the express understanding that the loan
does not confer on the borrower any right or licence in respect of
copyright or public performances." Leeds goes even further and
requires the borrower to indemnify the Corporation against any
infringement of copyright. Normally, copyright problems should not

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Gramophone Record

arise. Gramophone record societies are usually
this point and also about performing rights (which are not the
thing) and should certainly belong to the National Federation of
Gramophone Societies since through this body they receive
concessions from the Performing Right Society Ltd. The individual
borrower who plays records for Ms own enjoyment in his own
should have no worries on these two points. The position is a little
complicated but is well explained in W. W. Johnson's The gramo-
phone book (Hinrichsen, 1954) under "Copyright" and related en-
tries. American libraries have a rather different worry; their prob-
lems concern the many patrons who borrow discs from the public
library and copy them on to tape recorders. Such people are often
those who are most demanding for new "releases" with this idea in
mind. Libraries with reference or archive collections may be asked
permission by individuals to make tape-recordings in the library of
some of the rarities; such permission is usually refused.

Loan period: Fines

There is no general agreement as to how long a user should be
allowed to retain a disc or set without incurring a penalty; the
majority allow a week's loan only but a large minority permit a fort-
night's borrowing before fines are charged. The shorter period is
probably sufficient for a work contained upon a single disc but for
any longer composition this limitation may give the borrower
musical indigestion. It is much easier to achieve Coventry's average
of two-and-a-half playings in a week with a forty-minute symphony
than with an opera that takes two hours or more to play through
once. A loan period of seven days helps the collection to achieve a
fairly high rate of turnover and this is useful when the collection is
barely sufficient to meet demands; on the other hand it is not sur-
prising to learn that when Hornsey, in response to public demand,
altered its loan period from seven to fourteen days, the number of
records borrowed in a month showed a decline but the number of
records on loan at any one time remained steady. With rental collec-
tions a very different pattern may emerge. In Detroit, where payment
is made for every disc taken from the library, it is usual for patrons
to borrow two or three discs at a time and to return them within the
same number of days. Reminder notices are sent to patrons after
fifteen days.

Unless a record or set has been reserved by another reader it is

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Music Librarianship

usual to allow renewal, though some libraries permit this once only
as a further means of ensuring that the collection is circulating as
evenly and as rapidly as possible. Most British libraries will accept
reservations and charge the same fee as that asked for book reserva-
tions; the practice is much less common in the U.S.A., possibly
because photo-mechanical charging methods do not allow a charge
to be "stopped" as is possible with Browne charging where a coloured
signal can be inserted with the book card and ticket without diffi-
culty. The income from reservation fees is likely to be very small; it
may be supplemented in part by the sale of catalogues of the gramo-
phone library stock and of supplements to this but the major income
will come from fines charged for the retention of records beyond the
time allowed under the rules and regulations. It is usual to make
charges at a rate much in excess of that charged for books. This,
again, should help to keep the stock circulating rapidly and at the
same time help to offset some of the costs of the service. The rate of
fine charges varies immensely. In London's Metropolitan Boroughs
the minimum charge is 2d. per disc for a week overdue, or less; the
maximum is 6d. per disc or per set for each day overdue. This latter
figure is the maximum permitted under the London County Council
(General Powers) Act, 1955. The average charge in Britain seems to
be 3d. a week or part of a week; only one library is known that
includes Sundays in its calculations of the time a record is overdue
though the library itself is closed on that day.

Special conditions may be imposed in respect of records used in
learning foreign languages and similar specialist-teaching material.
It is usual to limit borrowers to a single record at a time and not lend
the complete set, while many libraries make a schedule of dates by
which a reader can hope and expect to collect his next record and so
plan his course ahead. The success of such a scheme depends almost
entirely upon the co-operation of those using the records; at least one
library is withdrawing its sets of language records as they wear out
simply because a high proportion of patrons flatly refused to return
records when due, despite requests. Quite unfairly, though perhaps
naturally, members of the staff were often blamed for this state of
affairs by disappointed borrowers and since the gramophone record
service was getting a completely undeserved bad name as a result,
the Library Committee felt bound to curtail their activities so far as
this particular type of disc was concerned.

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Gramophone Record
Damage and fragility

Readers are normally asked to pay for any a to

this effect is usually inserted in the regulations. also

provide that the librarian may, at Ms discretion, the user with

the entire cost of a record or, if the missing or disc cannot

be replaced without buying the complete set, the cost of the set. In
such a case the culprit is allowed to retain the record or set of
records. Homsey tempers justice with mercy in that "the Council
may reduce the sum to be paid for replacement by an appropriate
amount in respect of wear and tear to the old set of records"; one
would hope that any fair-minded librarian would act likewise. If a
record is scratched but is still considered playable and it to be lent to
other borrowers it is customary to make a charge for the damage^ note
the defect and return the record to the shelves. Charges may be made
at the discretion of the assistant in charge (and so can vary from the
swingeing to the paltry), there may be a fixed sum for any damage,
or a library may follow the example of Boston, Massachusetts, where
it was found that damage to records declined considerably when a
ruling was introduced under which the fine for a scratched record
was graded according to the length of the scratch.

Although gramophone records are fragile only a very small per-
centage receive obvious damage, but too many suffer from unfair
wear and tear through ignorance or carelessness. All users realize
the possibility of damage and one presumes that they take pre-
cautions against dropping the disc or placing it where it can be sat on
or otherwise maltreated. Fortunately, perhaps, the British climate
does not provide many days on which a record, left in a parked car,
is baked and warped by a very hot sun. This is a not-uncommon
source of trouble in those parts of the United States and other coun-
tries where the summer temperature is appreciably higher than ours.
Patrons apparently tend to regard an accident of this nature, by some
form of specious logic and self-deception, as an "Act of God" rather
than the natural result of their own thoughtlessness.

The SP disc, manufactured basically from shellac is brittle and
easily broken, particularly from side pressure, and it rarely survives
accidental dropping. Such records must be carefully stored in the
library, and if shelved vertically should be in small batches so that
too many records are not leaning in one direction thus causing strain
on the end discs. Scratches on shellac discs need to be quite deep to
be objectionable and even a long scratch will not last more than two

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Music Librarianship

or three minutes. The LP disc of vinylite or geon is called "unbreak-
able" (though one is not advised to put this too drastically to the
test) and is usually slightly flexible, though there is considerable
variation in the thickness of the disc between different manufac-
turers. These are very real advantages but are more than compen-
sated by a strong susceptibility to dust (the biggest problem with LP
discs) and static electricity. The shallow grooves are much more easily
scratched than an SP record, and a fairly long scratch may cause a
regular click for ten minutes or longer; this can be most objection-
able. Static electricity is usually overcome by wiping the record with
a slightly damp cloth before and again after playing; it is static
electricity that attracts much of the dust. Water will suffice for this
wiping but one of the various proprietary makes of liquid on the
market is usually more effective and helps to clean the record. Even
with this precaution the record may suffer from unexpected "plops"
and slight clicks a fairly sure sign that dust is still in the grooves.
Manufacturers usually provide an inner envelope as a precaution
against dust settling in the grooves while the record is stored and any
record not provided with this protection when bought should have a
polythene cover fitted as standard practice in the library. This accent
on dust may be considered over-emphatic but books on high-fidelity
sound equipment and sound recording often include micro-photo-
graphs of the grooves of LP discs before and after playing; the
effects of various destroying agents (particularly dust and a worn
needle) are unhappily obvious.

As has been suggested in a previous section it is an admirable
idea to issue to each new reader a leaflet giving details of the service,
such as hours of opening, fine and reservation fees, and listing the
rules and regulations applicable to the department. The leaflet might
also contain notes upon the proper care of records. These can be
prepared from advice in books and from the first-hand experience of
record-lovers or the librarian can usually obtain suggestions from
most of the larger manufacturing companies upon request. When
incorporated in a leaflet the difficulty will be the old one of per-
suading users of the gramophone collection to read the notes. If one
of the old heavyweight pick-ups or SP type of needle is used an LP
disc can be ruined at once but potential users of the collection today
are unlikely to make such elementary mistakes, even with a plug-in
or turnover head, both of which allow the same pick-up arm to be
used for either LP or SP records.

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Gramophone Record Libraries

The greatest problem facing the librarian this particu-

lar service is probably that of wear and the of

records. Many patrons expect that records borrowed the lib-

rary shall be in almost as good condition as in own per-

sonal collections, yet many users appear to be blissfully unaware of
the limited life of both sapphire and diamond needles. The are
good for at least 4,500 sides if correctly fitted but manufacturers of
LP records consider that a sapphire stylus should be due for replace-
ment after 100 12-in. sides have been played, i.e. the
life is only thirty-six or thirty-seven hours* playing time. After this
the worn point of the needle may have a damaging and abrasive
effect on the grooves of every disc played. The keen-eared listener
will recognize a faliing-off in quality particularly in the high and low
frequencies and in an increase in surface noise. If new users are
asked to state on the application form whether their machine is fitted
with a sapphire or a diamond stylus it should be possible to take
some action. If a stroke is made on the back of the ticket for every
record borrowed (in rows often for ease of checking) it is reasonable
to draw the borrower's attention to the fact that he had borrowed
twenty records and assuming that each record had been played only
twice and he had no discs of his own, Ms needle had reached the end
of its estimated safe life and should be replaced. No further records
should be loaned until this has been done. It would be reasonable to
accept the assurance of most library users upon this point, but one
library in the London area apparently insists upon seeing the
receipted account if it has any doubts upon this score. Such a method
may be regarded as somewhat high-handed but is well justified if the
average library life of a disc is to be extended beyond the average
figures quoted earlier.

Leeds includes in its regulations one concerning care of records
which includes provisions that records will be handled by the edges
and not finger-marked on the playing surfaces, that automatic record-
changing apparatus will not be used for long-playing records and
that no section of a complete work will be played more frequently
than the remainder. While it may be quite impossible to enforce
these prohibitions they are more likely to receive regard from users
than if they were simply printed as advice to borrowers, though not
all librarians will agree that this is the best method of approaching
the problem. The ban on automatic record-changers may seem sur-
prising; the reasons have already been stated. Some firms (Victor

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Music

in : the U.S.A. and H.M.V. in Britain are examples) now market
discs that are thicker in the centre and at the rims so that the grooves
cannot come into contact with those of a record above or below, but
it is unlikely that all the library's collection will be of this type. It is
an added safeguard for the library to add manual rather than auto-
matic couplings whenever available as this increases the chances that
each disc will be removed from the turntable before another is
played even though the machine is equipped for automatic record-
changing.

The apparent slowness with which discs are issued to borrowers
and accepted from them on return is accounted for by the need to
check each record individually for scratches and other marks. These
are usually noted in Britain by the somewhat rough and ready
method of making indications in chinagraph pencil within the margin
between the playing surface and the record label. Arrows and other
hieroglyphics are soon mutually understood by both staff and bor-
rowers and the method is usually accepted as a reasonable one. A
more accurate visual check can be achieved by the insertion of a
piece of paper with the disc; on the paper are drawn or printed two
circles to represent the two sides of the record. These can be the
same size as the disc or a reduced representation. One circle is noted
as side one and any scratches and marks noted on the sheet in
approximately the correct position and to scale. Whatever method is
used to indicate visible defects, care should be taken to see that the
gramophone librarian and potential borrower agree that all scratches
are marked before the record is taken from the library since any
which are not already indicated are charged for when the record is
returned. Librarians must realize, however, that these methods of
indicating scratches can only be approximate and that an apparently
badly-marked record may play excellently while a disc with little
visible damage may prove to be almost worn out. Discs of the latter
type are unusual but by no means exceptional. Visual checking can
never be really satisfactory and a record should be tried over, prob-
ably only for a minute or two per side and at the points where the
recording is obviously at its heaviest, every now and again in order
to tell whether it should be discarded. Replacement will depend upon
the popularity of the recording, whether it is still available and
whether a superior version has been issued since the disc was added
to the library stock.

272

The methods of Issue for gramophone records vary In British
libraries to a much greater extent than is the case books. Some
libraries use the simplest possible methods while others a more
complex system to allow better records to be kept; it may be valuable
to know how many times a particular disc has been borrowed or
which recordings have been taken from the library by a particular
patron over a given period. The most common system is the normal
Browne method in which the intending borrower takes the book
card (though "record card" would be a more accurate description
here) from the indicator and hands it to the assistant; the latter finds
the requested disc, checks it for visible damage and gets the patron
to do the same (adding a note of any scratches that have been over-
looked in previous inspections) and then files the charge, which is
the record card and user's ticket, in the day's issue. The problem of
indicating to the borrower the date by which the disc is due for
return causes some difficulty. The safest and most obvious method is
to affix the date label to the front of the sleeve by means of a suitable
adhesive or transparent cellulose tape but this practice obviously
defaces the sleeve and may rain an attractive design. The reverse of
the sleeve is even more unsuitable since the presence of the date
label here will obscure the analytical notes, etc., which are even more
valuable than the photograph or design on the front of the cover. A
modification is to stick the date label at the most convenient place
on the sleeve, either front or back, in the position that obliterates
least of the information or design. It is obviously advantageous to
leave the name of the composer, title of the work and the performer
unobscured if at all possible. The label is stamped with the date of
return when the record is out of the sleeve for examination.

The second method is to use a date card which is pushed inside
the sleeve when the record is issued to a borrower. Thin card is
preferable to paper since it will be less likely to get creased. The dis-
advantage here is that the borrower may lose or mislay the card or
get it mixed with another when more than one member of the family
uses the gramophone record library; either type of accident will cause
filing problems but of a type that should be simple to solve.

A third method is to have a manilla envelope into which both
record and sleeve are inserted and the date label is stuck on this
envelope. Once again the careless user can get records and envelopes
mixed unless each of the latter is clearly marked with the catalogue

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Music Librarianship

number of the record that is kept in it. When the collection is ran
without public access to the discs themselves the records can remain
on the shelves in these envelopes which provide yet another protec-
tion against dust; with open-access the envelopes will need to be
filed separately and "married 5 * to the appropriate discs as they are
borrowed. To assist in this the catalogue number of the record should
be clearly marked along the fore-edge of the envelope. If, however,
records are supplied in the first envelope to hand, the service is
speeded up though a check upon the number of loans achieved by a
particular disc is lost. American libraries using photographic sys-
tems of charging are in this position and so cannot usually provide
statistics to check upon the average use a disc receives before with-
drawal.

Should the library wish to keep a file of users who have borrowed
each disc the simplest method is to note on the book card the ticket
number of the patron or some similar method of identification a
method reminiscent of that commonly practised in British libraries
before the First World War. As an alternative a patron may be
required to fill in a card on each visit to the library and indicate on
it the number(s) of the record(s) borrowed. This is done at Homsey
where the reverse of the card is used to indicate if a miniature score
has been borrowed at the same time and if a carrying box has been
issued. Thus each card gives a detailed record of the transaction but is
obviously expensive both in time and stationery. If patrons complain
that certain records are in a much worse condition than the number of
loans would appear to warrant it is not difficult to check back and
see the names of those who have previously borrowed these discs
and if there is any common factor, i.e. one person has borrowed
many of these particular works, then future borrowings by this
individual would be scrutinized particularly carefully. The Hornsey
method would also allow the librarian, should he so wish, to dis-
cover the listening tastes of various patrons, to see how many usually
limit themselves to works of a particular type and how many are
apparently catholic in their selections from the stock.

As has already been indicated it is difficult to estimate the average
life of a record and different libraries provide widely varying figures
one librarian suggests only thirty loans for an LP disc, another's
collection achieves eighty, while a third has surprisingly claimed a
figure approaching two hundred. The only safe generalization is that
the heavier and more congested recordings such as are found with

274

many modem orchestral and operatic works are likely to
replacement much more quickly discs
solo vocal and chamber music wMcfa are borrowed as
Some of our patrons will point out, when they return a
record, that its condition is poor and it caa be put on for

checking by a member of the staff at the first convenient opportunity;
this is a most valuable use of a gramophone in a library. A simple
and apparently effective scheme was devised at Lambeth where a slip
was issued with every record after it had been loaned a certain num-
ber of times; the next borrower was asked to report upon it and
state if, in Ms opinion, the disc should be withdrawn or if it was still
in satisfactory condition for further loans. Patrons were generally
only too pleased to help maintain the stock in good physical condi-
tion in this way. If the answer to the request was that the record
ought to be withdrawn, then it could be checked by the staff (since
some borrowers will naturally be rather more particular than others
as to the amount of wear that is acceptable); if the record is re-
prieved, a second slip could be inserted after a set number of further
loans and the process repeated until complaint was made.

TAPE-RECORDINGS

It was suggested fairly early in this chapter that a library might
well compile a collection of recordings to illustrate certain aspects of
its history. The tape recorder is now an accepted part of life for many
people, and amateur recordings of a speech or ceremony can be quite
adequate. If more than one copy is required or performance is likely
to be frequent it is possibly advantageous to have the recording
transcribed from tape, i.e. to have it copied and produced in the
form of a gramophone record. Under normal circumstances, how-
ever, it will be sufficient to file a tape in the Local Collection for use
as required. Providing a disc or tape is kept at a moderate tempera-
ture and under the same conditions as are recommended for the
storage of books, the probable life is many years. There is little
definite information available upon this point and the results of a
two-year study project on this subject to be undertaken by the Lib-
rary of Congress will be awaited with great interest. The investigation
is due to start in 1958 and has been financed by a $65,000 grant from
the Rockefeller Foundation.

If recordings and performances of tapes are to be made with any

275

Music Librarianship

frequency then it is plain that the library should possess its own tape
recorder; prices vary Immensely but adequate models with two-
speed motors (3| in. per second for speech and 7 i.p.s. for music or
for recordings with a wider acoustic range and better tone quality)
that will reproduce both speech and music acceptably cost, at the
time of writing, from about 50 upwards. There are many cheaper
models available and a library may find one of these suitable for its
purpose. The value of having local ceremonies on record, such as the
Mayor's speech upon acceptance of office, the opening of a new
branch library and similar public events, appears to be barely
realized. Local worthies might be persuaded to talk and recall the
past when it might be impossible for them to put their reminiscences
on paper; even a faithful transcript of their talk by an excellent
shorthand-typist does not convey the same flavour of accent and
stress as does a recording.

In the summer of 1957 an article was published in the magazine
Time in which it was predicted that the disc would be obsolete in five
years when it would have been superseded by tape. It is highly doubt-
ful If this will prove true In the U.S.A., and it seems quite impossible
that It will happen In Britain, at least for very many years. Tape has
been making an increased appeal for some time. In Britain the two
major partners in the E.M.L group H.M.V. and Columbia have
issued pre-recorded tapes. The first small batch of releases was made
late in 1954 and the slow rate of increase in the number of works
available in this form suggests that the new medium is making but
slow headway with music-lovers. One obvious reason is that a pre-
recorded tape costs more than twice the price of its equivalent Issue
on disc. Similar tape-recordings in the U.S.A. were issued from about
the same date as in Britain and the first steps in making these avail-
able to the public through the local library have been made in one or
two places.

The advantages of this form are various, but the chief claim is
that one link in the chain is eliminated by the fact that needle and
pick-up are not needed the items whose combined result is to cause
maximum wear and tear on disc. Theoretically, tape should last in-
definitely but the heads through which it passes can become mag-
netized and need attention fairly regularly if tone quality is to be
retained. Other disadvantages of tape include its unhandiness, its
susceptibility to damage and the ease with which a recording can be
erased. It is much more difficult to put a tape on a machine for play-

276

Gramophone Record Libraries

ing than It is to place a gramophone record Its

if the ''second side" is wanted, the first side OB the top half

of the tape) has to be ran through the so the can

come through backwards, playing the second work, is on the

lower half of the tape. If tape becomes unwound from its reel the
user may find himself struggling, Laocoon-like, to restore it to order.
The plastic base of the tape is easily damaged and torn, though
is simple and quick. On expensive machines it is to super-

impose fresh material upon a recording so that comments or inter-
polations could be made. The accidental erasure of a is a
that manufacturers have generally made almost impossible if the
machine is used properly. The tone quality of a good tape recording
is sometimes considered to be better than that of its equivalent disc
though tape hum may well replace the needle hiss of the older form.
Because of its simpler construction a good tape recorder is cheaper
than a gramophone covering the same frequency range and with the
same tone quality. This may result in an increased demand for the
new reproducer, while the various manufacturers are producing
some machines that will play recorded tapes but which will not
record, so that these are reproducing machines only.

Stereophonic sound

The development of stereo tape during 1957 was seen by a num-
ber of critics as another nail in the coffin of the disc recording. The
top and bottom halves of the tape receive recordings from two
matched microphones set in slightly different positions to simulate
the binaural hearing of man. The tape needs a special reproducer
and two loudspeakers so that the two halves of the tape are repro-
duced separately but simultaneously. The results would seem to
depend to a great degree upon the correct positioning of the loud-
speakers and the listener between them; when accurately done the
results are amazing. An orchestra can be heard deployed across a
platform; in opera it is possible to "hear" the singer moving from
one side of the stage to the other. Disc has replied to this threat with
stereophonic recordings also; the two sides of each groove are at
right-angles to each other and the top of each groove is at 45 degrees
to the record surface, so that each groove is in the form of a 90-
degree "V" in the record. Once again, the reproducing system has
to be duplicated to allow the two separate channels to be played
separately. The first commercial recordings were issued during 1958

T 277

Music Librarianship

and It is much too early, as these words are written, to forecast their
future. This depends entirely upon public response which is certainly
being encouraged by the comparatively low price of suitable
machines and components for adapting existing monaural machines.
If stereo discs become the accepted standard, only slight modifica-
tions should be necessary to public library practice as outlined in the
previous pages.

The pressure is again on the manufacturers of tape-recordings
(though these same firms are producing stereophonic discs) to bring
their prices down before tape can develop as a really serious rival to
disc; eventually, of course, the newer medium may achieve not only
parity but supremacy. Until that time comes, however, few libraries
are likely to make pre-recorded tapes generally available for public
loan.

CONCLUSION

Though the time may still be some years ahead that the public
library will normally reckon to include tape-recordings for home
lending, the day of the gramophone record library is very much of
the present, particularly in the U.S.A. and to a lesser degree in
Britain. This chapter should have shown something of the difficulties
to be faced in starting and maintaining a service of this nature, and
it has also tried to indicate both the range of material available and
the fact that a gramophone record library can and should be one of
the most rewarding activities in a public library service. It should
enrich the lives of those who use the service and though such patrons
may be a small proportion of the local community it is generally the
very section to which many of our efforts are directed and whose
satisfaction may be regarded as proof that the library is playing its
part in the cultural activities of its area in addition to providing
recreation for a larger body of users.

Where the gramophone record library is already in being it may
well need a transfusion to give it greater life, by the provision of a
better supply of new records, perhaps more staff to give better service
and possibly more space to allow the service to keep abreast of both
actual and potential demand. If the collection is proving unattractive
to local residents some of the reasons may have been suggested in
the previous sentence. Extra space may be impossible to provide,
added staff almost as difficult to acquire but the addition of a larger
number of new records should not be beyond the wit of a good

278

Gramophone Record Libraries

librarian. The day has yet to come when recordings, on disc and/or
tape, will be regarded as part of the normal library service in every
town but It may well be nearer achievement than we think.

REFERENCES

1. WOHLFORD, Mary Kaihryn. A study of record collections Im Public
Libraries of the U.S. and Canada: a thesis submitted to the
Council of Kent State University. , . . 1950. (Typescript)

2. ANDERSEN, Elizabeth Louisa. A of recordings in 60

Public Libraries serving populations of 75,000 and over as of 1948 1950.

(University of Chicago.) (Typescript)

These two unpublished theses overlap in part but are extremely
useful in providing facts and figures relating to the American scene
up to the late nineteen-forties. A microfilm copy of each is included
in the Library Association library.

3. LUENING, Otto. Music materials in the public library. . . 1952,
(New York; Columbia University.)

4. Music LIBRARY ASSOCIATION. Code for cataloging phonograph
records. 1942.

5. HAMMAN, Frances, ed. Bibliographic control of Audio-visual materials:
Report of a Special Committee. 1957. (Library resources and technical
services, vol. 1, no. 4, pp. 180-97.)

6. e.g. SHANK, William. Bryant Park concerts of recorded music
(New York Public Library Bulletin, Nov., 1951), pp. 527-30.

SUGGESTIONS FOR FURTHER READING

DEAN-SMITH, Margaret. Proposals towards the cataloguing of gramo-
phone records in a library of national scope. ("Journal of
Documentation", vol. 8, no. 3, September, 1952.)
The article is based upon experience gained in the gramophone
record collection of the British Broadcasting Corporation. The author
recommends that the fullest information should be provided on the
card filed under the title of the work; only brief details are given on
the composer entry. A third file, for artists, is also recommended.
There is unlikely to be general agreement upon the methods sug-
gested but they are certainly worth serious consideration. It is worth
recalling here that (according to The Radio Times for 9th May 1958)
the gramophone record accessions to the library for 1957 was 8,372
and that these necessitated no less than 68,265 entries in the

catalogue.

279

Music Librarianship

HART, Richard, and BURNETTE, Frances. Non-musical collections,
("Library Journal", vol. 83, no. 4, 15th February 1958,
pp. 536-43.)

This article, written by the Head of the Literature and Language
Department of the Enoch Pratt Free Library in Baltimore and Ms
Administrative Assistant provides a most useful summing-up of the
various types of discs, other than music, now available. It should
certainly encourage any who feel doubtful that these can provide a
useful extension to records of music. The same issue of the Library
Journal also contains an interesting article on "Tapes in the library".

JOHNSON, William W,, compiler. The gramophone book: a complete

guide for all lovers of recorded music. 1954. (Hinrichsen, for
the National Federation of Gramophone Societies.)
This is a quick-reference work arranged on the dictionary
principle and it contains several items useful to music librarians and
to those in charge of gramophone record libraries. The sections that
should be read include: "Books on the Gramophone", which is
divided into three parts: (a) Available books, (b) Out-of-print books,
(c) A selection of American and continental books; "Journals
devoted to the gramophone", "Record numbers and prefixes" (a
useful guide to discs issued in Britain between 1931 and 1952) and
"Societies" which lists the names of all known societies in Britain,
arranged under counties.

The Library Association Record, vol. 51, no. 7, July, 1949.

This issue, devoted to "Recorded music collections" has been
mentioned during the preceding chapter. It contains articles by the
librarians of Burnley, Holbom and Lambeth and by the Assistant-
in-Charge of Music at Westminster; each writer deals with his or
her respective collection and the methods on which it is adminis-
tered. Though some years old, the issue is still valuable. Mr. Cal-
lander describes in some detail the methods of lending records which
he introduced at Lambeth, while Miss Hickling contributes valuable
information about the Westminster collection which had the largest
opening stock and has remained the biggest gramophone record
library in this country.

LOVELL, L. G. Gramophone record provision in public libraries ("The

Library Association Record", vol. 56, no. 7, July, 1954).
This gives an interesting and informative analysis of answers to a

280

Gramophone Record Libraries

series of questions answered by the majority of British
with gramophone collections under their control The article gives
excellent reasons to justify the provision of the service but is rightly
insistent upon the need for adequate financial resources.

COWAN, Jean C, The care and treatment of long-playing In

public libraries ("The Librarian and Book World", April-
May, 1958). pp. 76-9.

Miss Cowan is in charge of the Hendon gramophone record
library, one of the largest in Britain, This article deals, in part, with
the education of both staff and library users; it is a useful comple-
ment to the same writer's appendix to Donald Mason's Primer of
non-book materials . . . (Association of Assistant Librarians, 1958)
which deals more with practical problems of accessioning, cata-
loguing and administration.

Postscript

During the few months that have elapsed since this chapter was completed, quite a number
of things cheering to the British librarian have occurred. Both "Caedmon" discs (p. 211) and
R.C.A. "Camden" series (pp. 202 and 222) have appeared in Britain (though the latter discs are
appreciably dearer than in the U.S.A.); the "Ace of Clubs" cheap reissues (p. 241} have been
followed by a similar series produced by D.G.G., though in this case not all of the recordings ha\e
been previously available in Britain. Vox have introduced the amazingly cheap "Voxbox" for
works issued on more than one disc, and the Chancellor of the Exchequer in his 1959 Budget
reduced Purchase Tax by 10 per cent.

So far, few British librarians have taken action on stereo discs, preferring to wait until more is
known about their fragility and probable life. One library that has added a number to stock is
hopeful that these discs will achieve nearly as many loans as the monaural (or single-channel)
discs do. If this proves an accurate forecast, then undoubtedly many libraries will add stereophonic
recordings to stock but the answer is not likely to be known until I960 by which time many of
the original stock of stereo discs will have had forty, sixty or more loans. American librarians have
also been cautious in their response to this new development but public demand there is much
more vociferous than in Britain, with the result that a much higher percentage of libraries have
found themselves compelled to include twin-channel recordings in stock.

At the time of writing it seems unlikely that single-channel LPs will become obsolete in the
way that 78 r.p.m. recordings have, but events may prove this prophecy quite false.

281

Appendix I
CATALOGUE: SUBJECT HEADINGS

BOOKS ON MUSIC

AMATEUR OPERATICS

BALLET Music

BANDS

CAROLS

CASTRATI

CHAMBER Music

CHOIRS AND CHOIR TRAINING

CLARINET PLAYING

CLARINETS

CONCERTOS

CONCERTS

COUNTY Music COMMITTEES

FLUTE PLAYING

GRAMOPHONE RECORDS

GRAMOPHONES

HARMONY AND COUNTERPOINT

HYMNS

JAZZ

KEYBOARD INSTRUMENTS

Music

Analytical notes

Appreciation

Church

Collective Biography

Composition

Editing

History (sub-divide by country)

Study and teaching

Thematic catalogues

Theory

MUSIC FOR THE THEATRE
MUSICAL BOXES
MUSICAL FORM
MUSICAL INSTRUMENTS
MUSICAL PLAYS

Libretti

282

OBOE PLAYING

OBOES

OPERAS

Criticism and history

Libretti

Synopses
ORATORIOS

ORCHESTRAS AND ORCHESTRATION
ORGAN FLAYING
ORGANS

Criticism and history

Design

Repertory

PIANOFORTE ACCOMPANIMENT
PIANOFORTE Music

Appreciation
PIANOFORTE PLAYING
PIANOFORTES
PLAINSONG
RECORDER PLAYING
SINGERS
SONG WRITING
SONGS
SOUND

SOUND RECORDING
SYMPHONIES
VIOLA PLAYING

VIOLAS (MUSICAL INSTRUMENTS)
VIOLIN PLAYING
VIOLINS

VIOLONCELLO PLAYING
VIOLONCELLOS
VOICE PRODUCTION
WOODWIND INSTRUMENTS

MUSIC SCORES

ACCORDION

ANTHEMS

ARIAS

BASSOON

CANTATAS

'CELLO

CHAMBER Music

S PIANO ACCORDION
S A CANTATAS
S SONGS

S A ANTHEMS

ORATORIOS
S VIOLONCELLO
Nonets
Octets
Quartets
Quintets

283

Music Librarianship

CHAMBER Music

CHORAL Music

CLARINET
COMIC OPERA
CONCERTOS

CORNET

COUNTRY DANCES
DANCES
DRAMATIC Music

Septets
Sextets
Trios

S A PIANOFORTE

ORCHESTRAL

VIOLIN AND PIANOFORTE

VIOLONCELLO AND PIANOFORTE
S A ANTHEMS

CANTATAS

HYMNS

MADRIGALS

MASSES

ORATORIOS

VESPERS

S OPERA Light and comic
For miniature scores, see ORCHESTRAL
Concertos

For arrangements of pianoforte concertos, see
PIANOFORTE Concertos

For other instrumental concertos with orchestral
score arranged for the pianoforte, see under
name of instrument, e.g. OBOE, VIOLIN

S DANCES

DRUM

FILMS Pianoforte selections

Vocal selections
FLUTE
FOLK SONGS
GRAND OPERA
GUITAR
HARP
HORN
HYMNS

INSTRUMENTAL
LIGHT OPERA
LUTE

MADRIGALS
MANDOLINE
MASSES
MUSICAL PLAYS

OPERA
MUSICAL PLAYS

S A PIANOFORTE
S A MUSICAL PLAYS

SONGS Folk and traditional
OPERA- Grand

See under name of instrument, e.g. PIANOFORTE
S OPERA Light and comic

NATIONAL ANTHEMS

S A VESPERS

S A OPERA Light and comic
Pianoforte selections S A PIANOFORTE
S SONGS Folk and traditional
284

CHAMBER Music Nonets

S
A

CHAMBER Music Octets

A MUSICAL plays
CANTATAS

NONETS

NEGRO SPIRITUALS

OBOE

OCTETS

OPERA GRAND

LIGHT AND COMIC

ORATORIOS S

ORCHESTRAL Concertos
Overtures
Study and teaching
Symphonies

ORGAN

OVERTURES For miniature scores, see ORCHESTRAL

Overtures

For overtures for pianoforte solo or duet, see
PIANOFORTE and PIANOFORTE Duets, respec-
tively

PIANO ACCORDION

PIANOFORTE Concertos

For miniature scores, see ORCHESTRAL
Concertos

For other works written or arranged for two
pianists, see PIANOFORTE -Duets One plaao
and PIANOFORTE Duets Two pianos
Duets One piano
Two pianos

PLAINSONG

QUARTETS S

QUINTETS S

RECORDER

REQUIEMS S

SEPTETS S

SEXTETS S

SONGS Choral

Folk and traditional

Student
STUDENT SONGS
SYMPHONIES

CHAMBER Music Quartets
CHAMBER Music Quintets

MASSES

CHAMBER Music Septets

CHAMBER Music Sextets

S A NEGRO spirituals

TRUMPET
VIOLA
VIOLIN
VIOLONCELLO

S SONGS' Student
For miniature scores, see ORCHESTRAL
Symphonies

For symphonies arranged for piano solo or duet,
see PIANOFORTE and PIANOFORTE Duets, respec-
tively

S A CHAMBER music
S A CHAMBER music
S A CHAMBER music

285

PART II

INTRODUCTION

This half of the book comprises a series of lists of recommended
musical scores. It must be stressed that an attempt has been
to give a representative but not a comprehensive stock; the last
would be an almost impossible achievement. Such recommendations
of works that ought to be found in the stock of a public library have
been made before, but the sections that foEow vary from previous
ones in two important respects. First, recommendation is usually
made in five stages and, secondly, many of the items are annotated.
A minimum basic stock list for a small music collection is of limited
use to the librarian who wishes to make more adequate representa-
tion, and in an attempt to make the lists of use to music collections
from the start to a size that may well require the services of a full-
time music librarian, a system of grading is included. The bare bones
the stock that should be found in the smallest independent lib-
rary is indicated by the prefix (a); the second choice which will
increase representation to some degree is shown as (b), and so on to
the fifth and last choice, marked (e). Items in this last class are often
of equal musical merit to those recommended for previous purchase
but they are likely to be in less demand, usually because they are less
known and too many music-lovers tend to like what they know and
be unwilling to extend their musical horizons. Where the demand
for music for a particular instrument is likely to be very limited
indeed, then the grading of choices is not made while, for reasons
explained at the beginning of chapter VIII, miniature scores are
divided into seven categories, from (a) to (g).

My first article in our professional press was entitled Organ music
in the public library (in The Library Association Record Tor My, 1938)
and gave annotated recommendations. The works there were divided
into two classes, "Indispensables" and "Highly recommended"; the
same works suggested then are to be found later in this book but the

289

Music Librarianship

two categories have been extended to five. As then, the annotations
are intended to give brief information about the composer and/or
the music and it is hoped that these will help librarians to reach
decision when considering the purchase of a work. In several cases
the lists of books for further reading at the end of a chapter will
include specialist works that are annotated and these books should
be bought, even in the very small library, as important aids to good
selection.

The actual content of the recommendations is obviously personal,
and no other librarian is likely to agree with it in toto, but I hope that
music librarians will find little at which to cavil. I have attempted to
cover a fairly wide field and to include a proportion of less-known
works without straying into the perverse. It is always difficult if not
impossible to forecast which pieces of modern music will find their
way into the accepted standard repertory in due course and any
selection of contemporary works may well look odd within a very
few years but that is no excuse for omitting recent publications.

The sections that follow may be regarded as self-contained, but
are not intended for continuous reading. The librarian who increased
his selection of solo piano music to include all items listed as (a) and
(b) need not feel that he must dutifully buy all the (a) and (b) recom-
mendations in the section on piano duets. If he has revised his stock
to include all the primary recommendations in one field and has met
with no response from library users, he may be justified in spending
less money on that part of the collection providing that he remem-
bers that the supply very often creates the demand in the library. On
the other hand, my own suggestion would be that all the items marked
(a) should be bought in all categories so that the music section covers
all the major categories usually included in the small library; this
may take the smallest library two or three years to do if no special
funds can be applied for adding scores. When this is done further
accessions can be made from the (b) category, and so on. Except
with the first five categories of miniature scores none of the sections
is of equal size; there are over thirty works recommended for the
violoncello of which a sixth are recommended for first purchase (a),
a tenth at (b) and one-third of the list at (e). This is simply the result
of trying to judge each work separately and not to recommend the
scores in neat and tidy parcels with the same number of works in
each.

There seems to be no useful purpose in making graded selections

290

Introduction

for music that is not normally stocked in the smaller music section,
such as works for the French horn; instead, the item or items most
likely to be useful have been marked with an asterisk. If there is local
demand for music written for one of the less-common instruments,
the recommendations can be found and decision made for purchase.
Where there is no apparent demand, then the asterisk might be re-
garded as the equivalent of a category (f). Another point that must
be stressed is that these selections are made by an English librarian
in terms of British public libraries. It is hoped that the lists will be
of value to librarians elsewhere but they may justifiably feel that
there is too great an emphasis on English music and insufficient on
their native composers. For these reasons they may decide to reduce
the English representation but the graded selection may still be a
useful guide as to which English works ought to be bought first.

If the charge is made that the selected music is "highbrow", it is
admitted. The public librarian does not usually expect to find col-
leagues recommending mass produced fiction for serious attention
and I see no reason for including the musical equivalent. I hope that
the scores recommended will have permanent value.

At the end of each chapter is a list of books, limited for general
convenience to those written in English. There are, of course, many
important books of a similar nature written in foreign languages and
these can be traced fairly simply in the normal music encyclopaedias
and bibliographies. The works quoted at the end of a chapter give
further information and suggestion on the repertory of particular
instruments, etc. Where reference is made to one of these books in
the course of an annotation, the author's name only is quoted, e.g.
under Chopin's piano works, "Hutcheson recommends the Peters
edition . . .". Particulars of the book by Hutcheson will be found at
the end of the chapter together with an appraisal of it. These authori-
tative works will allow the librarian to take a second opinion upon
some of the works listed in the preceding chapter and will also help
in choosing a wider selection than that covered by this work should
further selections be desired.

Finally, a word on editions and titles. With composers whose
works are still protected by copyright there is normally no choice of
edition. In other cases there may be a superfluity, and five or six
different editions of popular classics are not uncommon. Only
occasionally is preference for a particular edition shown, mainly
because there is usually little to choose between them, but also

291

Music Librarianship

because there are often only one or two editions available at the time
the work is ordered. The librarian can sometimes afford to wait for
a particular edition but speed may well be an important factor, par-
ticularly when a work is bought in response to a reader's request. In
certain cases one edition has a definite advantage over its rivals (I
would instance the new Peters edition of Haydn's Piano sonatas);
when this is so, that edition is clearly recommended. While the
original publisher is usually given, cases will be found where the
English agent's name is quoted instead; this is usually because the
name of the original publisher is not given on the title-page, or else
is an oversight on my part. A list of British agents for overseas pub-
lishers is given at the end of this part of the book, together with
abbreviations used for certain publishers.

Checking editions, etc., during the recent years has proved a
wearisome and often puzzling task though here, as in other parts of
the book, I have received considerable generous assistance. Despite
this, it is obvious that every available edition of a particular work is
not always included; an omitted edition maybe the equal of the one
listed. The British librarian, at least, can usually rely upon a good
specialist supplier to trace and order any work wanted, and the
bibliographical position should become progressively better as the
files of The British Catalogue of Music lengthen.

I have attempted to follow my own cataloguing suggestions for
titles. Symphonies, sonatas, etc., are given in English, but descriptive
works such as operas, tone poems and song cycles are usually entered
under the original title unless better known in English, While this
may not be consistent it should aid finding and checking. The same
principle has been used for the index to works listed in this half of
the book. The index includes, in many cases, the individual titles of
works which form part of a suite, song cycle or the like, when
requests may be made for one item from the complete set. This some-
times results in apparent contradictions it would appear at first
sight that Debussy is much better represented than Chopin, until one
realizes that "Complete piano works" of the latter covers more
individual items than the many lines of entries for Debussy. In addi-
tion to providing a quick means of reference, the index serves a
second purpose in indicating the range of works of individual
composers.

Prices are not quoted. I discussed the matter with a number of
colleagues and by a large majority they felt that the trouble involved

292

Introduction

in getting and listing current prices was not worth while, since costs
fluctuate so rapidly today. The librarian should try and keep abreast
with current catalogues of the major publishers. The final point is
that reference is not infrequently made to the fact that a work has
been recorded. This can be an important factor, since music-lovers
owning or borrowing a recording of a work wiE often want to follow
the performance with the score, and this will increase the potential
demand for a rarely performed work considerably.

u 293

Chapter VI
INSTRUMENTAL MUSIC

THE PIANO

The section of the music stock devoted to solo piano music is
usually the most popular, and is the one by which the collection as
a whole is often judged. It is frequently alleged that the number of
people learning to play the piano is rapidly declining; this may be
true but there are still many players coming to the public libraries
and an encouraging proportion of this public is willing to borrow
some less familiar music if the opportunity is offered. What is far
from encouraging is that the selection provided in many libraries
that otherwise have a high standard of both fiction and non-fiction
provision will include "film selections" and similar ephemeral music
of no real value and, at the same time, fail to stock many works that
are classics.

It is not as though the field of good piano music is small. The
knowledgeable musician realizes that there is a tremendous amount
of important music that he is never likely to know well and rarely be
able to hear unless he has access to gramophone records of it. The
selection that follows is but a minute proportion of that which has
some genuine claim, for one reason or another, to inclusion in the
library stock. In order to keep the list within bounds, all arrange-
ments (such as symphonies, orchestral suites, ballets, etc.) have been
excluded though piano transcriptions by Busoni and Liszt do find a
place since these two composers re-wrote rather than arranged cer-
tain works by other composers. I do not suggest in any way that the
inclusion of arrangements is wrong far from it but would recom-
mend that stress should be laid on music that has been written
specifically for the piano. The same argument applies, in fact, to all
sections of music scores.

Light music provides even more controversial ground. Popular
music of the Eric Coates and Coleridge-Taylor types is omitted from
the lists that follow though some lighter pieces are included. The

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representation of such popular works is left entirely to the discretion
of the individual librarian.

Because of the regular demand for piano music and because
almost every library will almost certainly have at least a small col-
lection in this field, the lists that follow cover a fairly wide range
from the hackneyed to the unusual; the grading scheme has been
explained in the introduction to this part of the book. When a good
representative stock has been accumulated the librarian with very
limited musical knowledge should be able to add new works to stock
with growing confidence since reissues as well as new works are often
reviewed in musical periodicals (see Chapter IT) and a brief check in
Grove, Scholes, Thompson, etc., should reveal the musical standing
of any composer whose name may be unfamiliar.

ALBENIZ (d) Iberia, 4v. (Union Musical Espanola)

(e) Suite espanola, op. 47 (Union Musical Espanola)

Many more people will recognize the Tango (op. 165, no. 2) of Albeniz
than will know the name of the composer. The twelve pieces that make up the
four volumes of the first work recommended are inspired by different parts of
Spain. The score is difficult to play and marred in parts by too lavish decoration
of the music, yet for all that these pieces hold their place in the piano repertory
and should be borrowed with reasonable frequency. If desired the four volumes
could be bound into one or two. The Suite contains eight pieces of a similar
nature to those in Iberia.

ARNE (d) 8 sonatas (Augener)

T. A. Axne (1710-1778) is best remembered as the composer of Rule,
Britannia. These sonatas were intended as harpsichord lessons and have some
importance in the history of music. Despite their pedagogical intent they are still
enjoyable to play.

AURIC (e) Petite suite (Heugel)

Georges Auric (b. 1899) is a French composer who was at one time one of
the group known as "Les Six". His works show what might be regarded as
typical French refinement and delicacy tinged with a certain acidity.

BACH, C, P. E. (d) Piano works, 2v. (Universal)

The second (and most talented) son of J. S. Bach; his musical stature has
been sadly overshadowed by that of his father but these works display a fresh
and vigorous personality that deserves to be heard in its own right.

BACH, J. C. (e) 10 sonatas, 2v. (Peters)

Johann Christian was the youngest son of Johann Sebastian Bach and is
sometimes known as the "English" Bach through his long residence in this
country. His Italian style of writing was popular and he had considerable influence

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upon the young Mozart. These sonatas are generally attractive and should be
within the technical ability of the competent amateur pianist.

BACH, J. S. (c) Anna Magdalends notebook (Associated Board;

Peters)

(b) English suites, 2v. (Augener; Breitkopf; Uni-
versal)

(a) French suites (Augener; Breitkopf; Universal)
(e) Goldberg variations (Breitkopf; Peters; Schir-

mer)

(b) Inventions in two and three parts (Augener;
Breitkopf, 2v.)

(d) Partitas, 2v. (Augener; Schirmer; Universal)
(d) 18 little preludes and fugues (Augener; Schirmer)
(c) 24 short preludes and fugues (Peters)

(a) Das Wohltemperirte Klavier (the "48" preludes
and fugues) (Assoc. Board; Augener; Breitkopf;
Peters; Schirmer; Universal, etc.)

Although not written for the modern pianoforte nearly all of Bach's key-
board pieces can be played satisfactorily on it, and the smallest collection of
scores should contain some representation of this composer.

Whatever title one may use, the "48" comprise one of the most important
sets of works in the entire piano repertory. These preludes and fugues are some-
times known as the pianist's "Old Testament" (the "New Testament" being
Beethoven's piano sonatas) and are a first choice for any music section. As
indicated above there are many different editions, most of them good ; for the
student, in particular, the best and most useful edition is likely to be that pub-
lished by the Associated Board (of the Royal Academy and Royal College of
Music, London) edited by Sir Donald Tovey and Harold Samuel.

If, as is sometimes alleged, Shakespeare is spoiled for many during their
schooldays, so is Bach for those who had to learn some of his easier works in
their early piano lessons. Nevertheless, even in those works whose purpose is
primarily educational (such as the Inventions and the Anna Magdalena pieces)
the music is enjoyable in itself. The Inventions are a useful training ground for
the technical difficulties met with in the "48". Only the Goldberg variations are
difficult to manage on a modern pianoforte and the Schirmer edition is particularly
recommended here. It is edited by Ralph Kkkpatrick and has a very full and
informative introduction.

BACH-BUSONI (c) Chaconne in D minor (Breitkopf)

(d) Organ toccata and fugue in D minor (Breitkopf)

(b) 6 organ choral preludes (Breitkopf)

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Instrumental Music

These wonderful works need, in most cases, a better-than-average technique

to be played at all well. The transcriptions show Busonfs genius for the piano to
the full. In some works the piece is transformed yet the spirit of Bach remains
strongly in evidence. The Chaconne, written by Bach for unaccompanied violin
(and part of the work known either as Violin sonata no. 4 or Partita no. 2) is the
most striking example of Busonfs methods of free adaptation. His use of the
lower half of the piano's register is often noteworthy. The first three works
recommended make a convenient single volume for libraries that prefer made-up
volumes to thin pieces of sheet music. It may be mentioned that the Breitkopf
edition of Bach's piano works is edited by Busoni with the exception of the
French suites, where the editor is Busoni's pupil, Egon Petri.

The large music collection might also usefully add the 6 preludes and fugues
(Peters, 2v.) transcribed from organ works by Liszt.

BACH, W. F. (e) 8 fugues and 12 polonaises (Peters)
(e) 6 sonatas, 2v. (Nagel)

Wilhelm Friedemann was, in his father's eyes, the son with the greatest share
of the Bach talent for music-making; he was also the "black sheep" of the family.
The fugues indicate his abilities as a composer; the polonaises are of considerable
variety with those in the minor keys the more successful. As a sonata composer
W. F. Bach made no innovations but the works should give pleasure.

BALAKIREV (d) Islamey: oriental fantasy (Schauer)
(e) Piano sonata (Ziomemann)

Islamey is a fiendishly difficult piece to play but is included in these lists for
two reasons. It has an important place in the repertory of the piano and has been
recorded several times as well as receiving occasional broadcasts, so that it may
well be borrowed to follow another's performance rather than for a personal
assault on the music by one of our own patrons. The sonata is considerably less
well-known though it is less difficult than the fantasy and deserves to be equally
popular. The two works would conveniently bind together.

BARBER (c) Excursions, op. 20 (Scfainner)

(e) Sonata, op. 26 (Schirmer)

Samuel Barber is best known in Britain for his Adagio for strings, op. 11,
which was originally written for string quartet. The Excursions are (according to
the composer's own prefatory note) in "small classical forms into regional
American idioms", and are both amusing and effective it is not every serious
composer who has written music in boogie-woogie style! These pieces make a
useful introduction to an important contemporary American composer whose
Sonata (dating from 1949) is of much more serious intent and considerably more
demanding in technical standards.

BARTOK (c) Album (Chester)

(d) 14 bagatelles, op. 6 (Zerboni)
(d) 10 easy pieces (Liber-Southern)
(c) For children: 32 selected pieces (Boosey)
(b) Mikrokosmos: 153 progressive piano pieces, 6v.
(Boosey)

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(e) Sonata (Universal)

(e) Suite, op. 14 (Universal)

The library that excludes purely teaching material may well omit the first
three volumes of Mikrokosmos which is a work designed to provide a graduated
series of piano studies particularly in modern harmonies and rhythms, etc. The
last three books (classed as "Moderate" and "Difficult") have musical interest to
entertain the performer in addition to the technical problems which he has to
solve. A number of these short pieces have been recorded. The Album contains
fourteen pieces, including five of the Bagatelles and would bind with the Easy
pieces which provide an ideal starting point for those who wish to know more of
Bartdk's music. The Sonata dates from 1926 and is the composer's biggest single
work for piano; it is difficult to play both technically and interpretatively.

BAX (c) Burlesque (Chappell)

(c) Country tune (Chappell)
(c) A Ml tune (Chappell)
(c) In a vodka shop (Augener)
(c) Lullaby (Chappell)
(c) Mediterranean (Chappell)
(c) A mountain mood (Chester)
(c) Serpent dance (Chappell)
(c) Winter waters (Chester)

Bax's major piano works, the four sonatas, are sadly neglected. The first
two are written in a single continuous movement, the third and fourth in more
conventional form though the third is written in the unusual key of G$ minor.
The smaller pieces are much more popular and one or two albums could be made
up of these. In a vodka shop derives from a visit made by the composer to Russia;
Lullaby and A mountain mood are both written in variation form, and Winter
waters (sub-titled Tragic landscape) is a highly effective passacaglia. These four
pieces, together with A hill tune, are the recommended pieces if nine are con-
sidered too many. An album of Bax pieces, sold by Cramer, contains seven of
the listed items.

BEETHOVEN (b) Ecossaises and German dances (Augener, 2v;
Peters)

(a) Piano sonatas (Assoc. Bd, 3v; Augener, 2v;
Breitkopf, 2v; Peters, 2v; Ricordi, 2v; Schirmer,
2v, etc.)

(b) Other original piano works (Henle, 2v; Peters,
1 or 2v, etc.)

(a) Variations, 2v (Augener; Peters; Schirmer, etc.)

It is surprisingly difficult to get a nearly complete coverage of Beethoven's
piano works. Most British users will be happy with the Associated Board edition
of the sonatas, edited by Harold Craxton and Sir Donald Tovey, and these
works are a prime necessity in every collection. The Henle (Urtext) edition is
recommended for the lesser works.

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Instrumental Music

BERG (e) Piano sonata, op. 1 (Universal)

A passionate work requiring excellent technique; it shows something of the

influence of Schoenberg. The sonata has been recorded.

BERKELEY (e) 3 Mazurkas (Hommage a Chopin) (Chester)

(e) 6 Preludes (Chester)
(e) 5 short pieces (Chester)
(d) Sonata (Chester)

Lennox Berkeley (b. 1903) is an English composer who has written in
many forms. His piano music is modem (in the best sense), well written and usually
difficult. The fifth Prelude is written in f time a most unusual rhythm.

BLISS (d) Sonata (Novello)

An important but difficult modern British work.
BLOCH (e) 5 sketches in sepia (Schlrmer)

BOWEN (e) 24 preludes, op. 102, 4v. (Chester)

York Bowen (b. 1884) is a British musician whose merits as a composer,
particularly for the piano, appear to be constantly underrated. These Preludes
are in all major and minor keys.

BRAHMS (a) Piano works, 2v. (Augener; Peters)

(a) Variations on a theme of Paganini, op. 35, 2v.
(Augener; Peters)

These works are popular with both professional and amateur pianists. There
might well be more than one copy stocked of those works in constant demand,
such as the Rhapsodies. It should be noted that the Waltzes were originally
written for piano duet and later arranged by the composer for piano solo in two
different versions, the second entitled "easy". Neither version is included in the
volumes listed above.

BRITTEN (c) Holiday diary; suite for piano, op. 5 (Boosey)

The suite dates from 1934 when the composer was twenty. Though an early
work it is by no means a negligible one and is written in a light-hearted mood.

BULL (c) Selected pieces (Augener)

Dr. John Bull (1563-1628) was, at different times, organist at the Chapel
Royal and at Antwerp Cathedral. According to Scholes, "he ranks as one of the
founders of the modern pianoforte repertory" and these pieces for virginals can
still interest modem pianists. The volume is edited by Sir Granville Bantock.

BUSONI (c) Indianisches Tagebuch (Indian diary) (Breitkopf)

Busoni was one of the greatest pianists in the history of music, though he
considered himself primarily as a composer and therefore bitterly begrudged the
time spent on travelling and concert performances. His works are far from
popular as many musicians find them too impersonal despite the excellent crafts-
manship in the writing. They are certainly not negligible and this suite, based on
genuine Red Indian themes, is a very good starting point for anyone interested in

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Music Librarianship

this German-Italian composer. The recommended work is, strictly speaking, only
Book i of the Indian diary; the second book, opus 47, is for small orchestra. The
enterprising librarian who may wish to buy other works is advised to get the
Elegies which comprise seven pieces and the Sonatinas numbers 2 to 6, also pub-
lished by Breitkopf. The first sonatina (with a different publisher) has long been
out of print. The sonatinas vary considerably both in length and difficulty. The
fifth, Sonatina brevis, is a free transcription of the Bach "little'* Fantasia and
fugue in D minor; the sixth, Sonatina super Carmen, is based on tunes from
Bizet's opera and may well be intended as a character study of Carmen herself.

BYRD (b) Selected pieces (Augener)

William Byrd was one of the greatest Elizabethan composers and he excelled
in almost every branch of music. These short pieces give some indication of his
genius. The large library should possess his keyboard works (edited by Edmund
H. Fellowes) which comprise volumes 18-20 of the complete works (Stainer &

Bell).

CASELLA (e) Sonatina in tre tempi (Ricordi)

CHABRIER (d) Pieces pittoresques (Enoch)

Chabrier is an underrated composer and these brilliant pieces deserve to be
better known than they are.

CHOPIN (a) Complete piano works (Augener, 3v; Durand,

12v; Frederyk Chopin Institute, Warsaw, 14v;
O.U.P., 3v; Peters, lOv; Schirmer, 13v; etc.)

In the opinion of many pianists Chopin is the greatest composer of all for
the piano and nothing less than the complete works will suffice. Not only this but
fairly heavy duplication (possibly in different editions) will probably be needed
to keep abreast of constant demand. Hutcheson recommends the Peters edition
with the Durand edition (edited by Debussy) as second choice. Schirmer issue
two different editions of which that edited by Mikuli is recommended. Other
publishers who issue some but not all of the piano works are Novello (8 vols.)
and Universal (7 vols.). The best current edition is that published in Warsaw;
this edition will eventually include Chopin's complete works in 26 volumes.
Prices and standard of production increase the attractiveness of this presumably
most authentic version.

CIMAROSA (e) 32 sonatas, 3v. (Eschig)

Early sonatas in one-movement form and fairly simple to play.

CLEMENTI (e) Gradus ad Parnassian: 29 selected studies, arr.

Tausig (Augener; Ricordi; Universal)
(e) 12 sonatas, 2v. (Schirmer)
(d) Sonatinas, op. 36, 37, 38 (Assoc. Board;

Augener; Schirmer)

In the view of many pianists dementi is a name for the history books rather
than a composer whose music still lives. This is to do scant justice to the many
pieces that can be played and thoroughly enjoyed today. The Gradus adParnassum

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Instrumental Music

is one of the earliest sets of graded piano exercises and the complete set comprises
100 studies. The fact that the selection made by Carl Tausig is available in more
than one edition indicates how well it has retained its value and these were
recommended many years ago by PaderewsM, in an article published in the
Strand Magazine. The Sonatinas are delightful and are generally within the scope
of the average amateur; the Sonatas are more difficult and less attractive but still
have interest. The Schirmer edition includes the best from the sixty written by
the composer.

COPLAND (c) Four piano blues (Boosey)

(b) Piano sonata (Boosey)

Aaron Copland (pronounced "Copeland") is one of the most important
contemporary American composers. TTie Piano blues cover a period of twenty-
two years (though not in chronological order) and these are quite accessible to
the good amateur pianist, as is the Sonata, and are quieter and much less jazz-
like than the title suggests.

COUPERIN (b) Pieces de clavecin,, 4v. (Augener) OR

Harpsichord pieces (Schirmer) OR
Selected keyboard pieces (Peters)

Francois Couperin (often known as "Couperin le Grand" in order to dis-
tinguish him from a number of related composers) wrote these pieces for the
Court of Louis XIV. The music reflects the elegance of the period and the com-
poser was renowned both as performer and as a composer for the harpsichord.
His influence was great as can be seen (to quote but a single example) in the
French suites of Bach. The Augener edition, edited by Brahms and Chrysander,
contains a very good selection of the shorter pieces, should provide considerable
enjoyment for the pianist of today and is the recommended version. The two
smaller selections are obviously more suited to the need of the small library or a
mobile stock collection.

CRAMER (e) Etudes: 84 studies, ed, Rheinhold, 4v. (Augener)

60 studies, ed. Billow (Rlcordi; Uni-
versal) OR

50 studies, ed. Billow (Augener, 2v;
Schirmer)

It is often forgotten that the founder of the famous music firm was both
pianist and composer before he added publishing to his other musical activities.
These studies are primarily of technical interest but they also have a distinct
musical value. For all but the largest libraries, one of the Bulow selections is
recommended.

Cui (e) Album (Augener)

Eleven pieces of moderate difficulty by the nineteenth-century Russian
composer.

CZERNY (e) The art of finger dexterity, op. 740 (Augener;

Schirmer)

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Music Librarianship

(e) Daily studies., op. 337 (Augener; ScMrmer)
(e) 101 exercises, op. 261 (Augener; Schirmer)
(e) School of velocity, op. 299 (Augener; Schinner)

Czerny is a composer whose opus numbers nearly reach the thousand mark
and many of the individual works are of considerable length. His exercises were
tremendously popular in Victorian times but less so today. The works recom-
mended are those that have withstood the winnowing of time and changing
fashion, and they appear likely to be played as technical exercises for many years
to come even though their musical value is small. Only the large library will need
all four volumes. For the librarian who considers one volume adequate for his
library, opus 740 should be the choice; this, with the dementi Gradus adParnas-
sum was particularly recommended by PaderewsM years ago as ideal practice
material for the budding pianist.

DEBUSSY (c) Arabesques (Durand)

(a) Children's Comer suite (Durand)
(e) Estampes (Durand)

(b) Images, 2v. (Durand)
(d)Pour le piano (Jobert)
(a) Prdludes, v. 1 (Durand)
(d) Preludes, v. 2 (Durand)
(a) Suite bergamasque (Jobert)

The piano music of Debussy is a landmark in the history of the repertory
for the composer exploited harmonies and effects that had not previously been
discovered and his influence on later composers is immense. He was primarily a
miniaturist and nearly all his works are intended to conjure up a picture in sound.
Even the strongest opponents of impressionism admit his genius in this. Most of
his works should be included in the stock of the small library even though the
cost is comparatively high. Those shown for first choice are the ones most likely
to be requested. The second book of Preludes is considerably less popular than
the first and many critics feel that Debussy's powers had waned during the inter-
vening three years. The two sets that make least technical demands upon the
pianist's technique are probably the delightful Children's comer (where, despite
friends' assurances that an elephant is called "Jumbo", Debussy obstinately
retained Jimbcfs lullaby) and the early Suite bergamasque which is usually required
for its third movement, the popular Clair de lune. The large collection may also
add the 12 Etudes (Durand) which concentrate upon technical problems.

DOHNANYI (d) 4 Rhapsodies, op. 11 (Arcadia)

The influence of Brahms upon these works is fairly apparent, but the
Rhapsodies are deservedly popular in their own right and have an attractive
Hungarian flavour.

DVORAK (a) Humoreskes, 2v. (Simrock)

For many people there is but one Humoreske the seventh in the set of
eight. This is to underrate the others which also contain much engaging music.
The remaining piano works of Dvorak are of limited interest; the famous
Slavonic Dances are much more successful in their original form for piano duet.

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Instrumental Music

FAIXA (e) 4 Spanish pieces (Duraad)

(e) Fantasia baetica (Chester)

The Spanish pieces are somewhat after the style of a refined Albeniz; the
Fantasia is the mosrextended of Falla's piano works and Is difficult to play.

(b) Barcarolles, Impromptus, Nocturnes (Heuge!)
(b) 6 Barcarolles and 5 Impromptus (Hamelle)
(b) Barcarolles nos. 10-13, 4v. (Durand)

(b) 8 Nocturnes (Hamelle)

(d) 5 Valses and Mazurka (Hamelle)

Gabriel Faure is undeservedly neglected outside his own country, and
pianists should be encouraged to discover his works ; a generous selection in the
library stock is an obvious pointer. The Barcarolles and Nocturnes are probably
the best and most fascinating pieces but publishing arrangements make it im-
possible to provide a single volume with the complete works of either type. The
Heugel album listed first contains Barcarolles, nos. 7-9, the fourth and fifth
Impromptus and the ninth and tenth Nocturnes. Thus three volumes are needed
to complete the 13 Barcarolles, three for the Nocturnes, or five for the two
complete sets. To the complete Preludes, op. 103 the publishers have added a
tenth a piano arrangement of the prelude to the lyric drama Penelope. A Piano
album published by Hamelle contains Barcarolle no. 6, Romance no. 3, Im-
promptu no. 2, Sicilienne, op. 78, Improvisation, op. 84, no. 5, and an arrangement
of the Berceuse from the suite Dolly, op. 56.

FIELD (d) Nocturnes (Peters; Schirmer; Ricordi)

These pieces are attractive and not too difficult. Their historical importance
as forerunners of the similarly named pieces by Chopin is well known.

FRANCK (b) Prelude, aria et finale (Ashdown; Hamelle;

Ricordi)

(a) Prelude, chorale et fugue (Ashdown; Hamelle;
Peters; Schirmer)

Franck's works are spoiled for many musicians because of excessively
chromatic writing and an organ-loft approach to piano writing. These two works,
though, are popular with both amateur and professional pianists and the second
work is extremely impressive when well played. These two items would con-
veniently bind together.

GADE (e) Aquarellen, op. 19 (Schirmer)

Though somewhat faded, these fairly simple and tuneful pieces will still
prove attractive to many patrons.

GERSHWIN (d) Three preludes (Chappell)

These original piano solos are obviously derived from Gershwin's knowledge
of jazz. He was himself an excellent pianist and these works may well be over-

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Music Librariamhip

looked though they are to be preferred to piano arrangements of the Rhapsody in
Blue and An American in Paris.

GIBBONS (d) Selected pieces (Augener)

Orlando Gibbons was a virginals player at the court of King James I of
England, and later organist of Westminster Abbey. He is a most important key-
board composer of the early seventeenth century.

GRAINGER (b) Country gardens (Schott)

(b) Irish tune from County Deny (Schott)
(b) Shepherd's hey (Schott)

These well- written and popular pieces are certain of frequent use. They are
noteworthy for the fact that the directions as to speed, dynamics, etc., are
expressed in colloquial English instead of the more normal Italian and the music
has various tit-bits of information spread around and enclosed in "boxes".
Molly on the shore, Mock Morris and Handel in the Strand are three short
orchestral pieces that have been successfully "dished up" (to use the composer's
own expression) as piano solos and could well be bound with the three recom-
mended pieces.

GRANADOS (b) Goyescas, 2v. (Union Musicale Franco-Espag-

nole)

(d) Spanish dances, 4v. (Union Musicale Franco-
Espagnole)

Goyescas are pieces based upon the pictures and tapestries of the famous
Spanish artist Goya. As with so many sets of piano solos one item in particular
has proved incomparably more popular than the rest (in this case it is no. 4,
La maja y el ruisenor. The lover and the nightingale) but the whole suite is well
written for piano in an attractive Spanish idiom. It is not easy to play, however.
The four volumes of Spanish dances are probably more immediately pleasing but
are of lesser musical value.

GRIEG (a) Complete piano "works., 3v. (Peters)

Few amateur pianists have failed to play or enjoy some of Grieg's piano
works, particularly the Lyric pieces (which comprise volume 1 of the collected
piano works). These brief sketches, often with poetic titles, are generally within
the scope of the performer whose pianistic attainments are quite modest. Some
duplication may be required particularly in the larger system. At the time of
writing the three volumes are not obtainable but the individual books which
make up the complete set of Lyric pieces are.

HANDEL (a) Suites, 2v. (Augener; Peters)

Written for the harpsichord, but thoroughly enjoyable on the modern piano-
forte. The works will stand comparison with Bach's compositions in the same
form. The popular theme and variations on The harmonious blacksmith is to be
found as part of the fifth suite. The Peters edition is the better.

HARRIS (e) Little suite (Schirmer)

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Instrumental Music

HAYDN (a) Piano sonatas, 4v. (Peters)

There are many fine works as well as a few poor ones in these sonatas, which
are slowly regaining popularity with pianists after a period of comparative
neglect. It should be noted that there are various methods of numbering the
sonatas, none of them chronological; the normal standard adopted is that of
Breitkopf & Hartel. A comparative table of the Augener, Joseph Williams and
old Peters (now Novello) editions is to be found in Stewart Macpherson's Form
in music-, this list deals with 17 sonatas. The recommended volume contains 43
sonatas and second choice would be the Breitkopf set, also in four volumes,
which contains 42 sonatas. Peters adds an extra sonata as "BO. 11" so that all
subsequent numbers are one higher than the equivalent Breitkopf number. The
Augener edition, in 2 volumes, contains 23 sonatas; the Novello is a reprint of
the pre-World War II edition published by Peters and its 4 volumes contain 34
sonatas. Ricordi and Schirmer both publish 20 sonatas in 2 volumes. From these
figures it will be seen that the two recommended versions are by far the most
complete though there are, in all, over 50 piano sonatas.

HELLER (e) Art of phrasing., op. 16 (Augener; Schirmer)

(d) Preludes in all keys, op. 81 (Augener)

(e) [Studies] 25 melodious studies, op. 45 f Augener;
(e) 30 progressive studies, op. 46 J Ricordi;
(e) 25 studies in rhythm, op. 47 ] Schirmer;

^ Universal

Stephen Heller (1813-1888) was Hungarian by birth but spent most of his
life in Paris. The recommended Studies are somewhat out of favour these days
but they are well written and not too difficult for many amateurs. The smaller
library may find one or two of the four choices marked (e) sufficient, but the large
collection should have all in stock. The Preludes are both later and maturer
works.

HINDEMITH (e) Ludus tonalis (Schott)
(d) 3 sonatas, 3v. (Schott)

Ludus tonalis is described as "Studies in counterpoint, tonal organization
and piano playing" and consists primarily of twelve linked fugues in different
keys. The work is impressive but very difficult. The piano sonatas all date from
1936 and can be played as a sequence. Antony Hopkins described these, in a
B.B.C. broadcast, as "the finest modern sonatas". The second is the least difficult

IBERT (c) Histoires (Leduc)

Ten light and attractive pieces, of which the most popular is Le petit ane
blanc (The little white donkey),

D'INDY (d)Pour les enfants de tons les ages, op. 74, 3v.

(Rouart, Lerolle)

There are twenty-four of these pieces for children of all ages and the short
works are written in the style of different composers.

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IRELAND (d) Decorations (Augener)

(b) London pieces (Augener)

(d) Two pieces (For remembrance; Amberley wild

brooks) (Augener)

(d) Two pieces (April; Bergomask} (Augener)

John Ireland has written many piano pieces; though not unpleasantly
"modern" to the conservative ear they are written in a distinctive and pleasing
idiom. Ralph Hill considered the piano sonata to be "the greatest written by a
British composer" (in the Penguin British music of our time, p. 203) but the com-
poser's most popular work is one of his slightest The holy Boy (from Preludes
for piano, published by Boosey). If desired, most of the works listed above could
be bound together in one or two volumes, though the Sonata should be kept
separate.

JACOB (e) Sonata (Williams)

JANACEK (e) In the mist (Artia)

(e) On the overgrown path (Artia)

Two examples of the work of a Czech composer whose true stature is only
being discovered some thirty years after his death, which took place in 1926.

KABALEVSKY (e) Sonata no. 1, op. 6 (Anglo-Soviet)
(e) Sonata no. 2, op. 45 (Anglo-Soviet)
(d) Sonata no. 3, op. 46 (Anglo-Soviet)

(d) Sonatinas^ op. 13

The three sonatas are important modern works, and are comparatively
difficult to play well; the second is the most demanding. All three would con-
veniently bind together in a single volume. The two opus 13 sonatinas are slighter
and present fewer technical problems to the pianist. The variations are very
suitable for children and pianists of very limited abilities; the composer has
written a number of other works of a similar nature (Children's pieces, op. 27,
Variations^ op. 40, etc.) which would be suitable for use in the junior library.

KODALY (e) Gyermektancok (Boosey)

This is a set of twelve dances, all on the black keys.

KOECHLIN (e) 12 Esquisses, op. 41 (Sets 1 & 2) (Salabert)

(e) 12 petites pieces, op. 41b (Salabert)

These three dozen pieces are all brief and in a variety of musical styles.
Clean and fastidious writing marks most of these works, and Koechlin is not
known to many pianists, who would enjoy these pieces if they could be persuaded
to try them.

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Instrumental Music

KRENEK (d) 12 short piano pieces, op. 83 (Schimaer)

The pieces are written in the twelve-tone technique on the same basic row.
They are not difficult to play and supply an excellent introduction to this type
of music.

KUHLAU (d) Sonatinas, op. 20, op. 55, op. 59 (Augener)

KUHNAU (d) 6 Biblical sonatas (Broude)

An early example of programme music and of considerable intrinsic interest.
Kuhnau was a predecessor of J. S. Bach at the church of St. Thomas in Leipzig.

LARSEN (e) 3 Norwegian dances, op. 2 (Norsk Musikforiag)

(e) 3 piano pieces, op. 3 (Norsk Musikforiag)

LISZT (a) Annees de pelerinage (Durand 5 4v; ScMrmer,

2v.)

(a) Consolations; and, Liebestrdume (Augener, 2v;

Schirmer; Universal, 2v.)

(b) Etudes d* execution transcendante [Concert

studies] (Augener)

(a) Hungarian rhapsodies, 1-16, 2v. (Augener;

Ricordi; Schirmer)

(b) Hungarian rhapsodies, 16-19 (Paragon)

dante d'apres Paganini] (Augener, 2v; Schir-
mer)

(d) Sonata in B minor (Augener; Schirmer)

(d) Liszt Society publications [In progress] (Schott)

Liszt is too often regarded as a composer of shallow, showy and generally
vulgar music and for these reasons his importance as a composer (and innovator)
for the piano is often insufficiently realized. His exploitation of the resources of
the piano has affected almost every subsequent composer for the instrument.
Only few of his works can be played by those of modest attainments but the well-
equipped amateur pianist will find a mine of interest. Liszt's piano works normally
show careful workmanship, are extremely pianistic and lie well under the hands
though players with a large span are at a considerable advantage here. Many
Liszt works have been excellently recorded on disc and this fact may increase the
use of the scores provided.

The Schirmer edition of the Annees de pelerinage contains the first and
second years (or series) and the supplement; the Durand edition contains all
these together with the third year which comprises seven pieces of much lesser
stature than their predecessors. Published volumes of the Hungarian rhapsodies
usually contain the first fifteen of these plus the Rhapsodie espagnole but the last
four (nos. 16 to 19) are virtually unknown. Liszt's biggest work in every sense is
perhaps the Sonata, but its technical difficulties (like those of the concert studies)
are likely to limit borrowings to listeners rather than performers.

In addition to the works recommended, the large library will find it worth

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while to add some of the many volumes of Liszt's piano transcriptions, of which
the Bach organ works, Schubert songs and Wagner album are particularly note-
worthy. The Liszt Society volumes contain many works not found in any other
edition; at the time of writing four volumes have been published: v. I, Late piano,
works; v. 2, Early and late piano works; v, 3, Hungarian and late piano works;
v. 4, Dances.

MACDOWELL (c) New England idyls, op. 62 (Elkin)

(a) Sea pieces, op. 55 (Elkin; Chappell)

(b) Woodland sketches, op. 51 (Elkin; Chappell)

MacDowell is generally regarded, in Britain at least, as the first of a growing
line of American composers though his works clearly show Ms European train-
ing. Possibly overrated in the U.S. A., he is certainly underrated outside that
country. Generally speaking, MacDowell's miniatures are delightful and many
can be played by the least talented pianist. To a wild rose and A.D. 1620 are
perhaps over-familiar but there are many other (and several better) pieces that
are too rarely heard.

MARTIN (e) 8 Preludes (Universal)

"Modem" and difficult works by the contemporary Swiss composer. They
date from 1949.

MEDTNER (c) 4 fairy tales [contes], op. 26 (Boosey; Novello)

(e) Sonata idylle, op. 56 (Edition Russe)

There are a number of pieces bearing the general title "Contes", op. 13,
op. 20, op. 26, etc. They vary in difficulty and effectiveness but are pleasant and
pianistic. The major works are less immediately attractive. To regard Medtner
as an inferior Rachmaninov (as some appear to do) is to underrate a distinct and
individual style.

MENDELSSOHN (a) Complete piano works, 5v. (Augener)

Mendelssohn still suffers from the reaction to his over-popularity in Vic-
torian times. Copies of his Lieder ohm Worte (Songs without words) (which
comprise volume 1 of the edition listed above) are to be found in the majority of
batches of older music given to the library and the modern performer tends to
overlook Mendelssohn's craftsmanship. No one could express better the magic
of the fairy world. The Augener edition is a good one and the works themselves
are almost guaranteed to provide considerable enjoyment for many others in
addition to the now elderly ladies who learned his pieces in their girlhood days.
The Peters edition (also in 5 volumes) is at present o.p. The other four volumes
of the Augener edition contain miscellaneous pieces (vols. 2, 3 and 5) while
volume 4 includes 2-piano arrangements of the two piano concertos and three
concert pieces.

MILHAUD (e) Uautomne: suite (Salabert)

Milhaud is probably the most important member of the French group of the
nineteen-twenties known as "Les Six" and his works are worth the attention of
the amateur pianist. The Brazilian dances date from 1920 and were the result of

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Instrumental Music

a visit to that country. Uautomne dates from 1932 and Unejournee from 1946,
so the three works give a fairly representative picture of his development as a
writer for piano.

MOMPOU (b) Condones y danzas, 8v. (Salabert)

(d) Seines d'enfants (Salabert)

(e) Suburbis (Salabert)

Federico Mompou (b. 1893) is a Spanish composer who tends to dispense
with bar lines to his music though the melodies usually fall into generally accepted
rhythmic patterns. The eight brief Songs and dances are founded on popular
Spanish airs and arranged with great artistry, deserving to be much better known
than they are.

MOSZKOWSKI (d) 3 concert studies, op. 24 (Augener)

Moszkowski, a Polish composer of attractive light music, is today under
something of a cloud and is a much less popular writer than thirty years or more
ago. His works, according to Hutcheson, "always succeed in creating a maximum
of effect with a minimum of difficulty" but Lockwood suggests that "The player
of Moszkowskfs music needs well-developed fingers capable of executing spidery
passage work and wide skips with delicacy and accuracy".

Here is a composer who has suffered much from editors, arrangers and
simplifiers and the original should always be bought if possible. Unfortunately, it
is often difficult to discover with many of Ms works which was or is the original.
The larger collection, for example, might well add From foreign parts, op. 23,
5 waltzes, op. 8 9 6 pieces, op. 83 and the Spanish dances, op. 21 (all Augener) but
at least two of these sets were originally written for piano duet, though the solo
piano arrangement appears to be most successful in nearly all cases.

MOZART (a) Miscellaneous piano pieces (Assoc. Board;

Henle, 2v; Peters, 2v.)

(a) Sonatas, 2v. (Assoc. Board; Augener; Breit-
kopf; Ricordi; Schinner; Universal)

Mozart's limited solo piano output is often neglected by public libraries in
favour of arrangements of symphonies, overtures, etc. The sonatas should be in
the smallest collection and the volume(s) of miscellaneous pieces is only slightly
less important. The various editions of the sonatas use different systems of
numbering and a key to seven editions is provided by Hutcheson who recommends
the Breitkopf edition as the best. The Associated Board edition (edited by York
Bowen and Abyn Raymer) can be confidently recommended. It contains twenty
sonatas of which the first seventeen are in the same order as the Urtext (Breitkopf)
edition, listed by Hutcheson. It may be mentioned that both Breitkopf and Henle
claim to publish the Urtext (definitive) edition.

MUSSORGSKY (b) Pictures at an Exhibition (Augener; Inter-
national Music; Schott; Schirmer)

This piano suite is much better known in orchestral guise (the arrangement
by Ravel being the most popular) but it is well worth purchase in its original
form even though much of it is well beyond the scope of the average amateur.
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Music Librariamhip

As in almost a!! Ms works, the composer shows an original and unconventional

mind. The suite has been recorded in both piano and orchestral versions and the
Hawkes pocket score (which uses the Ravel orchestration) quotes the original

piano score under the orchestral parts. The recommended edition is the I.M.C.
one since it contains good-sized monochrome illustrations of some of the pic-
tures, etc., by Victor Hartmann that inspired the work.

NIELSEN (d) Chaconne, op. 32 (Hansen)

(d) Theme and variations, op. 40 (Hansen)

Though Nielsen may be regarded primarily as an orchestral composer, his
piano works are important and well written. In both of these works the variations
are excellently developed from the opening theme. Smaller libraries may prefer
to buy the Album of ten pieces which centains some earlier and much slighter
works (from opus 3, etc.) and some arrangements of items from Nielsen's opera
Maskerade.

PADEREWSKI (e) Chants du voyageur, op. 8 (Ashdown)

(d) Variations and fugue in B\) minor, op. 23
(Ashdown)

Paderewski is often regarded, on account of his famous Minuet in G, op. 14,
no. 1 (Ashdown), as a composer of salon music but his other works are of much
greater depth. Some of his music, it is freely admitted, has already faded and is
unlikely to be revived but the two works mentioned are worthy of their places in
a library stock. At the time of writing the Variations are out of print.

PARRY (e) Shulbrede times (Augener)

Contains ten fairly brief and well-written pieces.

POULENC (a) Mouvements perpetuels (Chester)

(d) Napoli: suite (U.M.P.)

(e) Promenades (Chester)

Poulenc was another member of "Les Six" and his music is attractive, witty
and unpretentious. The first of the Mouvements perpetuels is very popular. A
wider range of his piano music could well be bought in the larger collection.

PROKOFIEV (e) 10 pieces, op. 12, lOv. (Schauer)

(d) Sarcasms, op. 17 (Boosey)

(b) Sonata no. 6, op. 82 (Boosey)

This Russian composer who died in 1953 is best known for his Peter and the
wolf and his Classical symphony, but he also wrote a considerable amount of
piano music of extremely variable quality. Prokoviev himself was an excellent
pianist and many of his works are beyond the scope of the average amateur. The
items listed above are of some importance and are likely to remain in demand
after many of the composer's other works have ceased to arouse interest.

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Instrumental Music

PURCELL (b) Suites: Toccata, Lessons and Pieces,, 4v.

(Chester) OR

Suites (Augener; Novello; Schinner)

PurcelFs keyboard music is probably more strongly represented in British
libraries than those elsewhere, which is natural, for he was one of Britain's finest
composers. The eight suites are of considerable interest to any pianist with an
affection for seventeenth-century music. The Chester edition is recommended, but
for the library that does not wish to buy four volumes the Augener edition is sug-
gested since it contains all the Suites as well as some miscellaneous pieces. The
publisher's title is Select pieces. The ScMrmer edition includes an Alman with the
Suites, while the Novello edition contains six Suites only.

RACHMANINOV (a) Prelude, op. 3, no. 2 (Augener ; Boosey ; Cramer ;

Ricordi; Sctiott, etc.)
(a) Preludes., op. 23 (Boosey)

(a) Preludes, op. 32 (Boosey)

Rachmaninov is an outstanding example of the small band of musicians
who were outstanding as composers, executants and conductors. Because he was
not a musical innovator (a fault that is also alleged in Brahms) Rachmaninov's
works are often given insufficient recognition. In addition to the Prelude (the
opus 3, no. 2, in Qjf minor) the others are barely known, but they are skilfully
written and well worthy of study by the amateur pianist,

RAMEAU (e) Pieces de clavecin (Durand)

An important French composer of the eighteenth century. The volume
recommended is edited by Saint-Saens and contains over fifty pieces. Smaller
libraries may prefer to buy Select pieces, published by Augener.

RAVEL (a) Gaspard de la null (Durand)

(d) Miroirs (Schott)

(e) Sonatine (Durand)

(b) Le tombeau de Couperin (Durand)

Ravel is one of the most important modern composers for piano and his
influence, together with that of Debussy, has affected a tremendous amount of
subsequent piano composition. RaveFs pieces need both an assured technique
and a good sense of style if they are to be performed successfully. The composer
was a great perfectionist, constantly rewriting and polishing and this partly
accounts for his small output. Many of the piano works were orchestrated by the
composer himself, four of the six movements of Le tombeau de Couperin provid-
ing an example. The three movements of Gaspard de la nuit (Ondine, Le gibet,
Scarbo) are often played singly rather than in sequence.

RAWSTHORNE (e) Bagatelles (O.U.P.)

(e) Four romantic pieces (O.U.P.)
(e) Sonatina for piano (O.U.P.)

These works are worth including in the larger stock as examples of contem-

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porary music that is well written and which should be of interest to those pianists
who like to try their skill on modern music as well as on the established classics.

RJEGER (c) 6 Burlesken, op. 58 (British & Continental)

(d) Characterstucke, op. 32, 2v. (Universal)

(e) Improvisationen, op. 18 (Augener)

(d) Sonatinas, op. 89, 4v. (Bote & Bock)

(e) 4 studies for the left hand alone (Universal)

"Reger's enormous output for the piano is not well known in this country"
write Friskin and Freundlich, and that remark is equally true of British pianists.
Even the long-playing gramophone record which has caused an immense widen-
ing of the available musical repertory has hardly touched Reger though many
lesser composers have received generous treatment on disc. The Burlesques are
in the styles of other composers. The large collection might add the 6 Preludes
and fugues, op. 99 (Bote & Bock) and Reger's two major piano works, both long
and technically demanding, The variations and double fugue on a theme of Bach,
op. 81 (Hinrichsen) and the Variations and fugue on a theme ofTelemann, op. 134
(Peters).

RHZENSTEIN (e) 12 Preludes and fugues, 2v. (Lengnick)
(e) Sonata in B major (Lengnick)

Franz Reizenstein (b. 1911) is a naturalized British composer whose works
are assuming a growing importance. His style is not easily assimilated and these
works require a good technique.

SAINT-SAENS (e) Etudes for the left hand, op. 135 (Durand)
(e) 6 Waltzes (Durand)

While the main intention is technical development, these six Studies are
musicianly and are much more enjoyable listening than their title might suggest.
The composer's major work for two hands is the Caprice on airs from "Alceste"
(Schirmer) which is difficult but extremely effective.

SAHE (e) GymnopMes (Rouart, Lerolle)

A French composer noted for his satirical and beautifully clear music. He
wrote comparatively little, but a large proportion of his works is for solo piano.
The 3 Gymnoptdies (an untranslatable word of the composer's own devising) are
probably the best-known solo pieces.

SCARLATTI, D. (a) Selected sonatas (Augener, 2v; Francis, Day &
Hunter; Peters; Ricordi; Schirmer, 2v.)

These sonatas, which are really sonatinas, are nearly all brief single-move-
ment works and only a handful have become well known. For many years it was
the custom to play Scarlatti in arrangements by Tausig and others whose editions
nearly always tended to over-elaboration. Modern concert pianists have usually
reverted to the original scores, with a considerable gain in clarity and charm.
The works can sound delightful on a modern pianoforte provided that the per-
former remembers that they were originally written for harpsichord and scales
down his tone accordingly.

For many years the standard edition has been that of AJessandro Longo,

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Instrumental Music

published in ten volumes of 50 sonatas each and with a supplementary volume of
45 sonatas, published by Ricordi. The selection at the head of this entry published
by this firm contains 25 of the works edited by Longo. His system of numbering
the sonatas has been the standard one so that the famous Pastorale in D minor is
identified as L. 413, and the Cafs fugue as L. 499.

The position has now been complicated by the American, Ralph Kirk-
patrick. Not only has he written the standard life of the composer but he has re-
edited a number of the sonatas and it seems likely that a complete new edition
of Scarlatti sonatas will appear; musicians will then have to cope with both K.
and L. identification numbers since the two sequences are quite dissimilar. Kirk-
Patrick's editing is much more to modern taste and the Schirmer edition must be
the recommended one; the two volumes contain 60 sonatas in all. The much
smaller volume published by Francis, Day & Hunter would make a useful addi-
tion as it contains an unhackneyed selection of 12 sonatas edited by Manchester's
music librarian, Leonard Duck. The Augener edition, edited by Thomas F. Dun-
hill, contains 29 sonatas and the Peters edition 25.

Domenico Scarlatti was born in 1685, the same year as both Bach and
Handel, and his father, Alessandro Scarlatti, has an important place in the history
of the development of opera.

SCHOENBERG (e) 3 piano pieces, op. 11 (Universal)
(d) 6 piano pieces, op. 19 (Universal)
(d) 5 piano pieces, op. 23 (Universal)

Schoenberg is famous as founder of the "twelve-tone" school of atonaliry
music without key and in which any one note in the scale is regarded as equal in
importance to any other, so that this music lacks the tonic (or key-note) to which
our ears have long been accustomed. To many people, in fact, Schoenberg's
music is not music at all. The opus 1 1 works are not easy to grasp but there are
some remnants of normal tonality; the opus 19 pieces are brief and are the most
approachable of Schoenberg's piano music. The last of the opus 23 pieces, the
Waltz, op. 23, no, 5, has won fame as the first piece of music composed to a
"tone-row". Large collections could complete the composer's piano works by
the addition of the Suite, op. 25 and Two pieces, op. 33 (both Universal). None of
these works is likely to be popular but their importance is undeniable.

SCHUBERT (a) Fantasias, Impromptus and Moments musicaux

(Augener, 3v; Schirmer; Universal)

(b) Piano sonatas, 2v. (Augener; Peters; Schirmer;
Universal)

The smaller pieces such as the Moments musicaux are of sufficient popularity
to warrant duplication, perhaps in different editions. If, however, only one copy
of each of the first two recommendations is to be stocked then both should be in
the same edition since the contents tend to vary between the editions. Augener
publish the two Fantasias (The Wanderer, op. 15 and opus 78) separately, with
the Impromptus and Moments musicaux in a single volume. The Fantasia, op. 78
is also known as a Sonata with the result that Augener and Schirmer include 10
sonatas in their volumes but Peters show 11, including the op. 78. There are, in
fact, no less than 21 sonatas by Schubert but several are incomplete. These un-
finished works (with one exception) were completed by W. Rehberg and were at

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one time available in the Steingraber edition but are at present o.p. The Universal
edition, edited by E. Ratz, contains 14 sonatas.

The remaining volumes of German dances and similar works are of light-
weight pieces that are often very brief but which are popular with amateur
pianists. There are 435 of these pieces in two volumes.

SCHUMANN (a) Complete piano works, 4v. (Augener)

There is no need to stress the value of this composer's piano works. Album
for the young still provides excellent fare for many who need elementary works
that are both tuneful and of musical value, while Scenes of childhood (especially
the movement Trdumerei {Dreaming} ) are almost equally popular. Schumann's
other works provide further pleasure for pianists of varying abilities. Alternatives
to the Augener edition are (i) the fourteen volumes of Universal which omit the
Sonatas, Forest scenes, etc. and (ii) the Clara Schumann edition in thirteen
volumes published by Breitkopf. American librarians have Peters and Kalmus
editions easily available; both are good.

SCOTT (c) Dame negre, op. 56, no. 5 (Elkin)

Cyril Scott has written a number of small, attractive pieces for piano. They
are well suited to the instrument for the composer himself was an excellent per-
former. The two examples given, together perhaps with other works such as
Water wagtail, op. 71, no. 3, Vesperale, op. 40, no. 2 and Allegro poco scherzando
(which is no. 1 of Three little waltzes) might well be bound together to form a
single album; this would be particularly useful to those libraries that do not
normally provide short single works. Elkin publish three albums (of which the
third is o.p.) of Cyril Scott's piano works but these do not contain any of the
well-known pieces.

SCRIABIN (b) Prelude and nocturne for the left hand, op. 9

(Beiaieff)

(d) 12 studies, op. 8 (Beiaieff)

(e) Studies, op. 42 (Beiaieff)

Scriabin's reputation has waned considerably since his death in 1915; his
"mystic" chord no longer mystifies and his philosophy is dead. Yet his piano
works, whose difficulty varies enormously even in sets sharing the same opus
number (as in the Studies, op. 8, listed above), deserve to be better known than
they are and are rewarding to the persevering pianist. In addition to the works
listed the large collection could usefully consider adding some, if not all, of the
ten piano sonatas. The fourth, which is of considerable technical difficulty, is
perhaps the best. American librarians can buy all ten sonatas in a single volume
(Leeds Music).

SHOSTAKOVICH (d) 3 fantastic dances, op. 1 (Boosey)
(e) 24 preludes, op. 34 (Boosey)
(c) 24 preludes and fugues, op. 87. 2v. (Leeds Music)
(e) Sonata no. 2, op. 64 (Boosey)

The latest of the recommended works, op. 87, shows Shostakovich's natural

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Instrumental Music

genius for writing fugues, a gift which can be seen in some of Ms other works. As
with some other composers, the set comprises an example in each major and
minor key. These two volumes must be considered as important contemporary
writing. The other recommended works, in comparison, are much slighter but are
still worth having; they provide examples of his style that is sometimes witty and
often angular.

STRAVINSKY (e) Etudes, op. 7, 4v. (Schauer.)

Stravinsky is primarily an orchestral composer but has written a limited
amount of music for the pianist. The four studies are of sufficient importance to
be included in the larger collection.

SZYMANOWSKI (c) Etudes, op. 4 (Universal)

(d) Metopes, op. 29 (Universal)

(e) 9 preludes, op. 1 (Universal)

Karol Szymanowski (1883-1937) is the most important Polish composer
since Chopin but his works are unlikely to achieve anything like the popularity of
those by his compatriot for they are difficult both for performer and listener.
Although Szymanowski's type of modernity may not be too easily assimilated
the music bears constant repetition and should provide a steadily increasing
interest with continued performance.

TCHAIKOVSKY (d) Album for the young, op. 39 (Augener; Ricordi ;
Schirmer)

Schirmer)

Most of Tchaikovsky's solo piano work is of inferior quality but the twelve
pieces (one for each month of the year) that make up opus 37 are well written
and attractive, especially Troika (November). The other work comprises simple
pieces useful to children and adults with very limited technique.

TIPPETT (e) Sonata in G major (Schott)

An important modern British work that needs an excellent technique.

TURINA (e) Cuentos de Espana (Conies d'Espagne), op. 20

and op. 40, 2v. (Rouart, Lerolle)

These pieces have the colourful writing and attractive Spanish rhythms of
Albeniz and Granados, but the music is of a lesser calibre. The large collection
might also add the Danzas Gitanas, also in two volumes (op. 55 and op. 84)
published by Salabert, and one or other of the shorter suites of pieces such as
Jardins d'Andalousie, op. 31 (Rouart) and Femmes d'Espagne (Rouart).

ViLLA-LoBOS (e) Choros no. 5 Alma Brasileira (Schott)

(d) A Prole do Bebe, series I, 8v. (Schott)

(d) A Prole do Eibe, series II, 9v. (Schott)

(e) 10 pieces on popular Brazilian children's songs,

2v. (Schott)

Heitor Villa-Lobos is probably the best-known of a growing band of Latin-

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American composers and his output is amazingly large and varied. It is also very
confusing, partly because he does not use opus numbers. A Prole do Bebe consist

of short pieces of widely varying technical difficulty; the first set is devoted to
"the baby's dolls" and the second to "the baby's animals", and the music is as
colourful as the individual titles suggest. The Cirandas, sixteen fairly simple pieces

based on children's songs would be recommended, but only nine are at present
available in Britain and the prices are prohibitive.

WEBER (c) Piano pieces (Augener; Schirmer)

(d) Piano sonatas (Augener)

The four piano sonatas (edited by Liszt in the edition available) are difficult
and little known, except for the Perpetuum mobile that forms the last movement
of the first sonata, op. 24. This work, like the others, has good movements but is
uneven in inspiration. The five miscellaneous piano pieces have been much more
popular, particularly the Invitation to the dance, op. 65.

EARLY KEYBOARD MUSIC

In general, composers of the pre-Bach era have received scant
attention in the previous section. There are two reasons for this;
much of this music does not sound well on the modern pianoforte,
and many of the composers are today available only in anthologies.
The pieces themselves are often extremely brief, the titles are some-
times attractively naive and the sense of key much less developed
than in subsequent centuries. The music is historically important
and much of it is intrinsically delightful so that at least one of the
collections listed below should be added to stock. It need hardly be
added that there are many other similar collections not necessarily
inferior to those listed.

KASTNER, ed. Old Portuguese keyboard music, 2v. (Schott)

OESTERLE, ed. Early keyboard music, 2v. (Schirmer)

This comprises a selection of music written for virginals, spinet, harpsichord
and clavichord. Book I is sub-titled "Byrde to A. Scarlatti" (the final "e" on the
English composer's name is unusual but admissible), and Book II "Couperin to
Rameau". There are 122 pieces in all.

REDLICH, ed. Elizabethan virginal music (Universal)

These twenty-four pieces are all by English composers (Bull, Gibbons,
Farnaby, etc.) and are selected from the Fitzwilliam Virginal book and My Ladye
NeveWs books, two of the four most important sources of this type of music.

GLYN, ed. Fitzmlliam Virginal mss: a selection (British &

Continental)
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Instrumental

FULLER MAITLAND &
BARCLAY SQUIRE,

eds. Fitzwiltiam Virginal book: selected pieces (British &

Continental)

In his Oxford Companion to Music* Dr. Percy Scholes declares that "Hie
English virginal is of the highest importance in the history of music ...**, while

a great authority in this field, Van den Borren, shows in considerable detail (in
his Sources of keyboard music in England) the debt that later keyboard writers
owe to the English virginalists. The original manuscript from which the above
selections are taken is probably the most important of all in this field. It is in the
Fitzwilliam Museum at Cambridge (England) and has provided the only known
copy of many early English pieces. The book contained the repertory of an early
seventeenth-century amateur virginal player and the complete manuscript
(edited by Maitland and Squire) was published in two volumes by Breitkopf and
is now available in both Breitkopf and Broude editions. It should be noted that
the two selections given above do not overlap.

PIANO DUETS

Music in this form is of no great antiquity for with one or two
exceptions it dates back only to the latter half of the eighteenth
century when Mozart and J. C. Bach, then living in London, intro-
duced it. During the nineteenth century the piano duet flourished
and many of the greatest composers wrote music for four hands, one
piano. In addition a tremendous amount of orchestral music was
arranged for this same combination. Many a symphony is too com-
plex to be reduced adequately to the compass of two hands but a
much more satisfactory arrangement is possible with two performers.

The art of duet playing has declined considerably during this
century and although there has still been a certain amount of first-
class music written in this form contemporary composers would
appear to find it much more attractive to write music for two pianos.
As for arrangements, the growth of opportunity to hear orchestral
works in their original form at concerts, by radio and gramophone
record, etc., has lessened the attraction of the overture and symphony
arranged for piano duet, although there are still a number of pianists
who will borrow and enjoy them.

To some extent librarians have themselves to blame for the de-
cline of interest in this section since all too frequently the selection
is overweighted with arrangements while so much attractive music,
originally written for piano duet, is not provided. It is also a section
in which a certain amount of "spring cleaning" is often needed by

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the relegation of old and unattractive scores and their replacement
by modem editions and by newer works.

The lists that follow are divided into two sections: first the
original works, then the arrangements. The library that has very few
original works in stock could, with great advantage, add more
possibly a number of those listed here.

BEETHOVEN (b) Complete piano duets (Augener; Peters; Uni-
versal)

While these works do not reveal Beethoven at his greatest, they still have
interest for most pianists. The two sets of variations (on an air of Count Wald-
stein and upon a German song) are the most important items.

BIZET (c) Jeux d'enfants, op. 22 (Durand)

This suite is better known in its orchestral form but the original setting pro-
vides great entertainment for both duettists and, if well played, for audience also.
There are twelve short pieces with titles of children's games.

BOWEN (e) 4 pieces, op. 90 (O.U.P.)

York Bowen is a contemporary (b. 1884) British composer who has written
some excellent music both for piano solo and duet, but his works are neither well
known nor often performed. Two of these four pieces (no. 1, Prelude and no 3,
Serenade) are at present in print, and with two Suites are good examples of
modern works for piano duet.

BRAHMS (a) Hungarian dances, 2v. (Augener; Schirmer)

(a) Waltzes (Augener; Peters)

It is often forgotten that Brahms's famous waltzes were originally written
for piano duet. All the works are well written for the medium and extremely
attractive to play.

BUSOM (e) Finnish folk-tunes, op. 27 (Breitkopf)

Busonf s only work for duet, written at the age of 22. These dances have
remained almost completely unknown and are not included in either Rowley or
Friskin & Freundlich.

DEBUSSY (c) Petite suite (Durand)

(e) 6 epigraphes antiques (Durand)

The suite is another set of pieces better known in the orchestral version than
in the original. The Epigraphes are late works based upon earlier, discarded
sketches. There is controversy as to their value yet when well played their effec-
tiveness cannot be denied. In addition to these two sets, Debussy also wrote a
Scottish march for piano duet, published by Jobert.

DVORAK (a) Slavonic dances, op. 46 (Lengnick)

(a) New Slavonic dances, op. 72 (Lengnick)
(c) Legends, op. 59 (Lengnick)
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Instrumental Music

The two sets of Slavonic dances (there are eight in each) and some of
Schubert's are essential in the smallest collection. Dvorak himself arranged the
dances for orchestra and also for piano solo. The duet form is, however, the
original form and a most attractive one. The Legends are but little inferior;
Dvorak was, generally speaking, a poor writer for solo piano but a great one for
duettists.

FAURE (c) Dolly: suite, op. 56 (Hamelle)

This suite appears to be known to few duettists but should give a great
amount of pleasure to those who borrow and try it. There is an orchestral version
of the suite, arranged by Henri Rabaud.

GRIEG (d) Two symphonic dances, op. 14 (Peters)

(d) Norwegian dances, op. 35 (Novello; Peters)

The Symphonic dances were originally planned as a symphony but eventually
emerged in their present form. The other work is also an original one for this
medium. The writing is not as effective as Grieg's for piano solo but both works
are likely to be in reasonable demand from pianists.

HINDEMTH (e) Sonata (Schott)

MOSZKOWSKI (c) Polish dances, op. 55 (Peters)

(b) Spanish dances, op. 12 (Peters)

Moszkowski was a Pole and his "Spanish" music is patently spurious yet
these duets (like his others) are cheerful, grand fun to play and pleasant for the
listener. Some further works (such as the New Spanish dances, op. 65) are worthy
of consideration if the two recommended works prove as popular as they should.

MOZART (c) Piano duets (Augener; Peters; Schirmer; Uni-

versal)

As mentioned in the introduction to this section, these works are among the
earliest written for piano duet but they continue to retain their place in the
repertory, though they are not perhaps representative of Mozart at his greatest.

POULENC (e) Sonata (Chester)

A typical example of the composer's brilliant and amusing style.

RAVEL (d) Ma mere POye (Durand)

This Mother Goose suite is better known in its orchestral version but sets
interesting problems for keyboard players who need to be above average if this
work is to be performed satisfactorily.

SCHMITT (d) Feuillets de voyage, op. 26 (Durand)

(b) Pieces romantiques, op. 42 (Chapelier)

(e) Reflets d'Allemagne, op. 28 (Mathet)
(a) Sur cinq notes, op. 34 (U.M.P.)

Alec Rowley declares this composer's four-hand works as "probably the

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finest in the whole modern repertoire" and the enterprising librarian will make
some attempt to obtain at least one of the sets listed above. In the opus 34 pieces,
one pianist confines himself to a five-finger group while the other produces en-
chanting sounds about this simplicity. The Reflets are the most difficult. These
five works and recommended order of choice were kindly selected by the late
Alec Rowley.

SCHUBERT Complete piano duets, 4v. (Peters) [v. 1, (a);

v. 2-4(c)]

Schubert probably wrote more music for piano duet than any other com-
poser and a selection of his works should be the first choice for any collection.
The small collection may content itself with the first volume but the other three
should be bought as this section grows. Volume 1 provides the best start since it
contains the most popular pieces, including the one that has far outstripped the
others in general popularity, the D major Marche militaire from opus 51. Duet-
tists will know that this particular march is no better than most of the other
sixteen written by the composer. Duets are rarely played on the concert platform
nowadays; Artur Schnabel and his son, Karl-UMch Schnabel, gave performances
and made some quickly-deleted recordings in the nineteen-thirties, and the tradi-
tion has been maintained by the younger Schnabel and his wife as well as by the
Viennese team of Paul Badura-Skoda and Georg Demus but these duets are for
playing rather than for listening.

SCHUMANN (c) Complete piano duets (Peters)

There are four sets the Oriental pictures [Bilder aus Osteri], op. 66, sub-
titled "Six impromptus" with very innocuous eastern touches; 12 duets (for little
and big children) op. 85, which live up to their title by being attractive to both
adults and children; Sail scenes, op. 109 (9 pieces) and Children's ball, op. 130
(6 pieces). The last two sets are not up to the standard of their predecessors,
though they are still attractive. Schirmer publish a separate edition of the op. 85
duets and Augener the op. 66 set.

TCHAIKOVSKY (d) 36 Russian folk songs (Peters)

These duets reverse normal procedure, for here the primo part is less difficult
than that written for the bass player.

WEBER (e) Piano duets (Peters)

There are three sets opus 3, opus 10 and opus 60. All are lightweight works
that provide pleasant relaxation for duettists who enjoy music that is not too
difficult. Breitkopf publish the eight pieces that form op. 60 in a separate album,
at present out of print. The opus 3 pieces are entitled 6 petites pieces faciles, and
opus 10 consists of eight separate items.

DUET ARRANGEMENTS

BEETHOVEN (b) Symphonies, 2v. (Augener; Schirmer)

An ever-popular set with duettists. The first volume is likely to be used more
frequently than the second. The Overtures may also be considered as a useful
addition.

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BIZET (d) VArlesienne suite (ScMrmer)

BRAHMS (c) Symphonies (ScMrmer)

GRIEG (b) Peer Gynt: suites nos. 1 and 2, op. 46 and op. 55

(Peters)

Not too difficult for amateurs (which may account for the great pleasure It
gave me many years ago). As in most duet arrangements, the bass part is generally
distinctly easier than the treble.

HAYDN (b) Symphonies, 2v. (Augener; ScMrmer)

These are the twelve "Salomon" symphonies and are the last that Haydn
wrote. Such well-known examples as the Surprise, Oxford and London are in-
cluded in these volumes, but the symphonies are not in numerical order.

MOZART (c) 12 Symphonies, 2v. (Augener; ScMrmer)

A misleading title, for the first volume contains symphonies 41, 40, 39, 38,
35 and 36 in that order; the second volume includes the Posthorn serenade,
K. 320, the Haffner Serenade, K. 250, Symphonies 31, 34 and 33 and a symphony
now known to be by Leopold Mozart, and numbered by Einstein as K.Anh. 293.

SCHUMANN (e) Symphonies (Augener; ScMrmer)
WALTON (d) Fagade: two suites, 2v. (O.U.P.)

WARLOCK (c) Capriol (Curwen)

This is a most attractive suite with some grand discords at the end to awaken
any dozing listeners. The work is well known in its original form for string
orchestra; the arranger of the piano duet is not indicated so is presumably the
composer.

A FURTHER SELECTION

In the early part of 1953 the Sunday morning programme of the
B.B.C., "Music Magazine", included two programmes on piano
duet music. They were given by two people who were long renowned
as performers of music at two pianos Ethel Bartlett and Rae
Robertson. Speaking in antiphon with occasional examples on the
studio piano, they recommended a host of works. Many of them are
already included in the previous section but others are given below
with a minimum of comment. The addition of these duets would
naturally strengthen the section greatly, particularly in contemporary
and near-contemporary works. The speakers dealt with the works in
chronological order but for convenience they are listed below
alphabetically.

BERNERS Valses bourgeoises (Chester)

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CASELLA Pupazetti (Ricordi)

QJEMENTI 4 sonatas (Peters)

GRIEG Waltz caprices., op. 37 (Peters)

KOECHLIN 4 Sonatines frangaises, 4v. (O.U.P.)

LAMBERT 3 Pieces negres (O.U.P.)

Played on the white keys, and in Latin-American rhythms.

MENDELSSOHN Andante and variations, op, 83a; Allegro brillante^
op. 92 (Augener; Schirmer)

MOSCHELES Famttienleben, op. 140, 2v. (Kistner)

Sonata in E, op. 121 (Kistner)
These duets were apparently enjoyed by Chopin.

RAWSTHORNE Creel suite (O.U.P.)
RESPIGHI 6 short pieces (Rahter)

SATIE 5 pieces en forme de poire (U.M.P.)

Mentioned as being particularly amusing to play.

STRAVINSKY Trois pieces faciles (Chester)
Cinq pieces faciles (Chester)

FOUR HANDS TWO PIANOS

Music written for two pianos is naturally limited in appeal for
few patrons are fortunate enough to have either the space or the
money to possess two pianofortes except in certain areas. On the
other hand, contemporary composers appear to find it much more
attractive to write for two pianos rather than for piano duet; this
is understandable, and is underlined by the fact that although there
is a public for two-piano recitals, duets are apparently limited to
amateur performance.

Even if one admits that two-piano works are of limited use to
most of our borrowers the attraction of the piano concerto with
orchestral score arranged for a second piano is undoubted. It is
obvious that only one out of every ten who borrow such a score
will be able to play it with a second pianist providing the accompani-
ment ; for the rest, their interest is in the solo part. This might suggest
that the library could content itself with the provision of a single copy

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Instrumental Musk

of each work but this is not recommended. Despite the possibility of
restricted use, I feel that two copies are much better. The librarian
can either have both copies bound in a single cover, with the second
copy in a pocket at the front or rear of the binding or else treat the
two copies as independent and bind them separately. In the latter
case, the musician who can arrange a two-piano session wiU need to
get both copies of the work but two people interested primarily in
the solo part can both borrow the work at one time. This also has
the advantage that both copies are likely to receive approximately
equal wear and tear.

ARENSKY (b) Suite, op. 15 (Schirmer)

Arensky is not one of the world's greatest composers but his piano music
still appears occasionally in concert programmes. This suite is enjoyable to play
and provides interesting listening that does not make too heavy demands upon
the concentration of the audience.

BRAHMS (a) Variations on a theme of Haydn, op. 56b (Breit-

kopf; Lengnick; Peters; Schirmer)

IMs work is unusual in that the composer wrote this two-piano version and
the better-known orchestral version at the same time. He often played one of the
piano parts himself in this arrangement, which is almost as fine as the orchestral
one. There is also a Sonata in F minor which is a two-piano arrangement of the
Piano quintet, op. 34, but this is not recommended as the work is much less
effective for two pianos than for piano and string quartet.

DEBUSSY (e) En blanc et noir (Durand)

Three pieces, one of Debussy's last compositions. Like most of his very late
works this has been viewed very differently by critics but current opinion in
general is that the works are both important and effective.

MILHAUD (e) Le bal Martiniquais (Salabert)

(e) Scaramouche (Salabert)
Light and undemanding music that is popular with two-piano teams.

MOZART (d) Sonata in D major, K.448 (Augener; Peters;

Schirmer)

This is probably one of the earliest two-piano works ever written but is still
worthy of its place in the repertory. There are other Mozart two-piano works,
mainly arrangements by the composer himself of compositions originally written
for a mechanical organ; these are less successful.

RACHMANINOV (c) Suite, op. 17 (Boosey)

An engaging work, beautifully written, that appears with some frequency in
concerts of two-piano music.

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SCHUMANN (e) Andante and variations., op. 46 (Augener;

Schirmer)
A work generally within the scope of competent amateur pianists.

This section is completed with a short list of piano concertos
recommended for stock. There are numerous other works of this
genre that appear with some regularity in concert and radio pro-
grammes and the librarian should have little difficulty in further
selection. It may be suggested that any piano concerto, etc., that
appears in the lists of recommended miniature scores is well worth
consideration for a place in the two-piano section also.

BACH (c) Piano concerto in D minor (Peters; Schirmer)

BEETHOVEN (d) Piano concerto no. 4, in G major, op. 58
(Augener; Novello; Peters; Schirmer)

op. 73 (Augener; Novello; Peters; Schirmer)

BRAHMS (d) Piano concerto no. 2, in B\? major., op. 83

(Augener; Peters; Schirmer)

DOHNANYI (e) Variations on a nursery tune, op. 25 (Lengnick)

FRANCK (b) Variations symphoniques (Peters; Schirmer)

GRIEG (a) Piano concerto in A minor, op. 16 (Peters)

MOZART (c) Piano concerto in D minor., K.466 (Augener;

Peters; Schirmer)

(b) Piano concerto in C major,, K.467 (Augener;
Peters; Schirmer)

(d) Piano concerto in A major, K.488 (Augener;

Peters; Schirmer)
RACHMANINOV (a) Piano concerto no. 2, in C minor, op. 18 (Boosey)

SCHUMANN (b) Piano concerto in A minor, op. 54 (Augener;
Peters; Schirmer)

TCHAIKOVSKY (a) Piano concerto no. 1, in B\? minor, op. 23
(Augener; Peters; Schirmer)

ORGAN MUSIC

There should always be some demand in a public library for
organ music, since every town will have its amateur and semi-

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Instrumental Music

professional organists. If there is a lack of interest in this section of
the stock by those qualified to use it then the reason is likely to be
the lack of variety in the collection and perhaps the standard of
selection also. A poor stock will only interest the potential user for
one or two visits. The librarian has a very wide repertoire from
which to choose but, regrettably, much of it is musically worthless.
Selection is not made easier by the fact that no really well-known
composer, with the solitary exception of Bach, ever composed regu-
larly for the instrument. Some excellent composers of organ music
have been much less successful in other fields of composition and so
perhaps get overlooked. Another factor that tends to obscure the
best organ music is that too many organists still include in their
programmes third-rate music and orchestral works arranged for
organ, on the apparent assumption that good organ music Is too
"heavy 9 * for recital purposes. This attitude is fortunately waning and
one only rarely meets such works as The storm (by one of several
composers, but all calculated to require every stop at the organist's
command in the middle of the work) written to display Victorian
organs and to prove the organ's claim to be "the king of instru-
ments".

The works listed below are all, with two exceptions, original
works, i.e. they are not arrangements of works written for any other
instrument or instruments. They are also, in my opinion, composi-
tions of permanent value. Selections are graded as in other sections,
but it is worth mention that the librarian wishing to make further
additions to stock can choose wisely from the works listed for
playing tests each year by the Royal College of Organists. These are
published in the appropriate section of The Musical Times and are
also listed, with a note of editions and suggestions for playing, in
Musical Opinion. The R.C.O. makes its announcements of selected
works fairly early in the year.

BACH (a) Complete organ works (Augener, lOv; Borne-

mann, 12v; Breitkopf, 9v; Peters, 12v;
Schirmer, 12v.)

These are the prime essential for any collection of organ music as Bach is
still the pre-eminent composer for the instrument. There are a number of editions
available and all of those listed above can be recommended to a greater or lesser
degree. The Augener and Novello editions originate in Britain, Breitkopf and
Peters in Germany, Boraemann in France and Schirmer in the U.S.A. The
Augener edition, published in ten volumes tends to be rather fussy with its over-
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Music Librarianship

zealous suggestions for the registration (i.e. choice of stops) for each work. The
Peters edition is published in nine volumes plus three for the choral preludes. It
is thoroughly reliable but suffers from the opposite fault, for here the tempi and
phrasing marks are limited to those given by Bach himself, and these are very
few. The notes are in German only and the same drawback (so far as English
users are concerned) affects the Breitkopf edition.

The Schirmer edition, edited by Widor and Schweitzer, is very good. Each
volume has a long introductory note with suggestions for playing. The Borne-
mann (U.M.P.) edition has another Bach player of the first rank in Marcel Dupre
as its editor, and the introductory notes are in French, German and English.

The Novello edition is, at the time of writing, changing in part from one
editorial edition to another. The original set comprised twelve books, edited by
Sir Frederick Bridge and James Higgs, and was issued between 1881 and 1895.
Two books of selected choral preludes (Books 13 and 14) were later withdrawn
when the complete choral preludes were issued as Books 15 to 20; these were
edited by Sir Ivor Atkins. This edition comprises, therefore, eighteen books
(1-12; 15-20). Novello's are now issuing a new edition of the material contained
in the original books 1-12 and this new version is edited by John Dykes Bower
(organist of St. Paul's Cathedral) and Walter Emery, and these will eventually be
published as Books 1-14, thus filling the gap of the two missing numbers. It can
be understood then, that the contents of each individual book do not tally with
those of an earlier edition so that the two versions will not mix. This new edition,
together with Books 15-20 which are likely to need no more than slight revision,
appears to be the best edition for British public libraries. The library that lacks
Bach's organ works is therefore advised to buy Books 15-20 together with such
books of the new edition as are available and to complete the set as the remaining
books are issued. Both old and new sets (for the Bridge-Higgs edition will remain
current until the newer version is complete) will conveniently bind into three,
four or five volumes if desired.

BOELLMANN (c) Suite Gothique, op, 25 (U.M.P.)

This suite is well known for its last two movements (the third and fourth).
These are the rather sickly Priere a Notre Dame and the exciting Toccata; both
are often played separately.

BONNET (b) 12 pieces, op. 5 (Leduc)

(d) 12 pieces, op. 10 (Leduc)

Joseph Bonnet died in 1944 and was a French composer and organist known
internationally as a virtuoso for he toured the United Kingdom, Canada and the
United States giving recitals. The three volumes of varied pieces are popular with
organists.

Bossi (e) Organ works, 2v. (Peters)

Enrico Bossi (1861-1915) is another player, in this case an Italian, still
remembered as a touring virtuoso of the instrument. His compositions are
perhaps too showy for some tastes but they are written with expert technique.

BRAHMS (a) Choral preludes, op. 122, 2v. (NoveUo)

(b) Fugue in A^ minor (Augener; Lengnick)
The Choral preludes are the last work of Brahms and were published post-
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Instrumental Music

humously. The fugue is the composer's only other important organ work, and it
is perhaps the only one written in this most unusual key. It has no opus number
and was published in 1864. The suggested works are available as part of the
complete organ works (Breitkopf) but this edition is not recommended as it
introduces the less-familiar C-clef in certain passages and the text is in German
only. The Novello edition has both German text and English translation.

BUXTEHUDE (b) Organ works (Peters, 2v; Hansen, 5v.)

Buxtehude was the most famous organist of his day in Germany and the
story of the 200-mile walk by the young Bach in order to hear the older composer
is well known. It is only comparatively recently that organists have realized that
there is a large amount of excellent organ music written before the time of Bach
and the two Peters volumes are worth adding to stock as examples of this. The
first one contains the large-scale works the Preludes and fugues, etc., and the
second the Choral preludes.

DUPR (d) 3 Preludes and fugues (U.M JP.)

During the last half-century the French nation has produced a number of
first-class organists who have also been composers for the instrument. These
works are often noisy and difficult but with very real merits and some of them
appear fairly regularly in organ music recitals. Of the three related works recom-
mended here, the last is the most popular; the subject of the fugue (i.e. the open-
ing theme that is developed throughout the work) is a jaunty tune that is easily
recognized and remembered.

ELGAR (e) Organ sonata no. I, op. 28 (Breitkopf)

Elgar had a fair amount of experience as a church organist in his younger
days, and this (surprisingly enough his only organ work) receives an occasional
performance. The so-called Sonata no. 2 is on arrangement by Sir Ivor Atkins of
the Severn Suite written by the composer for brass band.

FRANCK (a) 3 Chorales (Durand; Peters; Schirmer)

(b) 10 pieces (ScMrmer) OR

6 pieces (Durand; Peters, 2v.) AND
3 pieces (Durand; Peters)

Franck is usually considered to be the founder of the large and flourishing
school of modern French organ composers. His own works for the instrument are
among his best compositions and have not suffered the same diminution in
popularity that has affected other works. The Chorales are excellent, particularly
the most popular (no. 3, in A minor) and the other works are likely to receive
fairly regular use by organists borrowing from the library. The Schirmer edition
is recommended here; the other editions could well have the two volumes bound
together.

FRESCOBALDI (d) Organ works, 2v. (Peters)

Girolamo Frescobaldi (1583-1643) is another composer in the pre-Bach line
whose works are becoming of increasing interest to organists. He was, for two
separate periods, organist of St. Peter's, Rome. The edition recommended is
edited by Hermann Keller and the first of the two volumes contains the complete
Fieri Musicals. The publishers suggest that these short, severely contrapuntal

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Music Librarianship

pieces are ideal for use in the Roman liturgy. Two volumes of selected works ard
available published by Breitkopf.

GIGOUT (b) 10 pieces (Leduc)

(e) 12 pieces (Leduc)

Like so many members of the modern French school of organists and com-
posers, Gigout lived well beyond the age of eighty and was well known as a
teacher and performer, as well as a composer. The Toccata in the first volume of
recommended pieces has been an established favourite for many years with
organists.

GUILMANT (b) Sonatas, 8v. (Schott)

Guilmant is another of the large and important school of composers,
teachers and performers. His music is well written and in general is more conven-
tional and less reliant upon virtuosity than that of many of his successors. The
eight sonatas may be considered too expensive to purchase at once, in which case
the first and fourth (op. 42 and op. 61) are the recommended choice. There is also
a number of other pieces that deserve inclusion in the large collection, including
the composer's most popular work, the March on a theme by Handel, op. 15
(Schott) based on "Lift up your heads" from Messiah.

HANDEL (c) Organ concertos (Bornemann, 3v.)

These works have been arranged for solo organ by Marcel Dupre. Any
editor of the concertos has to face the problems of making a satisfying whole of
organ solo sections in the original in which the orchestra is playing alone and
others in which both organ and orchestra are playing together, and also of making
due allowance for the fact that Handel's own notation of the solo part was often
simpler than that actually performed. The editor has to consider, therefore, the
need for embellishing the organ part in correct contemporary style. These Dupre
arrangements are probably the finest but others are available, e.g. the Peters
edition of opus 4, edited by S. de Lange, and the Faxton edition of op. 4 and op. 7.
Volume 1 of the Bornemann edition contains the six concertos, op. 4; volume 2,
numbers 7 to 12 (opus 7), and volume 3, numbers 13 to 16.

HARWOOD (e) Organ sonata no. 1, op. 5 (Schott)

Basil Harwood is one of the many English composer-organists whose names
are hardly known except to other organists. This sonata is a fine work, well
written and effective, but Harwood's name usually appears in recital programmes
as the composer of the brief, difficult but very attractive Dithyramb, op. 7
(Novello) or the Paean, op. 15, no. 3 (Novello).

HINDEMTH (e) Sonatas, 3v (Schott)

The three sonatas are well laid out for the organ but seem rather dry, so that
they need good performance to maintain the listener's interest. The first two both
date from 1937.

HOWELLS (c) 3 Psalm preludes: sets 1 &2 (Novello)

(e) Sonata (Novello)

This contemporary British composer has written music for many different

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Instrumental Music

instruments and combinations of them and has had considerable experience as an
organist. The Psalm preludes are excellent examples of a type of music wMch
British composers appear to find particularly congenial. The organ sonata is a
somewhat elaborate work but is in the best modem tradition.

KARG-ELERT (a) 14 choral preludes, from op. 65 (British &

Continental)

Karg-Elert never really fulfilled the promise of his early days when he seemed
to have the potentialities of another Bach. The Choral preludes that comprise
opus 65 total over sixty, in six books; these two volumes selected from this large
collection have been edited by Laurence Swinyard who has translated the direc-
tions to the organist from the German and arranged the two volumes in ascending
order of difficulty.

KREBS (e) Organ works (Peters)

This German composer was Bach's most famous pupil. He wrote in many
different forms but, except for his organ music, his compositions are very rarely
heard and he suffers from a neglect that is not really justified.

LISZT (b) Complete organ works., 2v. (Peters)

Liszt's organ works show his admiration for J. S. Bach; the Prelude and fugue
on B-A-C-H is some indication of this. The English terminology of Bfj, A, C B
natural, spoils the rebus. Liszt's works are extremely effective when well played
although they are usually difficult virtuoso pieces. The two most popular works
are the one already mentioned and the Fantasy and fugue on "Adnos ad salutarem" *
Both items are in the second volume which should have preference if only one is
bought. The B-A-C-H work is published separately by Augener and Novello.

MENDELSSOHN (a) Organ works (Augener, 2v; Novello, 2v;

Peters; Schirmer)

The composer was himself a fine organist and did much to introduce and
make popular in this country the organ music of Bach. Mendelssohn's own
compositions for organ are well written and their popularity shows little sign of
waning, particularly with less talented organists. The works comprise 3 Preludes
and fugues, op. 37 and 6 sonatas, op. 65. The Novello edition is well printed and
arranged and is the one most likely to satisfy British organists.

MOZART (a) Fantasia in F minor, K.608 (Augener; Borne-

mann; Peters)

This work is the second exception in this section in that it was not written for
a pipe organ but for another instrument in this case, a mechanical organ. The
Fantasia is a fine and powerful work of Mozart's last period and the Bornemann
edition, arranged by Dupre, is recommended. Two other works for mechanical
organ have been arranged for the modern instrument by Herbert Ellingford and
published by Augener; these are the Adagio and allegro in F minor 9 K~ 594 and
the Andante in F major, K. 616.

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Music Librarianship

NIELSEN (e) Commotio, op. 58 (Hansen)

This was Car! Nielsen's last major work; its importance is only equalled by
its difficulty. The work is in four movements Fantasia; Fugue I; Andante
sostenuto and Fugue H.

PARRY (d) Choral preludes, 2v. (Novello)

These are now Parry's only organ works that remain in the modem reper-
tory, probably because the hymn tunes themselves are generally well known to
English listeners, and also because the standard of writing is high.

PEETERS (e) Chorale preludes, op. 68, 69, 70, 3v. (Peters)

These works comprise ten items in each opus number, making a total of
thirty preludes. Flor Peeters is a contemporary Dutch composer and organist
(b. 1903) and these works are slowly achieving some popularity hi Britain. They
are not too difficult and many of the tunes are known to English audiences.

REGER (d) 12 organ pieces, op. 59 (Peters)

(e) 30 short choral preludes, op. 135 a (Peters)

Max Reger, though popular in his native Germany, has not been regarded
very highly outside that country for his style has been considered too heavy,
turgid and lacking in light and shade. Despite these criticisms it is generally
admitted that his organ music is technically extremely well written. He himself
was a first-class performer on the instrument.

Although they are uneven in inspiration there is some excellent music in the
pieces that make up opus 59 while the Choral preludes are short and fairly simple ;
they could prove useful to many organists who often require something of this
nature to fill a brief interval during the course of a service. The publishers refer
to the opus 59 volume as "Set I" and the two subsequent volumes (both of which
also contain twelve Choral preludes) as Set II (op. 65) and Set III (op. 80).

REUBKE (b) Sonata on the 94th Psalm (O.U.P.)

Julius Reubke (1834-1858) was a favourite pupil of Liszt, who thought
highly of his work. This fine composition indicates what a great potential organ
composer was lost by his early death. Trie sonata is extremely difficult in many
places and has been excellently edited by Herbert Ellingford.

RHEINBERGER (a) Organ sonatas, 20v. (Novello)

(d) Trios (Novello)

In most musical fields, Josef Rheinberger (1839-1901) was a third-rate
composer who has been completely forgotten but his organ music is probably
second only in quality to that of Bach. The twenty organ sonatas are all important
though not all of equal value. During the nineteen-thirties these works were
edited by Harvey Grace (who was organist of Chichester Cathedral and editor of
The Musical Times) and many of the problems and difficulties that had previously
faced the performer in an earlier edition (and which had reduced the popularity
of the works) were overcome. Although issued separately, the sonatas will bind
conveniently into four or five volumes if desired. For the small library that cannot
buy all twenty works at once I would recommend numbers 2, 7, 12 and 14 as

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Instrumental Music

being among the best as well as providing some idea of Rheinberger's develop-
ment as an organ composer. The Meditations and Trios are much simpler and
will provide useful material for the organist who cannot cope with the technical
demands of the Sonatas.

As an alternative to the recommended edition, Sonatas 1 and 2 are available
from Augener, and 3, 4 and 5 (edited by Lemare) in the Schinner edition.

ROWLEY (c) Choral preludes based on famous hymn tunes, 5v.

(Ashdown)
Short, not too difficult, and ideal material for many an amateur organist.

SCHUMANN (d) 6 fugues on the name "Bach", op. 60 (Novello,
2v; Peters)

Schumann, like Liszt, was a great admirer of Bach and these six studies show
the nineteenth-century composer in an unusual light as a writer of strict counter-
point. The works were written for organ or pedal-piano. Despite the fact that the
same subject is common to all the works the fugues are well varied and musically
interesting.

STANFORD (d) Sonata no. 1, in F major, op. 149 (Augener)

Stanford, with Parry, did much for the renaissance of English music in the
early years of this century but his own music is now infrequently heard. This
Irish composer wrote his five organ sonatas comparatively late in life and the first
is probably the best. Augener's publish the fifth, the intermediate ones being
issued by Stainer & Bell.

VDERNE (d) 24 pieces en style fibre, 2v. (Durand)

Vieme was a blind organist and composer and much of his music is often
noisy, dissonant and extremely difficult to play. These two volumes, however,
contain simple and attractive pieces that can be played effectively on a very small
organ; the pedal parts are optional.

WESLEY, S. S. (d) Introduction and fugue in C$ minor (Novello)

Samuel Sebastian Wesley was a grandson of the Methodist leader Charles
Wesley, and lived from 1810 to 1876. He was one of the finest performers of his
day and was organist at no less than four different cathedrals during his life. His
anthems are still sung in the Church of England and this Introduction and fugue
is probably his best organ work. A shorter piece that still retains much of its
popularity is the Holsworthy church bells (Novello).

WHITLOCK (c) 5 short pieces for organ (O.U.P.)

(d) Plymouth suite (O.U.P.)

Percy Whitlock was an English organist who wrote music that was at once
both musicianly and popular and his early death at the age of 43 (in 1946) was
regrettable. The clear registration and effective layout of the music make his
works thoroughly playable by the competent organist. If desired these three sets
of pieces would conveniently bind together.

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Music Librarianship

WIDOR (a) Symphony no. 5, op. 42, no. 1 (Hamelle)

Widor was yet another of the long-lived French player-teacher-composer
school and he actually recorded the Toccata from this recommended Symphony
when he was over eighty no mean feat for the work calls for considerable
agility in both hands and feet. Both Vierne and Widor wrote organ "symphonies 1 '
(six and eight of them, respectively) that are, for all practical purposes, organ
sonatas. The title occasionally misleads some people into thinking that the works
are arrangements of orchestral music. The large collection could include others
of the two sets (four in op. 13 and the rest in op. 42) with advantage. All are
published by Hamelle who also publish the Vieme Symphonies.

WIIXAN (e) 5 preludes on plainchant melodies (O.U.P.)

Well-written works by an English-Canadian organist and composer.

In addition to the works listed above, mention should be made of
a series of organ pieces issued under the general title "Library of
organ music by British composers", with editorial supervision by
Martin Shaw and published by Cramer. A number of the works are
arrangements and not original organ pieces and, as with almost all
series, the quality of writing varies. There are, however, some
attractive, brief pieces by eighteenth-century composers such as
John Stanley and William Boyce. These could usefully be bought
and, if desired, made into one or two volumes, with similar works
in the series.

The section on organ music may be considered long and the
selection large, yet there are still many other excellent composers for
the instrument whose names have been omitted in order to keep
recommendation within bounds. Pachelbel, Scheldt and Sweelinck
are three important composers of the pre-Bach era. Contemporary
composers omitted include Jongen (Belgium), Messiaen (France) and
Yon (Italy). There are a host of American composers whose names
seem entirely unknown beyond their own continent. British omis-
sions are also numerous a whole library of choral preludes by
native composers could be built without difficulty. Finally, attention
might be drawn to an article in Musical Opinion for April, 1952, in
which a correspondent has collated the organ recital programmes
listed in that periodical over a period of three years. The librarian
who wished to assure himself of a proved demand might find this
information very useful.

STRING MUSIC

Library provision in this field is usually limited to music for the

332

Instrumental

violin and violoncello with possible selection for the viola. Solo
music for the double-bass, the largest member of this family, is rarely
required although it may be recalled that the great conductor
Koussevitzky first made Ms name as a virtuoso on this instrument.
A nearby school or amateur orchestra may completely upset the
normal pattern of local demand. Provision will generally be of works
with pianoforte accompaniment although there should be un-
accompanied works also in stock. It is necessary to include con-
certos and similar works with the orchestral accompaniment arranged
from the orchestral score. Finally, it must be understood that the
section that follows is limited to music for solo instruments; chamber
music is dealt with later in this chapter.

Violin

BACH (a) [Unaccompanied} sonatas (Augener; Breitkopf;

Novello; Schirmer; Universal)

(b) Violin and clavier sonatas (Augener, 2v;

Schirmer, 6v; Universal, 6v.)
(a) Concerto in A minor (Augener; Breitkopf;

Schirmer)
(a) Concerto in E major (Augener; Breitkopf;

Schirmer)

mer)

The Violin sonatas present a minor problem in nomenclature in that the
second, fourth and sixth are alternatively known as the first, second^ and third
Partitas, which is a better descriptive title. Fortunately all six works are in different
keys so that confusion should be easily avoided. The works make considerable
demands both upon soloist and audience but are among the greatest ever written
for the violin* The favourite is no. 4 (Partita no. 2), in D minor; this contains the
famous Chaconne. The Sonatas for violin and clavier are much simpler, both to
play and to hear, but are also of lesser stature. The Double concerto is written
for two violins with string orchestra accompaniment and continuo; the arrange-
ment here is for two violins with piano accompaniment.

BARTOK (e) Sonata no. 2 (Boosey)

(e) 44 duos for two violins (Boosey)

The Sonata dates from 1922; like the great majority of Bartok's works it is
difficult music to play and to comprehend but is well worth the necessary effort.
The Duos (1931) are primarily teaching material and are written in similar fashion
to the composer's Mikrokosmos, for solo piano. Many of the brief pieces are
based upon folk-tunes. A further suggestion is the Romanian folk-dances from
Hungary which were written for piano solo but which have been excellently
transcribed for violin and piano by Bart6k's friend, Zolt&n Szekely.

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Music Librarianship

BEETHOVEN (a) Concerto in D major, op. 61 (Augener; Peters;
Ricordi; Universal, etc.)

Ricordi; Universal, etc.)
(a) Sonatas (Augener; Peters; Ricordi; Universal,

etc.)

The ten Sonatas for violin and piano are a basic requirement for the smallest
collection. It may be mentioned that the Augener edition is edited by Fritz
Kreisler whose playing of the works was unsurpassed. The concerto is one of the
most popular in the repertory and the two brief Romances (with orchestral
accompaniment in the original) have gained in popularity with the appearance of
excellent modern gramophone recordings.

BRAHMS (a) Concerto in D major, op. 77 (Augener; Schirmer)

(a) Sonatas, op. 78, 100, 108, 3v. (Augener;
Schirmer)

All three sonatas contain something of Brahms's genius but the second is the
least difficult to play. The concerto is a great favourite with both violinists and
audiences. The composer also made an arrangement of the op. 120 clarinet
sonatas, but this violin and piano version is not really satisfactory.

BRUCH (c) Concerto no. 1, in G minor, op. 26 (Peters)

CASELLA (e) Concerto (Universal)

CHAUSSON (e) Podme, for violin and orchestra, op. 25 (Breit-

kopf ; Peters)

CORELLI (c) 12 sonatas, op. 5 (Augener, 2v.)

The last of these sonatas, known as La Folia, consists of a set of variations,
and is easily the most popular of the set.

DEBUSSY (e) Sonata

One of Debussy's last works and one upon which critical opinion is still
sharply divided. Some say that it is the writing of a sick and dying man, with
inspiration sadly lacking; others claim it to be a masterpiece of compression and
a work of considerable importance.

DELIUS (e) Concerto

(d) Sonata no. 3 (Boosey)

The third (and last) of the violin sonatas is the only one that is performed
with any regularity. The concerto has received several good recordings and is in
the form of a single rhapsodic movement.

DVORAK (c) Concerto in A minor, op. 53 (Lengnick)

(e) Sonatina, op. 100 (Lengnick)

(e) Sonata in E major, op. 57 (Lengnick)

The concerto cannot be counted as one of Dvorak's best works but it still

334

Instrumental Music

achieves occasional performance. Alec Robertson (in Ms life of the composer)
says that the sonatina is "little more than chips'* from Dvorak's workshop, but
admits the charm of the work. The sonata is a bigger work and is also one that
appears to be neglected by British violinists.

ELGAR (b) Concerto in E minor, op. 61 (Novello)

The concerto is a long work written by the composer when in Ms prime and
it needs an accomplished soloist for a successful performance. The sonata is one
of Elgar's last compositions (it was written in 1918) and it provides considerably
greater enjoyment for the violinist than for the pianist.

FAURE (d) Sonata no. 2, in E minor, op. 108 (Durand)

FRANCK (b) Sonata in A major (Boosey; Novello; Shirmer;

U.M.P.)
GLAZUNOV (e) Concerto in A minor, op. 82 (Belaieff)

GRIEG (c) Sonata no. 3, in C minor, op. 45 (Peters)

The last and best of the sonatas, and well suited to amateur talents.

HANDEL (a) 6 sonatas (Augener ; Breitkopf ; Novello ; Peters ;

Schirmer; Schott)

These sonatas form part of Handel's opus 1, which comprises Fifteen solos
for a German flute 9 hoboy or violin, with a thorough bass for the harpsichord. From
this title it might appear that any of the three instruments could play any sonata,
but in fact each work was written for one only of these three and this is indicated
in the manuscript at the beginning of each sonata. The six for violin are numbers
3, 10, 12, 13, 14 and 15. Others in the series will be found in the section dealing
with flute music.

A word must be added concerning the accompaniment. As the original title
indicates, Handel provided a ground bass only (i.e. the bass line plus a note of
the appropriate chord structure when the harmonies changed) and from this the
contemporary harpsichord player would extemporize a suitable accompaniment.
For this reason the modern accompaniments in the different editions vary con-
siderably and are not necessarily in eighteenth-century style. The Schott edition
is recommended since in addition to the usual "realized" accompaniment it also
shows the original figured harmony, so that the performer can revert to eighteenth-
century practice if sufficiently skilful ; this edition also includes a part for
violoncello which would be wanted to reinforce the bass-line if a harpsichord
was used to accompany the violin. Second choice of edition would be the Novello
where the realization of the accompaniment is by Arnold Dolmetsch.

HAYDN (c) Concerto in C major (Breitkopf; Peters)

While there are a number of concertos attributed to Haydn only three are
indisputably Ms, including this one in C major. It has its attractions but cannot
be rated as one of the master's greatest works. Haydn's Violin sonatas are not
recommended for stock since they are mainly works for piano solo with violin
accompaniment; on the other hand, the large collection would do well to include
the little-known 6 duo-sonatas for violin and viola.

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Music Librarianship

MINDEMITH (c) Sonata in D major, op. 11, no. 2 (Schott)

(e) [Unaccompanied] sonata in E major (Schott)

Hindemith's opus 1 1 consists of six works two sonatas for violin and piano,
one for violoncello and piano, one for viola and piano, and one each for un-
accompanied viola and violin respectively. The recommended work is the most

frequently performed; it dates from 1920, some fifteen years earlier than the
unaccompanied sonata, which has no opus number.

IRELAND (c) Sonata no. 1, in D minor (Augener)

The earlier work won Cobbett's International Competition for a violin
sonata in 1909 and has since been revised. Though the second sonata won no
prize it is generally considered to be an even finer work.

KREISLER (a) [Violin pieces] (Schott)

This famous violinist published a number of light pieces in the Viennese
style under his own name, and was also responsible for many "transcriptions" of
the works of minor eighteenth-century composers, and it was years before it was
discovered that these were fraudulent, in that Kreisler had written them also.
Later editions of the pieces substituted "in the style of . . ." to clarify the position.
In both fields the composer shows delightful craftsmanship and a real melodic
gift and the works are perennially popular with both professional and amateur
violinists. Schott's publish eleven works as "original compositions" and a series
of "classical manuscripts", etc. A number of works such as the Caprice Viennois,
Liebesfreud, etc., would conveniently bind into a single volume. At least two
public-library suppliers sell bound albums of this type.

LALO (d) Symphonie espagnok op. 21 (Schirmer;

U.M.P.)

Although the work is of limited popularity it remains in the standard reper-
tory because of its fine technical writing which gives the virtuoso an excellent
vehicle to demonstrate his or her accomplishments.

LEKEU (d) Sonata (Rouart, Lerolle)

Guillaume Lekeu (1870-1894) was a pupil of Franck and d'Indy. Unfor-
tunately he died of typhoid fever before he was able to fulfil the immense promise
he had already shown as a composer. This sonata is probably his best work.

MENDELSSOHN (a) Concerto in E minor, op. 64 (Augener; Peters;
Ricordi; Schirmer; Universal)

MOZART (b) Concerto in G major, K.216 (Breitkopf; Peters;

Schirmer)
(a) Concerto in D major, K.218 (Augener; Peters;

Schirmer)

(a) Concerto in A major, K.219 (Augener; Breit-
kopf; Peters; Ricordi; Schirmer)
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Instrumental

(a) Sonatas, 2v. (Augener; Breitkopf; Peters;
Ricordi; ScMrmer)

The violin sonatas cover almost the whole of Mozart's brief life and contain
some of his finest music. The duos are little known but (like the Haydn examples)
are well worth recommending to both violinists and violists. The concertos are
comparatively early works but are Mozart's best known pieces for violin; they
are extremely popular. The above three concertos are often known as numbers,
3, 4 and 5 respectively, and the large collection could usefully add the remaining
three.

NIELSEN (d) Sonata no. 1 9 in A major., op. 9 (Hansen)

(d) Sonata no. 2, in G minor., op. 35 (Hansen)

(e) Concerto in C and D major., op. 33 (Hansen)

All three recommendations are important works by this Danish composer
in whom interest has recently grown. His style is a very personal one and may
not be acquired at once.

PAGANINI (b)24 [unaccompanied^ caprices, op. 1 (Augener;

Peters; ScMrmer)

During his lifetime it was considered impossible for any other violinist
except the composer himself to play them. Even today, with the great advances
in technical standards that have taken place since Paganini's death in 1840, the
Caprices are still considered extremely difficult to play well. Other composers
(Brahms, Liszt, Rachmaninov, etc.) have used themes from one or other of the
Caprices for works of their own.

POULENC (e) Sonata (to the memory of Garcia Lorca) (Scfaott)

PROKOFIEV (d) Sonata no. 1, in F minor., op. 80 (Boosey)
(e) Concerto in D 9 op. 19 (Boosey)

RAVEL (b) Piece en forme de Habanera (U.M.P.)

Though originally written for voice and piano this work is much better
known and is much more popular in this present arrangement which was made
by the composer.

RUBBRA (c) Sonata no. 2 5 op. 31 (O.U.P.)

This work dates from 1931 and should prove enjoyable both to performers
and listeners. Two good recordings of the sonata have been made,

SAINT-SAENS (b) Introduction and Rondo capriccioso, op. 28
(Durand)

A very popular favourite with violinists and audiences. Though the music
may lack profundity its tunefulness and technical mastery may be regarded as
almost adequate substitutes.

SARASATE (b) Spanish dances, 4v. (Lengnick)

Sarasate, like Kreisler and some others listed in this section, was an out-

337

Music Librarianship

standing violinist who showed very great technical skill in transcribing works for
the violin. The music is rarely of the first quality but violinists of every calibre
usually include some of these dances in their repertoires.

SCHUBERT (d) 3 sonatinas, op. 137 (Augener; ScMrmer)

Not vintage Schubert but still calculated to give pleasure to most violinists.

SCHUMANN (c) Sonata in A minor, op. 105 (Augener; ScMrmer)
(d) Sonata in D minor, op. 121 (Augener; ScMrmer)

Both sonatas date from 1851 and are among the best of Schumann's later
compositions, showing no signs of that deterioration that affected many of his
works towards the end of his composing life. The Augener edition provides both
works in a single volume.

SIBELIUS (b) Concerto in D minor, op. 47 (O.U.P.)

This warm and romantic work is appreciably different from the other major
compositions of Sibelius and is popular with many who find the composer's
symphonies much less enjoyable.

STRAUSS, R. (c) Sonata in E\> major, op. 18 (Universal)

A comparatively early work (as the opus number indicates) but one in which
the composer's personal style is apparent and in which the writing is very
effective.

SUK (b) 4 pieces, op. 17 (Simrock, 2v.)

These pieces by Dvof ak's son-in-law deserve to be much better known. Each
lasts about four minutes and all are well written for both performers. An excellent
recording was made by the ill-fated Ginette Neveu and her brother.

SZYMANOWSKI (e) The fountains of Arethusa, op. 30, no. 1 (Uni-
versal)

A technically difficult showpiece for expert violinists and equally expert
pianists.

TARITNI (b) Sonatas (Augener, 3v; Schirmer, 2v.)

Though Tartini wrote dozens of sonatas, he is almost universally known by
one of them that in G minor known as The Devil's trill (derived from a dream
that the composer is alleged to have had). The Augener volumes contain sonatas
in G major and G minor (in one volume), the Devil's trill, and a third volume
with a sonata in C major and another (Giga) in D major. Schirmer publish two
sonatas (in E minor and G major) in one volume and the Devil's trill in a second;
this last work is available in a number of other editions, including two from
Ricordi, one of which is edited by Kreisler. Other works by this popular eighteenth-
century composer include a Concerto in E major (Peters) and a Concerto in
G minor (Novello).

TCHAIKOVSKY (a) Concerto in D major, op. 35 (Augener; Peters;
Schirmer)

338

Instrumental Music

VAUGHAN
WILLIAMS (c) Concerto in D minor (O.U.P.)

(b) The lark ascending (O.U.P.)

The concerto was originally entitled Concerto accademlco; the amended title
is probably better since the work is not nearly as forbidding as the original might
suggest. The other work was inspired by Meredith's poem of the same title and,
in the original, the soloist is accompanied by a string orchestra.

VEEUXTEMPS (d) Concerto no. 5, in A minor, op. 37 (Schinner)

Henri Vieuxtemps (1820-1881) was a Belgian virtuoso and this concerto is
typical of his works. It has little musical value but is popular with audiences
because of its technical brilliance, though this limits performance to good
players.

WALTON (d) Concerto (O.U.P.)

A long work, written specially for Jascha Heifetz, and outside the scope of
all but the most accomplished violinists.

WIENIAWSKI (b) Legende, op. 17 (Augener; Schinner)

(ScMrmer)
(b) Scherzo tarantelle, op. 16 (Augener; Schinner)

This composer was a Polish virtuoso who wrote music to display his own
outstanding technique. As with other composers of this type his music has no
great value but is excellently set out for its instrument and makes little demand
upon the intellect of the audience. The recommended works would bind in one
volume.

Viola

It is only in fairly recent years that the viola has emerged from
the "poor relation" category. Its enhanced standing is almost en-
tirely due to the efforts of Lionel Tertis whose technique and inter-
pretative ability showed how much more could be done with the
viola than was generally recognized. This skill, combined with deter-
mined persuasion, resulted in many new works being added to the
viola repertory especially by British composers. Despite this, the
average player is still dependent on transcriptions and chamber
music for a large proportion of his music-making.

ARNOLD (d) Sonata (Lengnick)

BACH (e) 3 sonatas (Peters; Ricordi)

These works were written for the viola da gamba and clavier, but sound well
played by viola and modern pianoforte.

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BAX (b) Sonata (ChappeU)

This contemplative work was composed in 1921 and is a product of the
composer's maturity. It is reckoned to be one of his finest works.

BENJAMIN (b) Sonata (Boosey)

Arthur Benjamin is an Australian, born in 1893, whose most popular work
to date has been Jamaican rumba. However, this sonata shows him in more serious
vein. The three movements are unconventional for a sonata, being an Elegy, a
Waltz and a Toccata.

BERLIOZ (a) Harold in Italy, op. 16 (Jobert)

This is a symphony with viola obbligato rather than a viola concerto. The
work is based upon Byron's Childe Harold but the connection is barely recogniz-
able. The solo part was written for Paganini (who was almost as great a virtuoso
on this larger instrument as he was on the violin). He paid for the work but
refused to play it. Good recordings on gramophone records in recent years have
helped to make the work more popular, but the score is at present o.p.

BLISS (e) Sonata (O.U.P.)

BRAHMS (c) Clarinet sonatas, op. 120 (Augener)

These two works may be played, on the composer's own authority, by viola
and piano and so can fill a useful dual-purpose role. An alternative edition,
published by Breitkopf, has the first sonata only available.

BURKHARD (d) Sonata, op. 59 (Barenreiter)

Willy Burkhard (b. 1900) is a contemporary Swiss composer whose works
are receiving some notice in Britain, particularly on the radio.

DITTERSDORF (e) Sonata in E\? major (Novello)

Dittersdorf was a contemporary of Haydn and Mozart and is barely remem-
bered today despite a large musical output. This sonata is a pleasant piece of
music, typical of its period but showing little sign of musical personality.

HANDEL (d) Sonata for viola da gamba and cembalo

(Augener)

HINDEMITH (b) Kleine Sonate, op. 25, no. 2 (Schott)

(b) Sonata in F major, op. 11, no. 4 (Schott)

Hindemith is a viola player himself and has played the instrument in a pro-
fessional quartet (the Amar Quartet); he writes, therefore, with a first-hand
knowledge of the instrument's capabilities, and these are two excellent examples
of twentieth-century music for the viola.

D'INDY (e) Sonata (Salabert)

An arrangement for viola and piano of the violoncello sonata, op. 84.

JACOB (e) Concerto (O.U.P.)

Though Gordon Jacob is perhaps best known as a teacher, his skill as a
composer is also appreciated by performers. The pianoforte accompaniment

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Instrumental Music

hides the skilful orchestration of the original. At the moment this arrangement
is o.p.

MILHAUD (d) Sonatas nos. 1 and 2 (U.M.P.)

(e) Concerto (Universal)

RAWSTHORNE (e) Sonata (O.U.P.)

REGER (d)J suites for unaccompanied viola, op. 13 Id

(Peters)

Reger is often accounted a dull composer and unaccompanied viola may
hardly be regarded as providing sprightly music yet these works are most
enjoyable when well played. If added to stock some persuasion may be required
with local players before they will consent to try this music with the somewhat
unusual opus number.

RUBBRA (e) Concerto (Lengnick)

SCHUMANN (a) Mdrchen Bilder, op. 113 (Augener; ScMrmer)
These Pictures from Fairyland consist of four pieces, pleasantly varied.

WALTON (a) Concerto (O.U.P.)

Probably the best known of all modem viola concertos and rated by Sir
Donald Tovey as "one of the most important modern concertos for any instru-
ment". It dates from 1929 and needs a first-class violist and an equally accom-
plished pianist to produce a satisfactory performance.

As mentioned in the Introduction to this particular section, there

is still a paucity of suitable works for viola so that a library is advised
to buy, as first or second choice, some of the excellent arrangements

made by Watson Forbes and Alan Richardson and published by
O.U.P. The two editors have chosen mainly seventeenth- and
eighteenth-century works, often written for obsolete instruments
such as the viola da gamba, etc. Several of these pieces, bound to-
gether, would make a suitable album.

Violoncello

This instrument is second to the violin in popularity among string
instruments and selection should show awareness of the fact. There is
a very large repertory of varied quality both original works and
transcriptions.

BACH (a) 6 sonatas (suites) for unaccompanied * cello

(Augener; Peters; Ricordi; Schirmer)
(e) 3 sonatas for viola da gamba and clavier (Peters)
The unaccompanied works are never likely to be popular but violoncellists
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Music Librarianship

know them as some of the finest in their whole repertory. The technical difficulties
are tremendous in some sections though one might not think so when listening
to the recorded performance of a Casals or a Starker. The titles "sonata" and
"suite" are used rndiscriminately.

The viola da gamba (or bass viol) was the lowest in pitch in the normal
chest of viols and the violoncello is its modern successor. These same sonatas,
transposed up, have been recommended in the viola section.

BEETHOVEN (a) Sonatas (Augener; Peters; Ricordi; Schirmer)

These five sonatas cover most of Beethoven's creative life, for there are two
sonatas that make up opus 5, two more for opus 102, and in the middle is the
single sonata opus 69, the most popular of the five. Riezler, in his great critical
biography of the composer, declares that the last two sonatas "cannot be called
favourites for they are ungrateful for the instrument and problematic in con-
struction". Despite that they are standard works in the 'cellist's repertory.

BOCCHERINI (c) Concerto in B\? major (Breitkopf)

The problems of balancing the low-pitched tones of an instrument that lacks
penetrating power against an orchestra seems to have deterred all but a handful
of composers. One result has been that this not-very-distinguished work which,
in modern performance, owes rather more to its editor (Friedrich Grutzmacher)
than to its alleged composer, appears with some regularity in concert pro-
grammes. For most people Boccherini remains the composer of a single work
the famous Minuet.

BRAHMS (d) Sonata no. 1, in E minor, op. 38 (Augener ; Henle ;

ScMrmer)
(b) Sonata no. 2, in F major, op. 99 (Augener; Henle)

Both works are important, but the second shows the increased maturity that
one would expect when comparing the opus numbers.

DEBUSSY (e) Sonata in D minor (Durand)

One of the composer's last works (written in 1915) it shares the varied
opinions that these late compositions receive. A majority of critics appear to
regard the work as inferior (for Debussy) and not particularly representative.

DELIUS (d) Sonata (Boosey)

DVORAK (a) Concerto in B minor, op. 104 (Lengnick)

Excellent performances recorded for the gramophone have helped to in-
crease the popularity of what is probably the finest 'cello concerto of all.

ELGAR (b) Concerto in E minor, op. 85 (Novello)

Elgar's last major work, dating from 1919. After a cool reception when first
performed it has grown steadily in public estimation and is now played with
some frequency. The concerto is much more restrained than Elgar's other
important orchestral works.

FAURE (e) Sonata no. 1, in D minor, op. 109 (Durand)

(e) Sonata no. 2, in G minor, op. 117 (Durand)
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Instrumental Music

GRIEG (c) Sonata In A minor, op. 36 (Peters)

An interesting work deserving of more frequent performance.

HAYDN (a) Concerto in D major (Breltkopf; Peters; ScMr-

mer)

This pleasant and unaffected work was originally attributed to Haydn, later
to his pupil Anton Kraft, and now once more to Haydn. Whoever wrote It, the
work is very popular with 'cellists and audiences.

HINDEMTIH (e) Concerto (Kammermusik no. 5), op. 36, no. 2

(Schott)
HONEGGER (e) Sonata (Sirene)

IRELAND (c) Sonata in G minor (Augener)

A typically mature work (dating from 1923); it is unduly neglected.

MARCELLO (b) Sonatas (Schott, 4v. ; Ricordi, 5v.)

Benedetto Marcello (1686-1739) is one of a number of eighteenth-century
composers who wrote violoncello music within the compass of the average amateur.
The Schott edition includes 7 sonatas in all with three books containing two
works (A minor and E minor; C major and G major; F major and G minor)
and a Sonata in D major. The E minor sonata published separately (no. 63 in
Schotfs "Classical violoncello music" series) is the same as that contained in the
first of the other volumes. The five Ricordi sonatas duplicate four of those
published by Schott (D major, E minor, G major and G minor), but the fifth in
G (Ricordi catalogue no. 405) major is not duplicated.

MENDELSSOHN (a) Violoncello works (Augener; Peters)

There are four works Variations concertantes, op. 17, Sonata in E}) major >
op. 46, Sonata in D major, op. 58 and a Song without words, op. 109. All are
pleasant, well-mannered and written with considerable technical skiH, as is
customary with this composer. The sonatas are the most frequently performed
of the four works.

POPPER (d) Higher 'cello school^ 4v. (Novello)

(e) Suite, op. 69 (Peters)

David Popper (a German Czech despite his English-sounding name) is
remembered chiefly as a performer on and a great teacher of the 'cello. The
Higher 'cello school is still considered one of the best sets of technical training
pieces. r

RACHMANINOV (c) Sonata, op. 19 (Boosey)

A fairly effective work in which the piano writing is much better than that
for the 'cello; the latter is treated as a junior partner rather than an equal.

REGER (e) 3 unaccompanied suites, op. 13 Ic (Peters)

A companion set to the suites listed in the section for Viola music.

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Music Librarianship
RUBBRA (e) Sonata, op. 60 (Lengnick)

SAINT-SAENS (e) Concerto no. 1, op. 33 (Durand)

(d) Concerto no. 2, op. 119 (Durand)

SAMMARTINI (c) Suite in C major (Schott)

SCHUBERT (b) Arpeggione sonata, D.821 (Breitkopf ; Peters)

This is the only work still known that was written specifically for the arpeg-
gione, an instrument that was something of a combination of guitar and 'cello,
played with a bow; invented by Stauffer in 1823 it was deservedly short-lived.
The work plays perfectly well in its arrangement for violoncello and is well worth
attention by the amateur 'cellist even though the sonata is not vintage Schubert.

SCHUMANN (e) Adagio and allegro, op. 70 (Durand)

(e) Concerto in A minor, op. 129 (Durand)

(d) Fantasiestucke, op. 73

Hie concerto and the 5 pieces in popular style are both original works for
the instrument and both show some signs of that mental ill-health that affected
so much of Schumann's later music. The composer made an arrangement for
violin and piano of the opus 102 pieces and the other two items are also arrange-
ments of music written for another instrument. The Adagio and allegro was
originally written for French horn and Schumann made alternative versions for
violin and 'cello. The Fantasy pieces were for clarinet, but again Schumann made
versions for violin or 'cello. The 3 romances, op. 94 (Augener), written for oboe
and piano, with an arrangement for violin and another for clarinet have also been
published for 'cello and piano and once again provide tuneful, enjoyable and
not-too-difficult works for the amateur player.

An out-of-print volume published by Peters contained the op. 70, 73 and
102 items.

TCHAIKOVSKY (c) Variations on a rococo theme, op. 33 (Augener;
Peters)

A work for violoncello and orchestra notable for its excellent writing for the
soloist. The music is tuneful and easily assimilated.

Double Bass

In the opening remarks on the provision of string music it was
suggested that double-bass players are comparatively rare. There are
a number who play the instrument in dance bands but in the great
majority of cases these performers do not appear to be users of the
public library music stock. If, however, music is required for this
instrument, the following pieces are suggested.

DRAGONETTI Studies for the double bass (Carisch)

The composer was a young contemporary of Haydn and his prowess on the

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Instrumental Music

unwieldy instrument is almost as legendary as that of Paganini on the violin.
Dragonetti used, for instance* to play the 'cello part of a string quartet on Ms
double-bass with apparent ease and in perfect balance with the other members
of the team. These studies are useful for players who wish to improve their
technique.

HINDEMITH Sonata (Schott)

The name of Hindemith appears in almost every section of these lists for he
has apparently written a sonata for every instrument of the orchestra. There
should be no need to stress his importance as a composer but it should be men-
tioned that he has shown willingness to write music for any instrument or
combination if commissioned to do so. Even if every work is not a masterpiece
none falls below a highly competent standard.

LECLERCQ Concertino (Leduc)

MORBTOUCCI Concerto in D minor (Peters)
SCHMITT Morceau de concours (U.M.P.)

Guitar

This instrument has gained respectability and caste through the
efforts of Andres Segovia. Until the middle nineteen-fifties it would
have been adequate in small- and medium-sized libraries to provide
one or two pieces at most. The arrival of "skiffle" and the ensuing
upsurge of interest in the guitar has altered the position and libraries
may now usefully stock a somewhat larger selection, though many
of the players of the instrument will have no interest beyond jazz
and folk music and will be unable to read printed music.

In addition to the pieces listed below it should be noted that some
foreign guitar music is imported into Britain by Clifford Essex, and
these pieces include some transcriptions of lute music. They could
form a useful addition to the collection, as would some of the tran-
scriptions by Segovia (Schott).

CASTELNUOVO-
TEDESCO Sonatina for solo guitar (Schott)

DIABELLI Sonatina for guitar and piano (OesterreicMscher

Bundesverlag)
HANDEL 8 Aylesford pieces [air. Segovia, for solo guitar]

(Schott)

SOR Easy pieces, op. 35 (OesterreicMscher Bundesverlag)

12 easy pieces from op. 60 (Universal)

Fernando Sor (whose dates of birth and death vary in different musical
dictionaries but are approximately 1780-1839) was a Spaniard who has been

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Music Librarianship

called "the Beethoven of the guitar". He is probably the best-known composer
for the instrument and his works deserve fuller representation if the number of
scores in the guitar section are increased.

WEBER Divertimento for guitar and piano, op. 38

(Schlesinger)

Weber played the guitar himself and left this pleasant lightweight piece to
remind posterity of the fact.

[See pp. 290-1 for explanation of asterisks In following sections.]

MUSIC FOR WIND INSTRUMENTS

Recorder

This instrument was the forerunner of the flute and fell out of use
as the transverse flute became more popular. During the nineteen-
thirties, however, interest in the recorder was revived after a gap of
some two centuries, and it is now a comparatively popular instru-
ment with amateur musicians mainly because a fair amount of skill
can be acquired in a short time. Much of the credit for this revival
must go to the Dolmetsch family who made a special study of several
old instruments that had fallen into disuse. For modern consort pur-
poses (a "consort" of recorders being a small group playing music
in parts) there are usually four different instruments the descant,
treble, tenor and bass recorders. The smallest and highest-pitched
of the family, the sopranino, is occasionally seen or heard and its
lowest note, "F", is the top note of the treble stave. The descant
recorder is pitched a fourth lower, and the treble a fourth lower again
which makes the pitch of the latter an octave below that of the
sopranino. Similar intervals separate the other two members of the
family. The normal range is a seventeenth, i.e. two octaves and a
tone, so that the top note of the descant recorder is shown as D iv ,
but expert players can achieve notes above the nominal range. The
instrument tends to sound an octave lower than its actual pitch so
that the shrillness that one might expect is absent. For solo work the
treble recorder is the favoured instrument and it has a wide reper-
toire of seventeenth-, eighteenth- and twentieth-century music.
Librarians wanting more works for recorders will find many suitable
works in the Schott catalogue.

ARNOLD Sonatina for recorder and piano, op. 41 (Paterson)

Malcolm Arnold is a composer with a growing reputation and this is a good
modern work with the added attraction for the librarian that either flute or oboe
may be used as alternative solo instruments.

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Instrumental Music

HANDEL *FitzwiUiam sonatas for treble recorder (Schott)

The manuscript for this set of sonatas is in the Fitzwilliam Museum at
Cambridge and the accompaniment has been arranged from the figured bass by
Thurston Dart. The original accompaniment would be by harpsichord and viola
da gamba but the present realization may also be played by pianoforte and
violencello or by piano alone.

HINDEMITH Trio for recorders in C and F (Schott)

MURJULL Sonata for treble recorder (or flute) and harpsichord

(or piano) (O.U.P.)

Herbert Murrill was Head of the Music Department of the British Broad-
casting Corporation at the time of his death in 1952. As suggested by the title,
the work should appeal to flute players as well as those of the recorder, but it
includes some notes outside the ordinary range of the latter instrument and is
technically difficult.

PURCELL, D. Sonata in F (O.U.P. ; Kicordi)

Daniel Purcell was a younger brother of the famous Henry. The Ricordi
edition is arranged by Fleury and the O.U.P. by Joseph Slater; both were famous
flautists. The Italian edition is to be recommended as the O.U.P. version omits
the first movement of the work which is recommended for beginners.

SHAW, M. Sonata for recorder (or flute) and harpsichord (or

piano) (Cramer)

Another contemporary British work that has, for the librarian, a double
usefulness.

TELEMANN Sonata in F (Schott)

Flute

Unless there is a local professional or amateur orchestra, flautists
(or flutists) are infrequently met as library borrowers. Where dual-
purpose works (i.e. those that can be played with an alternative
instrument as soloist) are bought the cataloguer should ensure that
the necessary added entries are made under the alternative instru-
ments. Three of the modem British works in the section immediately
preceding provide examples of works of this nature.

BACH Sonata in A minor (Durand; Peters)

6 sonatas (Breitkopf ; Peters)

The sonata in A minor is for unaccompanied flute. The other six comprise
two sets of three sonatas each; one set is for clavier and flute and the other for
flute with continue. This last means that the accompanying instrument is not
specified but that the composer has provided the bass line together with necessary
indications of the harmonies to be used. The result is that modern editions require
a worked-out accompaniment and that different editions will vary in the piano

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Music Librarianship

part as with the Handel violin sonatas previously recommended. On the com-
poser's authority, these six works may be performed with violin as solo instru-
ment.

BAX Four pieces (Chappell)

CHAMINADE Concertino (Enoch)

DEBUSSY Syrinx for unaccompanied flute (Jobert)

Originally entitled Flute de Pan, and intended for performance as incidental
music to a play.

FAURE Fantasie (Leduc)

HANDEL *9 sonatas, op. 1 (Boosey; Peters; Schott)

The sonatas for German (i.e. transverse) flute, oboe or violin and continue
can be issued to three different sets of musicians and so are very useful additions
to stock. The problems of solo instrument and of accompaniment to HandeFs
opus 1 are discussed under the composer's name in the section on violin music.
In Hunt and Donington's Practical method for recorder are mentioned "12 sona-
tas, op. 1", and it is stated that four of the sonatas were originally intended for
performance by recorder. These were numbers 2, 4, 7 and 11 which are shown as
2, 7, 4 and 5 respectively in the Peters edition, and 1, 2, 3 and 5 in Breitkopf.
In the Practical method it is also stated that many passages in the later editions
have been written an octave higher than the original. The Breitkopf edition,
containing all 9 sonatas, is o.p.; the Boosey edition includes 8 sonatas and Peters
and Schott 7 each.

In addition to the sonatas recommended Handel wrote three sonatas (to
which no opus number was added by the publisher) for flute and cembalo; these
merit inclusion in the larger collection of flute works.

MOZART * Concerto in G major, K313 (Boosey; Breitkopf)

* Concerto in D major, K314 (Boosey; Breitkopf)

These are two of the most popular works with flautists and they are equally
popular with audiences. It may be appropriate here to mention that Mozart also
wrote three quartets for flute and strings (K. 285, K. 298 and K. a. 271).

QUANTZ 7 sonatas (Forberg)

Johann Quantz (1697-1773) was the teacher of Frederick the Great for a
period of over thirty years and composed hundreds of works for Ms royal pupil.
His book on flute playing is still of value and these sonatas (edited by Fischer and
Wittenberger) give a fair sample of his quality as a composer.

Oboe

This instrument presents the third example of one whose current
popularity is due, in the main, to a single executant. L6on Goossens,
like Tertis and Segovia in their respective fields, has persuaded com-
posers to write new works and to arrange old works for the oboe.
The repertory of original works is still extremely small and it should

348

be noted that several of the oboe "concertos 9 * are s in fact, based
upon sonata movements, etc., of various eighteenth-century com-
posers.

BRITTEN 6 metamorphoses after Ovid., op. 49 (Boosey)

Written for unaccompanied oboe, these works do not provide easy listening.

CIMAROSA ^Concerto (Boosey)

TMs popular work is an arrangement by Arthur Benjamin of movements
from various piano sonatas, rewritten for oboe and strings. An excellent record-
ing has helped to make the work well known to many people who have never
heard it in the concert hall.

CORELLI * 'Concerto (Boosey)

Sir John Barbirolli has followed Arthur Benjamin's example and has
fashioned a most attractive work from keyboard pieces by Corel!!.

DUNHILL Friendship's garland, op. 95 (Boosey)

Five miniature pieces which are tastefully written.

HANDEL *3 concertos (Boosey)

HINDEMITH Sonata for oboe and pianoforte (Schott)

One of the later examples of Hindemith's works for individual instruments;
this sonata dates from 1938.

MOZART Concerto (Boosey)

Sonata (Boosey; Chester)

The sonata is an arrangement of the oboe quartet, K. 370, which is a rarely
played though thoroughly enjoyable piece of work. A splendid recording was
made many years ago by Leon Goossens and members of the Lener String
Quartet.

NIELSEN Fantasiestucke, for oboe and piano, op. 2 (Hansen)

This is a very early work of Nielsen's as is indicated by the opus number.
The pieces are lightweight but are well written for both performers and are
attractive.

PERGOLESI Concerto in C major (O.U.P.)

Another Barbirolli arrangement of movements from various works of the
eighteenth-century composer. Like the Corelli "concerto", it is scored for oboe
and strings.

REGER Romance in G (Breitkopf)

SAINT-SAENS Sonata, op. 166 (Durand)

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Music Librarianship

SCHUMANN 3 romances, op. 94 (Augener; ScMnner)

Three pleasant and unpretentious works; the composer wrote these pieces
with clarinet or violin as alternative solo instruments and there is an arrange-
ment (included in the appropriate section) for violoncello and piano.

SINIGAGLIA Variations on Schuberfs "Heidenroslein", op. 19

(Breitkopf)

STRAUSS, R. Concerto (Boosey)

VAUGHAN
WILLIAMS Concerto (O.U.P.)

Cor Anglais

This is an alto oboe with little solo music in its repertory. Oboe
players often "double" on the cor anglais, whose dark and somewhat
plaintive tone can be heard in the opening theme of the slow move-
ment of Dvorak's New World symphony and in the pastoral section
of Rossini's William Tell overture. If a full-sized work is required,
one can recommend the ubiquitous Hindemith who has written a
Sonata for cor anglais and piano (Schott).

Clarinet

This is the most popular of orchestral wind instruments and
much first-class music has been written for it. Both Mozart and
Brahms numbered a great clarinet player among their personal
friends and wrote immortal works for the instrument as a result.

BRAHMS Sonatas, op. 120 (Augener; Boosey)

These two works have already been recommended in the section on viola;
they were actually written for clarinet but may be played (on the composer's
authority) on either instrument. Brahms's great works for the clarinet are the
Clarinet trio and (more particularly) the wonderful Clarinet quintet.

BUSONI Elegie (Breitkopf)

DEBUSSY Petite piece (Durand)

Rapsodie: for clarinet and piano (Durand)

Although written as test pieces these works do not carry obvious signs of
their pedagogic origin and are well suited to the instrument.

DUNHILL Phantasy suite, op. 91 (Boosey)

IRELAND Fantasy sonata (Boosey)

A brilliant work, first performed in 1943. The title is somewhat contradictory

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Instrumental Music

and the rhapsodic side of the fantasy is more In evidence than the formal design
associated with a sonata.

MOZART * Concerto in A minor 9 K.622 (Boosey; Breitkopf;

Ricordi)

This is probably the greatest work written for the clarinet and is one of the
composer's last. Clarinet players have also a great affection for the Clarinet
quintet, K. 581.

NIELSEN Concerto (edition Dania)

One of Nielsen's last works, it is somewhat enigmatic and bad-tempered
and requires an expert technique.

SCHUMANN Fantasiestucke, op. 73 (ScMrmer)

These three pieces were originally called Soireestucke (a reminder that
musicians have often committed shocking atrocities upon foreign languages) and
are pleasant and attractive pieces. They are rarely performed as a group since all
three are in the key of A (two in the major key, one in the minor) and this limits
the contrast between the works. The composer made alternative arrangements of
these pieces with violin or 'cello as the solo instrument.

STANFORD Sonata for clarinet and piano, op. 129 (Stainer &

Bell)

The slow movement of this work is entitled Caoine, a form of Irish lament.
It was recorded years ago by Frederick Thurston, with an interesting and amusing
Suite for two clarinets by Alan Frank on the reverse. The Stanford work is typical
of its composer in being well written; the solo part may be played by a viola but
sounds less successful in this form.

WEBER ^Concertino in E\) major, op. 26 (Boosey; Breitkopf)

The work is in the form of a single movement and is a great favourite with
clarinettists since it allows full scope for a display of virtuosity.

Bassoon

Because of the instrument 9 s comic possibilities, with its difference
in tone between top and bottom registers, the bassoon is often
regarded as a musical buffoon. Yet the instrument can produce
pleasant tones (though a British performer will sound very different
from a French or German player) and plays serious music in an
enjoyable way. Should any works be required, the following brief
list is offered for consideration.

FOGG Concerto (Elkin)

Eric Fogg (1903-1939) was a Manchester man of considerable promise as a
composer. This concerto was played several times during the nineteen-thirties at
Henry Wood Promenade Concerts with Archie Camden as the soloist. The second
half of the concert on these occasions was normally enlivened by Balfour Gar-
diner's piece for three bassoons, the Witches* dance from "'Macbeth".

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JACOB Concerto (Williams)

MOZART Concerto, KJ91 (Boosey; Breitkopf)

An early work of Mozart's but probably the best-known concerto for this
instrument.

SAINT-SAENS Sonata, op. 168 (Durand)

Saint-Saens' last three works were sonatas for oboe, clarinet and bassoon,
all written in 1921. They show both his usual fastidious skill as a composer and
his lack of profound musical feeling.

WEBER Concerto (Breitkopf)

BRASS INSTRUMENTS

There is usually little demand for works written for members of
the brass family but brief recommendations for the French horn,
trumpet and trombone are given below.

French Horn

BEETHOVEN Sonata for horn in piano, in F major, op. 17 (Boosey)

HAYDN Horn concerto no. 2, in D major (Breitkopf)

A pleasant work though of doubtful authenticity.

MOZART Horn concerto no. 2, in E\> major, KA17 (Breitkopf)

Horn concerto no. 4, in Efy major, KA95 (Breitkopf)

There are four of these concertos of which the last three are all written in
the same key. There is little to choose between the four, all of which have
remained in the repertory, but the last is probably the most popular.

SCHUMANN Adagio and allegro, op. 70 (Breitkopf)

A minor piece but written with a good understanding of the instrument's
capabilities. Rather surprisingly, the solo part may be played by violin or 'cello
and separate editions are available from the same publisher.

STRAUSS, R. Concerto no. 1, in E\) major, op. 11 (Universal)

Strauss* two horn concertos were written at the two ends of his composing
life. While the early one may be regarded as little better than a student work, it
still shows the promise of the composer and is written with a very real under-
standing of the instrument's capabilities, since Richard's father was a horn
player himself.

Trumpet

HAYDN Concerto (Boosey)

This is easily the most famous concerto for the instrument, and its current
popularity in Britain dates from the recording of the second and third move-
ments made on a single Columbia disc in the middle nineteen-thirties with George
Eskdale as the soloist.

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Instrumental
HJNDEMITH Sonata for trumpet and piano (Schott)

RHSAGER Concertino (Novello)

An attractive work by a contemporary Danish composer. It consists of three
short movements; the second is played with the solo instalment muted and the
third includes variations upon a tune extremely reminiscent of Three blind mice.

Trombone

MARTIN Ballad for trombone and piano (Universal)

CHAMBER MUSIC

This field of music has always been a minority interest though that
minority is usually the keenest and most knowledgeable section of
the music library's public. The long series of midday concerts in
London's National Gallery and the B.B.C "Music in miniature"
programmes both helped to increase interest in chamber music,
though this is more likely to be reflected in a greater demand for
miniature scores of chamber works than in requests for parts for
actual performance. Many members of professional orchestras are
keen performers of chamber music for their private relaxation and
most communities of any size have at least a handful of players
(often all of them amateur) who would like to find some suitable
music in their local public library.

Music-lovers whose interests are bounded by orchestral, solo
instrumental, operatic music, etc., are often completely unaware or
ignorant of the amount of really first-class chamber music that has
been written. Limited demand for this type of music, the expense of
buying the several parts and the further costs involved in binding
them suitably these and other factors tend to restrict provision to
a minimum or to exclude it altogether. Yet the smallest independent
library should provide one or two works at least, and this type of
music would seem to be ideal for a scheme of local co-operation. If
one library buys Mozart's piano quartets, for example, a neighbour
could purchase those of Brahms, while a third could buy Dvorak's
second piano quartet, etc. Co-operation between libraries is always
admirable and is doubly so when it increases the chances of use of a
work that may be borrowed from its own library but once in two or
three years. This may sound uneconomic but it must be remembered

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that this same work's potential life is limited only by the physical
deterioration of the score providing that choice is limited to works of
permanent musical value.

I would suggest that the librarian of the small library should
provide some music for piano trio and string quartet as these two
types of musical combination are the most popular. The larger lib-
rary should naturally provide a wider selection of chamber music of
these types and also add one or two examples of quintets, etc.
Arrangements for piano trio of the type of music usually played as
accompaniment to people eating and drinking tea and cakes in a
restaurant do not deserve purchase. In passing, library assistants
(particularly cataloguers) should know that a "string quartet" is
always understood to be a combination of two violins, viola and
violoncello; any other combination of four stringed instruments
would always have the instruments designated. A "string trio" con-
sists of violin, viola and 'cello (i.e. a string quartet minus the second
violin), so that Boccherini's Trios for two violins and violoncello would
be shown in that manner, in contrast to Beethoven's String trios, op. 9.
A "piano trio" comprises piano, violin and violoncello. By the same
system of nomenclature, a "clarinet quintet" is not, as one might
have thought previously, a piece of music written for five clarinets
but music for one clarinet plus a string quartet; an "oboe quartet" is
written for oboe with string trio, etc.

It has been recommended in the previous paragraph that every
library should provide at least a token selection of chamber music;
the lists below give suggestions for a medium-sized basic stock, with
a minimum number of (a) and (b) selections. Annotations are in-
frequent because expert guidance from two members of an amateur
string quartet of long standing is available to help both librarian and
performer. This very practical help is contained in Aulich and
Heimaran [see "Further reading"].

Trios

BEETHOVEN * Piano trios (Augener, 8v; Breitkopf, 7v; Peters)

These works span the whole of Beethoven's working life, from opus 1, no. 1
(1792) to the variations, op. 121a. If a single trio is bought it must be opus 97,
the Archduke trio, one of the finest examples of music for this medium.

The Peters edition is particularly recommended with 11 trios, including the
Clarinet trio, op. 1L Augener publish 9 trios in 8 volumes and Breitkopf 7 trios
in their "Kainmermusik" edition. Both latter editions include the op. 97 trio.

354

Instrumental Music

BERKELEY Horn trio, op. 44 (Chester)

Written for horn, violin and piano. This most attractive modem chamber
work dates from 1952.

BRAHMS Piano trios (Peters)

Brahms wrote five piano trios, ranging from the early op. 8 to the late op. 1 14
though the opus 8 work was, in fact, revised at the same time that the last trio
was written. The latter and its predecessor, op. 101, are the two most frequently
performed. The opus 40 trio allows French horn, viola or violoncello to join the
piano and violin.

All five trios are available separately in the Peters edition (so that it is
possible to stock only the last two, or to add all five over a period of years);
Augeners publish three only, op. 40, 87 and 101, but they are markedly cheaper
than the equivalent trios in the Peters edition.

DVORAK *Piano trio in E minor ("Dw/wfcj"), op. 90 (Lengnlck)

A "Dumka" {plural "Dumky") is a lament with alternating sections of slow,
sad music and quick, bright ones. The trio of this Dvorak work has six such
sections.

HAYDN Piano trios (Peters, etc.)

There are no less than thirty-one of these trios of which numbers 29-31 are
written for piano, flute and 'cello, though the flute part can be played by a violin.
Generally speaking, the pianist is the most important member of a Haydn trio
and the violoncellist counts for least, for he is rarely allowed to stray away from
the bass line of the piano part. The numbering of the trios is usually that adopted
by Peters which bears no relation to chronology. The publishers* numbers 1 to 6,
for example, were written some five years after those known as numbers 29-3 L
The best-known trio is number 1, with its famous Gipsy rondo.

The current Peters edition contains twelve of the trios; an alternative edition
published by Breitkopf offers ten separately published numbers, while Augener
publish 12 trios in 6 volumes.

MOZART Piano trios (Augener, 7v; Schirmer, 8v.)

Sinfonia concertante, K364 (Peters; Schirmer)

The K. 498 trio was originally written for clarinet, viola and pianoforte and
sounds much more effective in that form than when the clarinet is replaced by a
violin. The two best trios, recommended for buying when the complete set is too
expensive, are K. 502 and K. 542; these are listed by the publishers as numbers
2 and 3. Both editions (and one by Breitkopf) contain the same works, but
Schirmer also publish the trio, K. 442, in D (called no. 8 by the publishers)
which was not finished by Mozart but was completed by Stadler who performed
the same function for several works that Mozart left incomplete at Ms death.

The Sinfonia concertante is a double concerto with violin and viola as the
solo instruments. The orchestral accompaniment has been arranged for piano.

SCHUBERT Piano trios, op. 99 and 100 (Augener, 2v; Peters;

Schirmer, 2v.)

The trio in B|? major, op. 99 (D. 898) is one of the loveliest pieces in the

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whole field of chamber music and the one most likely to influence favourably

those who declare that they have neither time nor liking for this sector of musical
composition. The second trio (Deutsch number 929) is hardly less attractive.

String Quartets

BARTOK (e) 6 string quartets (no. 1, Zerboni; nos. 2-5,

Universal; no. 6, Boosey)

These six works are probably the most important in the field of twentieth-
century chamber music; yet they are never likely to achieve popularity since they
are far beyond the scope of the non-professional quartet and require sustained,
concentrated listening by the audience. The last two quartets pose the fewest
problems for the listener and are those recommended for first purchase.

BAX (d) String quartet no. 1, in G major (Chappell)

In this work Sir Arnold Bax answered those critics who declared that he
could only write music that was complex and highly coloured. The quartet is
attractive, tuneful and straightforward. During World War II it was played to
many audiences of Service personnel by the Griller String Quartet.

BEETHOVEN (a) String quartets nos. 1-6, op. 18, nos. 1-6

(Augener, 2v; Peters)
(b) String quartets nos. 7-9 ("Rasoumovsky"), op.

59, nos. 1-3 (Augener; Peters)
(b) String quartets nos. 10-11, op. 74 and op. 95

(Peters)
(d) String quartets nos. 12-16, op. 127, 130, 131,

132, 135 1 Die Grosse Fuge, op. 133 (Peters;

Schirmer, 5v.)

These string quartets are often divided into three groups the opus 18 works
are "early", the opus 59, 74 and 95 quartets are "middle" and from opus 127
onwards are the "late" quartets. The Peters edition of the quartets is published in
three volumes divided in this fashion, and a similar edition by Breitkopf is o.p.
The small library will probably be content with the first six quartets, and the
medium library should certainly include also the middle period quartets for these
are still within the scope of the good amateur team. All three of the opus 59
works are known as the "Rasoumovsky" quartets, while the opus 74 is known
as the "Harp" quartet and the opus 95 work, called by Beethoven "Quartetto
serioso", is sometimes known as the "Serious" quartet.

The large library most certainly should include all the quartets despite the
difficulties they pose both to performers and listeners, for they are perhaps the
greatest utterances ever given to four players. The ScMrmer edition published
op. 330 and 133 together since the latter work (The great fugue) was originally
intended as the finale for the former; Beethoven, however, realized that it was
too weighty for its purpose and eventually completed the op. 130 quartet with a
shorter and simpler last movement.

BOCCHERINI (e) Selected string quartets (Barenreiter)

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Instrumental Music

BORODIN (d) String quartet no. 2, in D major (Boosey)

Famous for the Nocturne which forms the second movement of the work,

BRAHMS (c) String quartets (Peters)

There are three quartets 9 the first two forming opus 5! and the third opus 67.
Augener publish op. 51, nos. I and 2, in two volumes; Breitkopf issue the three
works in a single volume that is at present out of print.

BRIDGE (d) 3 Idylls (Augener)

(e) 3 Novelettes (Augener)

Frank Bridge (1879-1941) was a British composer and teacher and a fine
viola player. These are attractive small works.

BRITTEN (c) String quartet no. 2, in C minor, op. 36 (Boosey)

One of Britten's major works, and composed as a homage to Henry Purcell.

DEBUSSY (d) String quartet, in G minor (Durand)

DVORAK (c) String quartet, in F major, op. 96 (Lengnick)

This is the sixth of Dvorak's eight published quartets and is by far the most
popular, though it took the composer but a fortnight to write. For many years
the work has been known in Britain as the Nigger quartet an appellation that is
now found distasteful by many people, and which is being superseded by the
better title of the American quartet.

HAYDN (a) 30 string quartets (Peters, 2v.)

There are over eighty string quartets by Haydn. This puts a complete
collection beyond the reach of any but the largest public libraries, but the
recommended selection should be within the scope of all but the smallest lib-
raries. For them, Augener publish fifteen of the best-known quartets in separate
volumes. Taken as a whole, the Haydn quartets are among the finest in the whole
chamber music repertory.

HINDEMITH (e) 8 pieces, op. 44, no. 3 (Schott)

MENDELSSOHN (d) String quartets (Peters)

This volume contains the complete works in this form op. 12, 13, 44, 80
and 81.

MOZART (a) String quartets (Peters, 2v.)

The Peters edition contains the complete set of 27 quartets; the Breitkopf
edition, at present o.p., only 23. The earlier quartets are infrequently played but
the last ten are extremely popular with both amateur and professional quartets.
These works (entitled by the publisher 10 celebrated quartets) form the first of the
two volumes recommended; the same ten examples (from K. 387 to K. 590) are
also available singly from Augener, and this firm also issues the K. 172 quartet
and the string quartet version of Eine Kleine Nachtmusik, K. 525. Whichever
edition is preferred these ten quartets should be regarded as basic stock in any
public library.
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Music Librarianship
RAVEL (d) String quartet (Durand)

SCHUBERT (b) 4 string quartets (Augener; Peters)

The two best known and most popular of Schubert's quartets are those
usually known as nos. 13 and 14, the opus 29 (D. 804) and the Death and the
maiden quartet (op. posth., D. 810); the latter gets its name from the song with
the same title which is used by Schubert in the second movement of the quartet.
These two works, together with the two quartets forming opus 125 (in E[? and E
respectively) comprise the recommended volume. In the Peters edition this is the
first volume of the "complete" quartets, in two volumes. The second volume
contains five other quartets and should be bought for the large collection.
Schubert left a number of unfinished quartets; this accounts for apparent dis-
crepancies in numbering.

SIBELIUS (d) String quartet in D minor (^ Voces intimae"),

op. 56 (O.U.P.)

Though an important work in the string quartet repertory it is difficult to
play and comprehend. Perhaps this is why it is surprisingly omitted from the
recommendations in Aulich and Heimeran.

SMETANA (d) String quartet no. 1 ("From my life") (Peters)

TCHAIKOVSKY (b) String quartet no. 1, in D major, op. 11 (Augener ;
Peters)

This is the quartet in which the famous Andante cantabile appears. The third
quartet, op. 30, is also worth adding to stock but both Augener and Peters
editions are at present out of print.

VERDI (d) String quartet (Peters; Ricordi)

WOLF (c) Italian serenade (Novello)

There is an alternative version of this work for small orchestra but it is often
felt that the quartet is the more successful medium. The work itself is strongly
rhythmic and very attractive.

Piano Quartets

BEETHOVEN (d) Piano quartet in Ep major, op. 16 (Augener;
Schirmer)

BRAHMS (a) Piano quartet no. 1, in G minor, op. 25 (Breit-

kopf; Peters; Schirmer)
(a) Piano quartet no. 2, in A minor, op. 26 (Breit-

kopf; Peters; Schirmer)
(a) Piano quartet no. 3, in C minor, op. 60 (Breit-

kopf; Peters; Schirmer)

DVORAK (d) Piano quartet no. 2, in E\> major, op. 87 (Leng-

nick)

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Instrumental Music

FAURE (e) Piano quartet wo. 1, in C minor, op. 15 (Hamelle)

(d) Piano quartet no. 2, in G minor, op. 45 (Hamelle)

Both works are omitted from Aulich and Heimeran, possibly because
French chamber music has, in general, little appeal for German musicians.

MOZART (a) Piano quartets, KA78 and KA93 (Augener, 2v;

Peters)

PURCELL (c) "Golden" sonata (Augener)

This is the ninth of 10 sonatas in iv pans, originally published in 1697,
Written for two violins, bass and continue, this version is for violins, 'cello and
piano.

SCHUMANN (e) Piano quartet in E\> major, op. 47 (Augener;
Peters; Schinner)

Quintets

BEETHOVEN Quintet for piano and four wind instruments, op. 16

(Peters)
String quintet in C major, op. 29 (Schott)

The delightful opus 16 quintet is written for piano, oboe, clarinet, French
horn and bassoon; it is to some extent indebted to a Mozart quintet (K. 452)
written some twelve years earlier for the same combination of instruments.
Beethoven himself made an arrangement of this work for piano quartet in which
form it is better known though less successful. The string quintet is a later but
little-performed work.

BLOCH Piano quintet (Schirmer)

This work dates from 1924 and is one of the most important modem
examples. Though there is some writing in quarter-tones the work is far from
forbidding.

BRAHMS * Clarinet quintet, in B minor, op. 115 (Boosey;

Lengnick; Peters)

DVORAK Piano quintet, op. 81 (Lengnick)

ELGAR Piano quintet in A minor, op. 84 (Novello)

FRANCK Piano quintet in F minor (Hamelle)

An attractive work, probably the finest piece of chamber music that Franck
wrote. Omitted from Aulich and Heimeran.

MOZART ^Clarinet quintet, in A major, K.581 (Boosey; Breit-

kopf)
String quintets (Peters, 2v.)

The string quintet in G minor, K. 516 is particularly recommended for the
library that wishes to buy only one of the composer's ten works in this form.

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SCHUBERT * Quintet for piano, violin, viola., * cello and double-
bass, in A major ("The trout"), op. 114, D.667
(Breitkopf ; Peters)

* Quintet in C major, for 2 violins, viola and 2 'cellos,
op. 163, D.956 (Peters)

These are two of the loveliest of all chamber music works and deserve
inclusion in the medium-sized collection.

SCHUMANN Piano quintet in E\? major, op. 44 (Augener; Peters;
Schirmer)

SHOSTAKOVICH Piano quintet, op. 57 (Leeds Music Corporation)

One of the most consistently attractive works of this somewhat erratic
Russian composer. The quintet dates from 1941.

Larger Groups

The demand for sextets, septets, octets and nonets is likely to be
very small indeed and only the largest library will normally stock
such works. Chamber music, by definition, is understood to have a
single instrument to each part, and the parts themselves are of more
or less equal importance. As soon as there are two or more instru-
ments playing the same part, then the music is not chamber music
but for small orchestra. Because of this "one instrument, one part"
rule, chamber music is usually limited to nonets and smaller com-
binations but there are borderline cases such as Mozart's Serenade
for 13 wind instruments, K.361, etc. For recommended works, Aulich
and Heimeran is again the suggested guide.

FURTHER AIDS TO SELECTION

Piano

FRISKIN, James, and FREUNDLICH, Irwin. Music for the piano: a
handbook of concert and teaching material from 1580 to 1952.
1954. (New York: Rinehart.)

This is the fifth volume of that invaluable series "The Field of
music" with Ernest Hutcheson as its series editor and whose own
work (see below) is a useful complement to this one. Music for the
piano is divided into five parts: The earliest keyboard music;
Pianoforte music from Haydn to the earliest twentieth century;
Pianoforte music of the twentieth century; Original works for four
hands; Music for piano and orchestra. Generally speaking, Freund-

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Instrumental

Hch is responsible for the first, third and fourth sections and FrisMn
for the other two. The arrangement appears to have worked excel-
lently though it has resulted in some inconsistencies. For instance,
John Ireland and Nicholas Medtner were both born in 1879, but the
latter is listed with composers "From Haydn to the twentieth cen-
tury" and the former with "Pianoforte music of the twentieth
century 5 *.

Within each section composers are treated alphabetically, and
their works are usually arranged by opus number or, when there is
none, chronologically. With major composers arrangement by form
is often adopted to bring together all sonatas, aE variations, etc.,
and in such cases there is often a short list of easier compositions
immediately following the composer's name. This helps the amateur
of limited technical ability to select works by the greatest composers
that are within his capacity. In certain cases the works of a composer
are listed in arbitrary fashion. The individual works are listed on the
left-hand margin of each page and the annotation to the right of it.
Works in several movements (such as sonatas) and others which
comprise several pieces (such as Iberia by Albeniz, Debussy's
Children's comer, etc.) usually receive annotation for each move-
ment or piece. Works of lesser importance may have a single annota-
tion which draws attention to the more attractive or better-known
items. The publisher's name is quoted at the end of each annotation;
an exception is made when one publisher handles the entire output
of a single composer (and this is indicated at the beginning of the
entry) or when there are a number of available editions. In the latter
case, a frank note on the available editions follows the composer's
name. A particular edition may be recommended or (more rarely) a
suggestion as to an edition to avoid may be met with.

Part I, The early keyboard music, is divided into seven sections.
The first two deal with English music (from c. 1580 to 1650; and the
seventeenth and eighteenth centuries respectively), the remainder
with French, Italian, Spanish, Portuguese and German composers.
Part II consists of a single sequence of 104 pages (out of the book's
total of some 430). Part III, The 20th century, has three sub-divi-
sions Composers in Europe (including Israel and Russia), Com-
posers in the U.S.A. (including foreign-born residents such as Bloch,
Martinu and Stravinsky) and Composers in Latin-America (with
foreign-born residents again included). The value of these last two
sections, in particular, is immense to the British librarian, for many

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Music Librarianship

of the names and the great majority of the works listed are com-
pletely unknown in this country. Part IV deals, in two sequences,
with piano duets and works for two pianos. The former is not as
comprehensive as Alec Rowley's book (see below) but includes a
number of works that are not found in the English publication.
Part V is also divided into two parts; one is for solo piano and
orchestra and the other lists music for two or more pianos and
orchestra. The work is completed by an Appendix which lists
anthologies of early keyboard music and "Some further reference
editions of early keyboard music", and by an index of composers.
The work must be regarded as a most important bibliographic aid
to music librarians.

HUTCHISON, Ernest. The literature of the piano: a guide for amateur
and student. [1951.] Hutchinson.

The author, Australian by birth and American by residence, was
a concert pianist for many years. In this book he covers a wide field
with separate chapters devoted to the more important composers of
piano music. The general arrangement is chronological, while major
works are considered individually with hints on interpretation. There
is some evaluation of editions in the case of a few composers such as
Beethoven, Brahms, Chopin, etc., and these comments are of prac-
tical value; British librarians, however, must remember that Hut-
cheson lists American editions which may only be available in
Britain through other publishers.

Some chamber music is included (piano quartets and quintets,
etc.) and a bibliography and a good index complete a book that
should be consulted before buying any unfamiliar piano music. As
in the previous work recommended, the chapter on modem American
composers has obvious value. Contemporary British composers are
quite well represented though generally without annotation. There is
one odd error; Howard Ferguson's piano sonata is specifically
recommended, but is listed on page 331 as by "George Fergusson".

LIVERPOOL PUBLIC LIBRARIES. Catalogue of the Music Library: the

piano, its music and literature. 1949. (Liverpool P.L.)

This list was compiled by Liverpool's music librarian, Mr. K. H.

Anderson. Liverpool's collection of scores dates back to 1859 and

this catalogue gives some indication of the development that has

taken place over ninety years. The complete catalogue to this large

362

Instrumental Music

collection, published in 1954, rounds out the picture but is less handy
for those interested solely in piano music. The later catalogue is
arranged on dictionary principles, the earlier volume in classified
order by modified Dewey, with books on technique, collections of
piano works (general and national), solos by individual composers,
duets, two-piano music, and such works as trios for one piano, six
hands, etc., arranged in that order. There is a separate section for
children's music and books on the piano, pianists, etc., are also
included. The catalogue contains over a hundred pages, is a useful
check and finding list, and can provide suggestions for the expansion
of almost any library's piano music section. The catalogue itself is
noteworthy for its cover for the keyboard design along the inner
edge makes the subject obvious at a glance.

LOCKWOOD, Albert. Notes on the literature of the piano. 1940.
(Chicago : University of Michigan Press.)

This book considers works for piano duet and for two pianos in
addition to solo piano compositions ; chamber music is excluded but
piano concertos are listed. In general, the arrangement is alphabetical
under composers' names but musicians considered of lesser impor-
tance are found under headings such as "Miscellaneous American
composers", "The Clavecinists", etc., and these headings are inserted
in the general sequence. Under each composer (whose Christian
names are given first) the following information is given: Date of
birth and death, his piano works (usually arranged in order of opus
number or alphabetically where opus numbers are not used) and the
publisher or publishers of each work. There is also a general survey
of the composer's achievements which is often personal and un-
orthodox without being eccentric. In the preface, Lockwood writes:
"The remarks appended to the lists of compositions may seem
sketchy, but I have purposely left them as they are, since the book is
intended as a stimulus rather than an encyclopedia." An asterisk is
used to denote the best works of a composer or a work which is
extremely popular but this sign is omitted as being meaningless in
the case of the great composers. Except for Bach, the relative merits
of different editions is not discussed; items here are arranged in the
sequence of the Peters catalogue, and the Busoni (Breitkopf ) edition
of Bach's keyboard works is particularly recommended for students.
Minor composers have their works listed without comment, while
the entry for Beethoven includes a list of composers who have

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Music Librarianship

written cadenzas for any or all of the first four piano concertos. The
section devoted to the Clavecinists is divided into two parts those
composers to whom individual volumes have been devoted, and the
second part to albums, anthologies, etc. In an appendix are listed
Compositions for piano and orchestra, Sonatas, Pieces for two
pianos, Concert etudes, and Pieces for children and young people.
Thus, the librarian who wishes has the choice of three volumes of
critical and expert opinion upon the very wide field of piano music.
It is a chastening thought that all are of American origin.

Piano Duets

ROWLEY, Alec. 4 hands 1 piano: a list of works for duet players.
1940. (O.U.P.)

This invaluable work has already been recommended in the
appropriate section earlier in this chapter; it is most regrettable that
it is out of print with no apparent prospect of reprinting. The work
considers duets under eight headings: The classics; General; The
French s chool; French educational; English composers; Educa-
tional; Etudes; Graded pieces. There is a good index to assist easy
reference. For educational duets (i.e. those in which one part is
played by the teacher and the other by the pupil) the relative diffi-
culty of the two parts is indicated by the usual mnemonics, e.g.
"Secondo MD Primo M." Easy, Moderate, Moderately difficult
and Difficult are the four stages. Dates of birth and death are given
for some composers and not for others, but entries are usually
arranged in order of opus number, quoting publisher(s). A number
of works have annotations; these vary in length from three words to
five lines.

Attention should also be drawn to Frisian and Freundlich's
Music for the piano , which has an important section on piano duets.

Organ

ROBSON, R. Walker. The repertoire of the modem organist. [71925.]
(Musical Opinion.)

The list of recommended works is in a single alphabetical sequence
of composers. It includes a number of arrangements and some very
inferior original works. There are brief annotations with useful
comments indicating the degree of difficulty and a brief description
of the work itself. The book is o.p.

364

Instrumental Music

WESTERBY, Herbert. The complete organ recitalist: international
repertoire-guide (historical, educational and descriptive) to
Foreign, British and American works. [71933] (Musical
Opinion)

The book includes plates of famous organists and organs. There
is a general introduction followed by chapters on organ music,

divided by nationality. Many works are listed but annotations are
extremely brief, often limited to two or three words. The book is out
of print.

Violin and viola

LETZ, Hans. Music for violin and viola. 1948. (New York: Rinehart.)

This is the second in "The Field of music" series. The major part
deals with violin music, only eleven of the 107 pages of text being
devoted to the viola. Works for solo instrument and those with piano
accompaniment (either original or an orchestral accompaniment
arranged for piano) are all listed in a single sequence under com-
posers. For each individual musician the actual arrangement of
single items appears to be quite arbitrary, and this makes reference
difficult for those composers who have written more than one or two
pieces for the instrument. Each page is divided into four columns:
Composer; Title; key and opus number; Grading and remarks. The
indication of grading is limited entirely to the technical difficulties
of a work and excludes those of interpretation. First, second and
third positions (which deal with the position of the left hand on the
instrument's fingerboard, and which become progressively more
difficult) are shown as A, B and C respectively and each group is
sub-divided into three so that Al is the indication of minimum
difficulty and C3 a work calling for very high technical skill.

When concertos and similar works are listed each movement is
shown separately in the "Remarks" column and a suggested tempo
is given in cases where the composer has omitted any metronome
marking or other precise indication. Max Bruch's Scotch [sic.]
fantasy, op. 46 may be quoted as an example. The composer's name
is in the first column, the title and opus number in the second. The
grading is shown as C3 and the first movement, Grave has a recom-
mended speed of fifty-four crotchets (or quarter-notes) per minute,
with the comment, "Somber, like a funeral march". The author
recommends that the Adagio cantabile of the second movement

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should be taken at a speed of eighty-eight quavers (eighth-notes) per
minute, and remarks "Full and rich". The third movement is noted
as "Joyful and rhythmically alive" and the last as "A folk song of
great simplicity building up to great emotional warmth".

It can be seen that this information is likely to be of far greater
use to the performer than to the librarian who would have appreci-
ated a note as to the status of the music and details of the publisher
or publishers.

At the end of the section for violin music is "A graded course of
teaching material for the violin (schools) and methods of technic"
which is arranged from the first to the ninth year. A similar section
follows the list of viola music but is limited to advanced method, on
the assumption that the violist will have started as a violinist and so
will not require elementary material.

The section for viola music is arranged on similar lines to that
for violin. Coverage in the work is variable; standard works and a
good selection of out-of-the-way pieces can be found, but there are
notable omissions, e.g. Bartok is not included in the section on
violin music a bad gap in a work that makes any pretence to com-
prehensiveness. The 4 pieces, op. 17 by Suk are only half represented.
The third and fourth pieces receive entry and comment, but the first
volume which contains op. 17, no. I and op. 17, no. 2 is omitted for
no apparent reason. Despite these and other drawbacks, however,
the work is a valuable one for librarians since it provides a useful
indication of technical difficulty and a reasonable coverage of the
repertory for the two instruments.

Harp

RENSCH, Roslyn. The Harp: from TarJs Halls to the American
schools. 1950. (New York: Philosophical Library.)

The three sections of this book deal with the history of the harp,
fundamentals and suggested music. This last, the only part relevant
here, is divided into six chapters. The first is entitled "Harp methods
for the beginning student" and each book listed is given four or five
lines of annotation. The second chapter on "Albums for the begin-
ning student" includes under each recommended work its title, com-
poser, publisher and place of publication, with date, pagination and
a contents note where necessary. The third chapter, "Ensemble
music of easy to medium grade for the harp with school music

366

Instrumental Music

groups" gives title and composer only, with a note of the particular
ensemble for which the work is written.

The fourth chapter of this section is the major one for librarians :
"Selected composers, compositions and recordings." This lists com-
posers in alphabetical order; where the work is a transcription for
harp the name of the arranger or arrangers is given; where there is
more than one arrangement available then the transcribers are
shown in alphabetical order. The list includes works (and recordings)
in which the harp has a prominent part though not necessarily as a
solo instrument. Publishers 5 names are not shown in this list The
final chapter, on "Selected harp solos for school assemblies, plays
and programs" grades the music in four degrees of difficulty and
gives suitable music for different seasons of the year. It also includes
solo harp music for theatrical productions (Fantasy music; In-
cidental music; Dance music, etc.).

For the librarian who needs to trace music for the harp this work
would seem to be a most valuable aid.

Recorder

HUNT, Edgar H., and DONINGTON, Robert. A practical method for
the recorder. 2v. 1935. (O.U.P.)

The first volume is divided into two parts, the first of which gives
instructions for playing the instrument and also includes a brief
bibliography, while the second part gives some simple pieces for
recorder. The second volume is devoted entirely to music.

The list of recorder music is still useful, and there is a separate
list of arias for solo voice with recorder obbligato. The book is out
of print, and a much wider selection of suitable music has become
available during the subsequent years. An excellent current work is
the School recorder book, by E. Priestley and F. Fowler, valuable to
adults as well as to younger learners.

Flute

CHAPMAN, R B. Flute technique, 2nd edn., 1951. (O.U.R)

This book includes, in an appendix, a list of music for the flute
but there is neither annotation nor recommendation. The list is
divided into four sections: Flute and pianoforte; Flute or flutes only;
Voice and flute, etc.; Flute and other combinations. Each section is
arranged alphabetically by composer giving year of birth and death

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(when known), title of work, opus number (if there is one) and
publisher.

Oboe and cor anglais [English horn]

ROTHWELL, Evelyn. Oboe technique. 1953. (O.U.P.)

This work is in the same series as Flute technique mentioned above
and the layout of the individual entries follows the same pattern.
This list is divided into three sections: Oboe and piano (including
works originally written for oboe and orchestra, but not other tran-
scriptions) and works for unaccompanied oboe; Oboe and orchestra,
which includes concertante works with orchestra; Chamber music.
This last head is split into five sub-sections: (i) Oboe with strings;
(ii) Oboes and cor anglais; (iii) oboe and voice or voices; (iv) duets,
trios and quartets with various instruments, and (v) quintets and
works for larger combinations. Throughout the lists the works for
cor anglais are arranged within the one sequence and indicated by
an asterisk. No individual works are recommended and the author
specifically disclaims any guarantee as to the musical quality of the
works listed,

Clarinet

RENDALL, F. Geoffrey. The clarinet: some notes upon its history and
construction. 1954. (Williams & Norgate)

The book contains an appendix of "A list of music" which nor-
mally provides composer, title of work, publisher and date. Three
bibliographies of clarinet music are listed, followed by Tutors,
Studies, Concertos, Sonatas, Suites and occasional music, Duets
(sub-divided into Music for two clarinets, Clarinet and violin,
Clarinet and flute, etc.), Trios (similarly sub-divided) and increasing
groups to Nonets with a final section on Larger groups. A second
list of bibliographies contains books and articles dealing with the
clarinet.

Bagpipe

ASKEW, Gilbert. A bibliography of the bagpipe. 1932. (Published for
the Northumbrian Pipers* Society by Northumberland Press,

Newcastle-on-Tyne.)

This is a pamphlet of twenty-seven pages and it includes a list of

368

Instrumental Music

recommended works published between the years 1511 and 1932.
For librarians who wish to purchase music for the bagpipe* the
following four publishers are among those who issue music for the
instrument:

J. & R. Glen, 497 Lawnmarket, Edinburgh.

Peter Henderson Ltd., 24 Renfrew Street, Glasgow, C.2.

Paterson, Sons & Co. Ltd., 52 Buchanan Street, Glasgow, C.2.

Patersons Publications Ltd., 36-40 Wigmore Street, London,
W.L

Woodwind and Brass

CAMDEN, Archie, and KERRISON, Jan. Woodwind and brass. 1953.
(Fountain Press)

This small book, from the series "How to choose an instrument",
includes under each individual instrument a note listing suggested
tutors, studies, concertos and other works. There is also a list of
"Woodwind chamber music" which contains some thirty recom-
mended works, with the publisher shown in nearly all cases.

Chamber Music

AULICH, Bruno, and HEIMERAN, Ernst. The well-tempered string
quartet: a book of counsel and entertainment for all lovers of
music in the home. 1938. Novello.

Originally published in Germany in 1936 under the title Das
stillvergugnugte Streichquartett, the excellent English translation of
D. Millar Craig was issued two years later. There are chapters on
quartet playing, a useful list of five "Helpful books" (with long
annotations) and an Appendix, which comprises more than half the
book, listing recommended works, A number of English composi-
tions have been added by the translator and they are easily distin-
guished by the symbol ("T") after a composer's name. Naturally
enough, the bulk of the recommendations are of string quartets.
Composers are listed in alphabetical order, with dates. Individual
works are arranged in opus number or chronological order. In
addition to long and practical annotations, small marginal notes are
included for selected works. For instance, a note in the margin
opposite the entry for Haydn's string quartet op. 1, no. 6 (no. 57) is
"Christened Andre Hofer quartet", while lower down the same page,
against op. 2, no. 3 (no. 60) is the comment "Very enjoyable to

369

Music Librarianship

play". The annotations deal both with the music and with difficul-
ties of performance. Thus Dvorak's opus 61 quartet is described as
"Even finer in its musical ingredients than the one discussed
above . . .", while the final sentence reads: "Some passages are very
difficult."

The sections dealing with other chamber works are divided into
two categories: "Emergencies" and "Windfalls". The former lists
music that can be played when one member of the quartet fails to
appear, while the latter starts with "An extra viola!" and "Two
'cellists". Other "windfalls" considered are "The Sextet" and, under
the heading "Unlikely to happen", the double quartet. "Occasions
worth trying for" are "String quartet with clarinet" and two sections
added by the translator, "String quartet with oboe" and "String
quartet with harp" the latter recommending the Bax quintet. Two
longer sections cover pianoforte quartets and quintets (though
Heimeran appears to harbour grave doubts as to the wisdom of
including a pianist in a chamber music group) with a final note about
chamber music works that include a part for the double bass.

The work is written with wit, wisdom and affection and is in-
valuable both to the amateur quartet player and music librarian.

370

Chapter VII

VOCAL MUSIC

OPERA

Operas are usually provided in public libraries in the form of
vocal scores, i.e. the parts for different voices are shown on separate
staves but the orchestral accompaniment is reduced to a double-
stave arrangement for pianoforte. In addition to the vocal scores,
libraries may also provide miniature scores, piano scores and opera
libretti. In the first, the orchestral score is shown in detail with a
separate line for each individual part and the whole score is printed
in small type a miniature copy of the conductor's score. It resembles
the miniature score of a symphony, etc., with the addition of the
vocal lines and words and because of its length is usually very much
thicker than the normal orchestral score. The piano score is an
attempt to compress all the music, vocal and orchestral, into the
compass of the two hands of a pianist. The words are often shown
above or between the staves. This once-popular form of arrange-
ment is now in much less demand, possibly because of the influence
of radio and gramophone, and also because the proportion of music-
lovers who cannot play an instrument is steadily increasing; for these
reasons, the piano score is not a very good purchase today. It should
be understood that this type of score should be classified with piano
music and not with the vocal scores. Libretti, since they show no
music, will be shelved apart from the scores but might be placed as
nearby as convenient. As has been stressed in an earlier chapter, the
catalogue entry should be quite unambiguous and show quite clearly
when the entry is for libretto only, in order to avoid disappointing
an enquirier who actually requires a score. Many patrons will only
give a superficial glance at the catalogue entry so that clarity is highly
desirable. A note at the end of the entry stating that the library has
(or has not) a vocal and/or miniature score of the opera may well
draw attention to the fact that the libretto does not give the music.
Such a note would perhaps not be necessary for any entries made

371

Music Librarianship

under the name of the librettist, for one assumes that the reader who
looked under Hugo von Hofmannsthal for Der Rosenkavalier would
primarily be interested in the words. This long paragraph can be
summed up, therefore, with the suggestion that the small and
medium-sized library will normally limit its accessions of operas to
vocal scores unless there is expressed demand for miniature scores
or libretti also. It should be added that the inclusion of a gramophone
record lending library may well stimulate interest in miniature
scores ; libretti are usually provided by the issuing companies with
the discs.

Since opera is generally one of the most expensive types of music
to buy, the wise librarian will try to ensure that every purchase is
likely to meet with occasional demand, at least, during the lifetime
of the copy. Some general factors that should influence choice may
be briefly considered here. First, the opera should have current or
historical importance. In other words, it should be performed with
some regularity today or at least qualify for an occasional revival. If
one or two arias from an otherwise forgotten opera are to be found
appearing in concert programmes or in gramophone record cata-
logues then there is almost certainly some potential demand for the
score. For the smaller library the temptation to buy the vocal score
of a new opera, whatever the nationality of the composer should be
resisted unless the work shows signs of finding a place in the regular
repertory and this is a tremendous hurdle for any new work. This
may sound heretical, unadventurous and even retrograde as a policy,
yet can save the library many pounds. Operas such as Albert Coates's
Pickwick, Eugene Goossens* Judith and even Vaughan Williams's
Sir John in love may be cited as examples. AU have received Covent
Garden performances, all are by eminent musicians and were favour-
ably received and reviewed but the British public has shown an
almost complete lack of interest in these works and overseas perfor-
mances have been almost nil. Of the post-1940 operas only Peter
Grimes has managed to make what appears likely to be a permanent
impression on the musical world and Britten's other operas have yet
to prove nearly as successful. In short, in this particular field the
conservative librarian may spend his money to better advantage than
his more enterprising colleague. It must be emphasized again, how-
ever, that this is the policy recommended for the smaller collection
only; the larger library should expect to be more venturesome and
the gramophone record library once again will have its effect. The

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Vocal Music

library that possesses no recordings may well manage without any
Menotti scores; the library that includes any of Ms operas on disc
will surely receive enquiries for the score.

Another point to be considered is that of language. Where an
opera is written in a language other than English it is advisable to
get a score that includes the original words (unless in an unfamiliar
alphabet) if possible. Should an English translation be included so
much the better. It must be remembered, however, that many of the
older English translations are horrible distortions of both the original
libretto and the English language. Most recorded performances and
many of those broadcast are given in the original tongue, while
translations are usually less grateful to sing; for instance, an open
vowel on a high note in the original may have to be sung to an "ee"
or other constricted vowel in translation, to the singer's disadvantage.
Alternatively, the translator has to depart from a close translation of
the original in order to provide a word with an open vowel for the
crucial note or in order to make certain words rhyme. Thus it can be
seen that opera scores in the original tongue have much to commend
them, particularly if that language is French, German or Italian.
Even a performance in Czech can be followed from a score, though
Czech and Russian works may be sung more frequently in transla-
tion than in the original. It is particularly unfortunate that many of
the pre-1939 editions with words in two or three languages have not
reappeared since 1945, so that the choice of edition today is much
more limited than it was twenty years ago.

Duplication is usually needed only for operas in constant de-
mand, such as Faust, La Boh&me, etc. In branch libraries with small
music collections only a token selection of vocal scores is usually
required, provided that this is backed up by an adequate service to
answer readers* queries and requests and perhaps by the addition of
music "Units" as suggested in Chapter I. Such limited provision will
allow more money to be spent on widening the range of the collec-
tion as a whole or on duplicating instrumental music that is in more
regular demand. Where operas have become part of the public
domain then it is often possible to buy editions in different languages,
in different translations into the same language, and at different
prices. Where alternatives are available it is worth discovering the
price of each before ordering unless one edition is outstanding.

The selection that follows is a conservative one; one reader has
written that "the approach is too historical for a public library circu-
2B 373

Music Librarianship

latlng collection* 9 . The reasons for this conservative attitude have
been given earlier and the total is limited to about one hundred operas
of which some thirty-five are listed as (a), and the second and subse-
quent choices number about a score each. Let it be reiterated that
this selection will be inadequate for the library with a gramophone
record collection the addition of a recording of an opera such as
Simon Boccanegra should be regarded as adequate cause for the
accession of the vocal score also. The selection may also prove too
narrow for the librarian serving a highly intelligent public that listens
to the many unusual operas broadcast on the Third Programme of
the B.B.C.; certainly many American librarians will have other
ideas, with regular Saturday afternoon broadcasts from the Metro-
politan Opera House in New York covering most of the country and
with the spread of the "opera workshop'* movement with some pro-
fessionals and a larger number of advanced amateurs studying and
singing together whole works or excerpts. This movement has re-
newed the demand for one-act operas and has produced a crop of
classical and near-classical works by native composers, many of
whom (such as Alec Wilder, Carlisle Floyd, Vittorio Giannini)
are almost completely unknown in Britain.

The American librarian may also dispute the credentials of
German and Sullivan in this section or argue that an equally good
case can be made out for Irving Berlin, Leonard Bernstein, Cole
Porter, etc. Opera, in short, is a case somewhat apart, for one can
argue the merits of many composers and works that are successful
in one or two countries but which fail elsewhere. These may still fail
to reach the opera house abroad but the interchange of recordings
between different companies in various countries has meant that the
limited number of keen enthusiasts for certain works can now hear
their favourite operas on disc and this fact must have some effect on
many public libraries. In short, the following lists may well need
considerable expansion in many libraries in order to meet local
demand.

The letter(s) after the name of a publisher indicate the language(s)
of the words E, English; F, French; G, German; I, Italian, and so
on. Where no identifying letter is given the words are in English
only. In most cases the language of the original libretto should be
guessed easily enough from the title of the work or the nationality
of the composer. Where it seems some doubt might exist a clarifying
note is included in the annotation.

374

Vocal Music

The recommended works are all vocal scores (or In the parlance
of the M.L.A./A.L.A. Code, "piano-vocal scores"), i.e. the voice
parts in full with the orchestral accompaniment arranged for piano.
This is the normal version required, but many librarians who should
know better continue to ask music suppliers for "full scores". It is
perhaps as well that they are rarely taken at their word, since they
would probably find the size of the full score and its price equally
alarming and embarrassing.

BEETHOVEN (a) Fidelia, op. 72 (Boosey, E. G.; Novello, E. G.;
Universal, G.)

Beethoven's only opera and one of the finest in the entire repertory. It is
performed fairly regularly by the leading companies and one or two of the
individual arias reinforce the complete recordings to be found in the gramophone
catalogues.

BELLINI (c) Norma (Ricordi, L; Universal, G.I.)

(e) IPuritani (Novello, I.E.; Ricordi, I.)
(d) La sonnambula (Ricordi, I.)

All three works are still part of the regular repertory in Italy and receive
occasional revivals elsewhere. Complete recordings are to be found in the gramo-
phone catalogues, and individual arias sometimes appear in concert programmes,
though the types of voices for which Bellini wrote are rarely found today. Many
libraries may well possess old scores of one or other of these operas and if the
physical condition is satisfactory, they should certainly be retained in stock.

BERG (e) Wozzeck (Universal, G.)

This opera was for long regarded as an unsuccessful experiment in the
"twelve-tone system'* but performances at Covent Garden in 1952 proved ex-
tremely impressive and aroused considerable interest in Britain. A complete
recording has been issued in the U.S.A. and although the opera is never likely to
achieve more than a very limited popularity with a small minority of music-lovers,
it is still a minor landmark in the history of opera.

BIZET (a) Carmen (Cramer)

Carmen needs no introduction, but a score giving the original words as well
as an English translation is sadly needed. The Pearl fishers is hardly ever staged
outside France and Italy yet it contains some lovely music and two or three
items from it are often performed. Novello publish a concert version of Carmen.

BOITO (e) Mefistofele (Ricordi, I.)

Arrigo Boito (1842-1918) is best known as the librettist for Verdi's Otello
and Falstaff. His own version of the Faust legend has been fairly successful hi
Italy, after a discouraging first night, but has apparently failed to export well, so
that demand for the score is likely to come primarily from those who can listen
to complete recordings or excerpts from the opera.

375

Music Libmrianship
BORODIN (b) Prince Igor (Belaieff, R.F.G.)

BRITTEN (e) Albert Herring (Boosey)

(d) Billy Budd (Boosey)
(a) Peter Grimes (Boosey)

(d) Turn of the screw (Boosey)

Peter Grimes is easily the most successful opera produced since the Second
World War, for it has been performed all over the civilized world. Britten's other
operas have been less successful and the librarian of the small library may con-
sider them too expensive to add except in response to definite demand. Complete
recordings have been made of both Peter Grimes and The turn of the screw.

CHARPENTDBR (e) Louise (Heugel, RE.)

The opera is set in Paris at the turn of the present century. The work main-
tains a precarious footing in the general repertory and is best known to most
people for the soprano aria Depuis le jour.

DEBUSSY (c) Pelleas et M&isande (Durand, F.E.)

One of Debussy's greatest works but its atmosphere, style and untranslatable
libretto require (it would seem) a French cast for successful performance. It is
certainly much longer than average, but at least three complete gramophone
recordings have been made; this indicates some potential demand for the score.

DEIJUS (e) A village Romeo and Juliet (Universal., G.E.)

This is the opera that contains the ever-popular Walk to the Paradise garden,
and, like Delius's other operas Fennimore and Gerda, Irmelin and Koanga is
alleged to be practically unstageable. All are out of print, but are certainly worth
adding to stock if discovered second-hand or are reprinted since broadcasts and
recordings of excerpts should provide some demand. There is also the incidental
music to James Elroy Flecker's Hassan (Boosey, G. E.).

DONIZETTI (b) Don Pasquale (Ricordi, I; Boosey, I. E.)

(d) Velisir d* amove (Ricordi, I.)

(e) La fille du regiment (Universal, G.; [concert

version, Novello, EX] )
(d) Lucia di Lammermoor (Ricordi, L; Schirmer,

LE.)

Donizetti wrote more than sixty operas but these four are the only ones
known to most opera-lovers. It is often forgotten that La figlia del regimento
(The daughter of the regiment) was originally written to a French libretto though
neither available version provides the French words. Vocal scores of Donizetti's
operas can often be bought second-hand very cheaply. His works were very
popular with the Victorians, suffered a sad decline and now appear to be return-
ing to public favour.

FALLA (e) La vida breve (Chester, F.S.)

Demand for this opera is likely to come from those people who have access
to the wonderful complete recording of the work.

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Vocal Music

FLOTOW (e) Martha (Novello, E.G.)

Probably better known in its Italian translation though originally written to
a German text. Act II contains The last rose of summer and Act III the tenor aria
M'appari (Ach, so fromm) which are still great favourites.

GAY (a) Beggar's opera (Boosey)

This work is available in two different versions, the one edited and arranged
by Alfred Austin and the other by Benjamin Britten. The former has been a
popular favourite since the production at Hammersmith in 1920, and many
people still prefer this version to its newer rival which is sometimes accused of
being too sophisticated for the music. If the work is duplicated, the obvious
course is to stock both versions for patrons to make their own choice. Polly, the
sequel (also Boosey) is very much less popular. A third version (O.U.P.), edited
by E. J. Dent, is at present o.p.

GERMAN (a) Merrie England (Chappell)

(a) Tom Jones (Chappell)

GERSHWIN (c) Porgy and Bess (Gershwin Publishing Co.)

This is probably Gershwin's most successful attempt to fuse classical and
popular music. Repeated performances in the U.S.A. and Britain, complete record-
ings and discs containing excerpts, several of which have received critical
approval, suggest that the work may yet become part of the standard reper-
tory.

GIORDANO (e) Andrea Chenier (Heugel, L; Ricordi, I.; Son-

zogno, LG.)

The opera is rarely performed outside its native Italy, but is well represented
on gramophone records.

GLUCK (b) Alceste (Ricordi, L; U.M.P., F.)

(e) Iphigenie en Aulide (Peters, G.)
(e) Iphigenie en Tauride (Peters, G.)

Novello, I.E.; Ricordi, L)

Gluck's operas are now the oldest in the normal repertory though per-
formances are now limited mainly to France. Orphee is a revised French version
of the Italian Orfeo edEuridice but it is the earlier Italian version that is the more
frequently performed and recorded so that a version with Italian words is
desirable.

GOUNOD (a) Faust (Chappell, E.F.)

(d) Romeo et Juliette (Schirmer, E.F. ; Choudens,

F.)
HANDEL (c) Serse (Peters, G.)

Efforts to revive any of Handel's multitude of operas seem doomed to failure
but individual arias will always be popular. Serse (or Xerxes) contains the im-
mortal Largo, Ombra maifu. Copies of Handel operas already in stock should
certainly not be discarded though they may be better retained in reserve stock.

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HOLST (d) The perfect fool, op. 39 (Novello)

This is a one-act opera that parodies both Wagner and the conventional
Italian operatic tenor. The ballet music has become popular during the last few
years and the opera itself seems ripe for revival and could hope to meet with far
greater success than in its original production. At the Boafs Head is another
one-act opera by this composer founded on the Falstaff scenes in Shakespeare's
Henry IV, while earlier still is the effective Savitri, an opera di camera, with three
soloists, a small orchestra and a small off-stage chorus, with an Indian story as
its background.

HUMPERDINCK (b) Hansel und Gretel (Schott)
LEONCAVALLO (a) Pagliacci (Ascherberg, I.E.)
MASCAGNI (a) Cavatteria rusticana (Ascherberg, I.E.)

MASSENET (d) Manon (Heugel, F.)

This is another score that is much better known to British opera-lovers
through gramophone records than from live performances.

MENOTTI (e) Amahl and the night visitors (Schirmer)

(e) The consul (Schirmer)
(e) The medium (Schirmer)
(d) The telephone (Schirmer)

Gian-Carlo Menotti (b. 1911) is an American of Italian descent who writes
his own libretti and chooses contemporary settings for the action of these one-
act operas, all of which have been written since World War II. They have been
most successful in the U.S.A. but have received a much cooler reception in
Britain; their future popularity must be regarded as problematical.

MEYERBEER (e) Les Huguenots (Heugel, F.)

Meyerbeer's many operas are worth retaining in reserve stock; demand is
almost sure to come from those who wish to follow recorded or broadcast per-
formances of an excerpt or two. It is amazing to contrast Meyerbeer's long run
of success as an operatic composer with the subsequent total eclipse of his
popularity.

MOZART (b) Cost fan tutte (Novello, E.I.; Boosey, E.L;

Peters, I.G.)
(a) Dora Giovanni (Boosey, E.I.; Breitkopf, G.I.;

Novello, E.L; Ricordi, I.)
(b)Die Entfuhrung aus dem Serail [II Seraglio]

(Novello, G.E.; Peters, G.)
(a) Le Nozze di Figaro (Boosey, E.I. ; Novello, E.L ;

Ricordi, I.)
(a) Die Zauberflote [II flauto magico] (Boosey,

E.G.; Novello, E.G.; Ricordi, L; Universal,

G.I.)

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Vocal Music

The above titles indicate the original language of the text set by Mozart; the
operas are also the most popular by this composer but the large library will
doubtless complete the collection of vocal scores, particularly since all the operas
are available in recorded form. There are seven of these works, of varying length
and merit: Bastien und Bastienne, La finta giardiniera, II re pastor e, Za'ide,
IdomeneO) Der Schauspieldirektor and La clemenza dl Tito. The excellent English
translations of E. J. Dent are used in the Boosey editions of Don Giovanni, Figaro
and the Magic Flute.

MUSSORGSKY (b) Boris Godunov (Boosey, E.G.)

The above edition is in the Rimsky-Korsakov revision of the score; it is
particularly unfortunate that the original version (O.U.P., with French and
English words) is at present out of print. Performances may be in either version
and there is still much controversy over the "improvements" made by Rimsky-
Korsakov, though this is still the recension most frequently used. This great
work's history is well worth investigation by the reader it is a curious and at
times almost unbelievable tale of an opera that was never completed by its
composer.

OFFENBACH (c) Les contes d'Hoffmann (Cramer, E.F.)

Although remembered almost solely for its lovely Barcarolle, the opera has
received successful recordings on LP discs and may be remembered as the subject
of an excellent British film with Sir Thomas Beecham conducting the music.
Some of Offenbach's buffa operas have been adapted successfully for the musical
comedy stage.

PUCCINI (a) La Boheme (Ricordi, I.E.)

(b) Gianni Schicchi (Ricordi, I.E.)
(a) Madama Butterfly (Ricordi, I.E.)

(a) Tosca (Ricordi, I.E.)

(b) Turandot (Ricordi, I.E.)

With the possible exception of Gianni Schicchi, the comedy in a triptych of
one-act operas, these works are too well known to require comment. The other
two one-act works are Suor Angelica and // tabarro (both Ricordi, I.). Gianni
Schicchi is considered by some to be Puccini's finest achievement. It is not
related in theme or characters to either Sister Angelica or The cloak; all three are
entirely self-contained and the other two are as tragic as Schicchi is humorous.
Ricordi also publish The cloak, an English language version of // tabarro.

PURCELL (a) Dido and Aeneas (Novello ; O.U.P.)

(b) The fairy Queen (Novello)

sion] )

These three works are hardly operas in the conventional sense but all are
sure of occasional broadcasts and performances in Britain. Dido is the most
coherent and successful of the three and is by far the most popular and fre-
quently performed.

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RAVEL (e) L 'enfant et les sortileges (Durand, E.F.)

(e) Uheure espagnole (Durand, E.F.)

Two one-act operas contain some of Ravel's most delightful music; each has
received at least one excellent recording with a French cast.

RlMSKY-

KORSAKOV (d) Sadko (Boosey, R.F.G.)

Together with Le coq d'or (Schirmer, R. E.; unobtainable in Britain), these
two operas are those by which the composer is best known. Concert audiences
are reasonably familiar with the orchestral suite from the Golden cockerel, while
the Dame of the tumblers and the Song of the Indian guest (Chanson Hindoue)
from Snow-maiden and Sadko respectively are known to thousands who could
not name the sources of the two popular excerpts,

ROSSINI (a) // barbiere di Siviglia (Novello, E.I. ; Ricordi, I.)

(d) La cenerentola [Cinderella] (Ricordi, I.)

(e) Le comte d'Ory (Ricordi, I.)
(e) Ultaliana in Algeri (Ricordi, I.)

The barber of Seville is one of the most popular of all operas; Cinderella
maintains a somewhat precarious footing in the repertory and the Comte d'Ory has
recently reappeared after a long period of almost complete oblivion. All these
operas, and the Italian gzr/have received excellent recordings which use the same
casts that presented highly-successful stage performances.

SAINT-SAENS (a) Samson et Dalila (Durand)

SMETANA (b) The bartered bride (Prodana Nevestd) (Boosey,

E.; Peters, G.)

Critics rate Dalibor as Smetana's most successful opera and once again
gramophone records may help to increase the demand for that score. In the
interim, the Bartered bride remains the great popular favourite outside its native
country.

STRAUSS, J., jr. (a) Die Fledermaus (The bat) (Weinberger-Cranz,
G.E.; Schirmer)

An operetta, but one that has made its way into the repertory of the majority
of the world's great opera houses because of its gay and irresistible melodies.
Consideration might also be given to Der Zigeunerbaron (Gipsy baron) (Wein-
berger-Cranz, G.); an English adaptation for amateur production is available.

STRAUSS, R. (e) Ariadne aufNaxos (Boosey, G.)

(d) Elektra (Boosey, G.E.)

(b) Der Rosenkavalier (Boosey, G.E.)

(e) Salome (Boosey, G.E.)

None of the operas by Strauss has achieved the popular success of the Rose
cavalier but the other recommended works receive sufficient performances to
make provision of the scores justifiable.

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Vocal Music

STRAVINSKY (e) The rake's progress (Boosey, E.G.)

Stravinsky's only full-length opera, first produced in 1951 ; a highly-successful
gramophone recording should help to stimulate demand, though the work is

never likely to be a favourite. The opera was written to an English libretto.

SULLIVAN (a) The Gondoliers (Chappell)

(a) H.M.S. Pinafore (Cramer)
(a) Manthe (Chappell)
(a) The Mikado (Chappell)

(a) The pirates ofPenzance (Chappell)
(c) Ruddigore (Chappell)

(b) Trial by jury (Chappell)

(a) The Yeomen of the Guard (Chappell)

"G. & S." need no annotation; their works are in steady demand in all
British libraries. Not only should the works above be included in quite small
collections, but duplication may be required in certain cases. Amateur operatic
societies occasionally venture outside the selection given and the other comic
operas such as Princess Ida, Patience and The sorcerer could well be added as
additional choices.

TCHAIKOVSKY (c) Eugen Onegin (Schirmer, G.E.)

(b) Queen of Spades [Pique Dame] (Schirmer, E.)

Both operas are known chiefly in extracts which form part of the repertory
of many sopranos and tenors, but complete performances are occasionally staged.
Tchaikovsky's other operas are almost completely unknown.

VERDI (a) Aida (Ricordi, I.E.)

(d) Don Carlo (Ricordi, I.)

(e) Ernani (Ricordi, I.)
(b) Falstaff (Ricordi, I.)

(b) Laforza del destino (Ricordi, I.)

(a) Rigoletto (Boosey, I.E. ; Novello, I.E. ; Ricordi, I.)
(a) La traviata (Novello, E.I.; Ricordi, I.)
(a)// trovatore (Boosey, I.E.; Novello, I.E.;
Ricordi, I.E.)

Verdi composed many fine Italian operas and his popularity has been rising
steadily during the past twenty years. For proof, one might cite the fact that
nearly all his operas (including two or three omitted from the list above) are
available in the U.S.A. on LP discs and most of the better-known tragedies are
available in alternative recorded versions. There should be good Verdi representa-
tion in the smallest stock and the large collection would benefit from the inclusion
of the operas omitted from the above list, e.g. Nabucco and ILombardi. This is a
very different position from 1893, when J. D, Brown recommended three operas

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Music Librarianship

only-// trovatore (2 stars), Rigoletto (1 star) and La Traviata. Don Carlo is
available in both the original five-act version of 1867 and the revised four-act
form of 1 884. While the latter is probably preferable, modem performances often
add the first act of the 1867 version, omitted in the later revision.

WAGNER (b) Derfliegende Hollander (Novello, E.G.; Peters,

G.)

(a) Die Meistersinger von Nurnberg (Peters, G.;

Schott, G.E.)

(e) Parsifal (Boosey, G.E.; Schott, G.E.)
(e) Rienzi (Schott, G.)

(a) Der Ring des Nibelungen

(i) Das Rheingold (Peters, G.; Schott, G.E.)
(ii) Die Walkure (Schott, G.E.)
(iii) Siegfried (Schott, G.E.)
(iv) Gdtterddmmerung (Peters, G. ; Schott,
G.E.)

(d) Tannhauser (Novello, G.E.; Peters, G.)

(b) Tristan und Isolde (Schott, G.E.)

Wagner's popularity as an opera composer has declined as that of others,
notably Verdi, has increased. Monday has long since ceased to be "Wagner
night" at the Henry Wood Promenade concerts in London but the time is never
likely to come when libraries will be able to dispense with the Mastersingers or
The Ring from their collections; the genius of Wagner ensures that his works will
remain in the repertory and, as musical fashions change, he is likely to regain
popularity in due course.

WEBER (c) Der Freischutz (Novello, E.G. ; Universal, G.)

(e) Oberon (Novello, E.G.; Universal, G.)

Der Freischutz (an untranslatable title) is often considered to be the first truly
"national 1 * opera and is the only one to retain a precarious place in the repertory,
mainly in its native Germany. Weber, like so many gifted musicians, was unfor-
tunate in his choice of librettists; for this reason Oberon (first performed at
Covent Garden) is known only by its lovely overture and the great soprano aria,
Ozean, du Ungeheuer (Ocean, thou mighty monster).

WOLF-FERRARI (b) Igioielli della Madonna [Jewels of the Madonna]
(Weinberger, I.E.)

berger, G.E.)

(d) // segreto di Susanna [Susanna's secret] (Wein-

berger, LE.)

None of these operas has any great profundity but all are tuneful and
attractive, and are becoming better known in the English-speaking world. As his
name suggests, the composer (1876-1948) was of mixed German-Italian ancestry.

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Vocal Music

MUSICAL PLAYS

As with opera, so the provision of vocal scores of new musical
comedies, etc., is a considerable gamble. The proportion that briefly
flower and die is as high as in the operatic field. In Britain only
three or four works were staged in the ten years after the end of
World War II that seem likely to remain in public affection
Oklahoma!, Annie get your gun, Bless the bride and, perhaps South
Pacific. Only Mess the bride is English, the others are all of American
origin and suggest that the "musicals" there have far greater vitality
than the home-grown specimens. The King and I and My fair lady
are more recent examples of American successes (though with some
British collaboration) that have triumphantly crossed the Atlantic,
and others may well come to mind. Where the local amateur operatic
and dramatic societies in Britain are content (and sometimes insis-
tent) to limit their performances to Gilbert and Sullivan, with other
old favourites such as The Arcadians and The chocolate soldier and
modernity represented by Ivor Novello's works, there are many
American performances of post-war works, done by both amateurs
and professionals, and our pre-war favourites are very rarely revived
in the U.S.A.

Many libraries with well-established music sections will have a
number of vocal scores of the older musical plays, mostly ignored by
today's borrowers. These works may well be discarded or, when one
or two tunes have remained in popular favour, relegated to reserve
stock and retained for the occasional enquiry.

Though no specific recommendations are included, mention
should be made of The musical production by Cosser Turfery and
King Palmer (Pitman, 1954) which lists, in an appendix, over 200
light operas and musical plays in alphabetical title order. It gives the
name of the composer and also the name of the owner of the copy-
right of the work; the former is invaluable to the librarian, and the
latter to the secretary of the local amateur operatic society.

MASSES, REQUIEMS, ORATORIOS, CANTATAS

Demand for this type of music is generally on the decline, though
in some areas the interest in good choral music is still vigorous
enough. The north of England and the whole of Wales provide ex-

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Music Librarianship

amples of flourishing choral societies, male voice choruses, etc., but
in many other places these bodies appear to be fighting rearguard
actions against the attractions of other forms of amusement and a
wider spread of interests; when the older singers retire their places
are not being filled by younger people. It is noteworthy that those
societies which continue to be most active are frequently those that
are prepared to mix new and unfamiliar works with older, tried
favourites; the society that lacks initiative and keeps to the same
familiar and limited round that has sufficed for years is often mori-
bund. Choirs are normally conservative in their tastes and the onus
is on the conductor or committee to introduce new music, to over-
come prejudices and to persuade the membership at large to give
new pieces a fair trial however unfavourable first reactions may be.

Provision in the library of Masses, Cantatas and the like is nor-
mally in the form of vocal scores and this is invariably the arrange-
ment of those works listed below. As in other sections of the music
stock, the increasing interest in the gramophone record has had its
effect upon demands on the library stock and will also make it
reasonable to consider the provision of certain popular works in this
particular section of the stock in the form of miniature scores. As
has been stressed in so many places, the growth of the collection of
discs and that of scores should be parallel when possible since the
use of the former will often stimulate requests for the appropriate
score with which to follow the performance.

A defunct choral society may well result in the receipt by the
library of copies of works held by the society or its individual mem-
bers. If the copies are received in bulk they may well be kept together
for use by other societies in the library's area or outside. On the
other hand, individual gifts are likely to be over a period and in
smaller numbers; in this case the extra copies may be filed to act as
replacements as those already in stock wear out.

BACH (e) Birthday cantata [no. 208] (Breitkopf, G.)

Peters, G.)
(a) Mass in B minor (Breitkopf, L. ; Novello, L. ;

Peters, L.)

(e) Phoebus and Pan [no. 201] (Novello, E.)
(d)St. John Passion (Breitkopf, G.; Novello, E.;
Peters, G.)
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Vocal Music

(a) St. Matthew Passion (Breitkopf, G.; Novello,

E.; Peters, G.)

The strong sense of religious belief allied with the wide practical experience
of the composer make Bach's sacred music among the finest ever written. The
style of the vocal writing, with its long runs and scale passages, often set to a single
vowel, is quite different from that of composers today but is still completely
effective when performed in proper style.

Bach was a choirmaster most of his life and knew exactly what would "come
off" in performance, The B minor Mass and the St. Matthew Passion receive
regular performance and must be included in any selection of the world's greatest
choral music. A complete contrast in mood is provided by Phoebus and Pan, a
secular cantata that gives the lie to those who feel that Bach is always sober-
sided and dull. The numbers in brackets are those of the Bach Society edition.

BEETHOVEN (d) Mass in C major, op. 86 (Novello, L. or E.)

(a) Mass in D major [Missa Solemnis], op. 123
(Breitkopf, L.; Novello, L.; Peters, L.)

The Missa Solemnis is an outstanding work that should be in every collec-
tion. The other recommended work was written ten years earlier and, though not
outstanding, is worth inclusion in this section as the stock grows.

BERLIOZ (tyL'enfance du Christ, op. 25 (Forsyth, K;

Novello, E.;U.M.P., F.)

It is only in recent years that this work has become well known outside
France but the power and imagination shown by Berlioz is being increasingly
recognized, and Christmas performances are becoming more frequent. The
Forsyth edition is edited by Halle".

BLISS (e) Pastoral (Novello)

This work is sub-titled Lie strewn the white flocks and sets 8 poems by five
different authors; it is written for mezzo-soprano soloist, flute, tympani, choir
and string orchestra. The cantata was composed in 1928 and is unexpectedly
conventional for Bliss. The large collection could usefully add Morning heroes
(Novello), a work often performed on Remembrance Day.

BRAHMS (a) Requiem [Bin Deutsches Requiem], op. 45

(Breitkopf, G.; Novello, E.; Peters, G. or
E.)

The German Requiem has long been a favourite and two or three of the in-
dividual items are often sung as anthems. The Liebeslieder waltzes are perhaps
strange companions, but are difficult to classify elsewhere. Both sets (with the
exception of the very last item in the second set) consist of a chain of Viennese-
style waltzes written for four voices (soprano, contralto, tenor and bass) with a
highly important accompaniment for piano duet. These works reveal Brahms at
his gayest.

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Music Librariamhip

(e) A ceremony of carols, op. 25 (Boosey, E. or G.)
(e) Saint Nicholas, op. 42 (Boosey)

The earlier" work dates from 1942 and is written for treble voices with harp (or
piano) accompaniment. The later work is also primarily for boys' voices but adds
a tenor soloist who has a technically difficult part and the accompaniment is for
organ, piano duet, strings and percussion. The cantata outlines the life of Saint
Nicholas within the very limited information we have today.

BYRD (d) Mass for 3 voices (Stainer & Bell, L. or E.)

(d) Mass for 4 voices (Stainer & Bell, L. or E.)
(d) Mass for 5 voices (Stainer & Bell, L. or E.)

William Byrd is one of the great pioneer figures of English music. He is a
most important figure both as a writer of vocal and of instrumental music. The
three Masses can each be supplied with the original Latin words or with English
words adapted for use in the Anglican church. The same publishers issue Byrd's
collected works and the first volume contains the Masses and Cantiones Sacrae
(1575). The Masses are much briefer than those written by eighteenth- and nine-
teenth-century composers.

COLERIDGE-
TAYLOR (b) Scenes from the song of Hiawatha, op. 30
(Novello)

DELIUS (c) A Mass of life (Boosey, E.G.)

(d) Sea drift (Boosey, E.G.)

Sea drift is set for baritone solo and chorus to words by Walt Whitman and
is performed with some regularity. Though a greater work, A Mass of life (to
words by Nietzsche) is less frequently heard because of its length (about ninety
minutes without intervals) and its technical difficulties. Both works have received
superb recordings with Sir Thomas Beecham conducting.

DVORAK (e) Requiem, op. 89 (Novello, L.; Artia, L.)

Though it is infrequently performed, some critics rate the Stabat Mater as
Dvorak's best choral piece; others maintain that the Requiem is even finer. These
are opinions, but it is a fact that both works are rarely sung. Donations to the
library may well include copies of The spectre's bride, written to an English text,
at one time immensely popular, now almost completely unknown.

DYSON (e) The Canterbury Pilgrims (O.U.P.)

A setting of the Prologue to Chaucer's work. The music is rather conserva-
tive in idiom for 1932, but is written with excellent craftsmanship and has proved
popular with British choirs. The work calls for soprano, tenor and baritone soli
in addition to the chorus.

ELGAR (a) The Apostles, op. 49 (Novello)

(e) Caractacus, op. 35 (Novello)

(a) The dream ofGerontius, op. 38 (Novello)
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Vocal Musid

(b) The Kingdom, op. 51 (NoVello)

(e) Scenes from the Bavarian highlands^ op. 27

(Williams)
(d) Scenes from the Saga of King Olaf> op. 30

(Novello)

Elgar's choral music should need no recommendation to British librarians,
Its dramatic power suggests that the composer would have been extremely suc-
cessful as an operatic writer and it is regrettable that Elgar's solitary essay in this
form was at the end of his life, and did not progress beyond rough preliminary
sketches.

FAURE (a) Requiem, op. 48 (HameHe, L.)

This lovely work has increased rapidly in popularity during the last twenty
or thirty years and has been recorded several times; this has helped to attract a
wider audience.

HANDEL (c) Ads and Galatea (Novello, E.)

(d) Chandos Te Deum (Novello, E.)

(d) Dettingen Te Deum (Novello, E.)

(e) Judas Maccabaeus (Novello, E.)

(a) Messiah (Novello, E.; Universal, G.E.)

(b) Semele (Novello, E. [abridged])

Many English choral societies automatically produce Messiah every year but
often neglect Handel's other choral works, which is to underrate a wonderful
writer for both soloists and chorus. Provision of the recommended works, and
any others by the composer, may help to stimulate local interest.

HAYDN ()The Creation (Die Schopfmg) (Breitkopf,

E.F.G.; Novello, E.; Peters, E.G.)

Haydn wrote many choral works; these two are by far the most popular
though his Masses are slowly winning recognition and deserve representation in
the large collection. The composer himself appears to have considered the
Creation as his finest choral work. The Seasons, written to a very free German
adaptation of Thomson's poem, gave Haydn less pleasure to write, but it remains
a great work despite the fact that the level of inspiration drops a little in places.

HOLST (b) The hymn of Jesus, op. 37 (Stainer & Bell)

The text is taken from the Apocryphal Acts of St. John, and was translated
into English by the composer himself, as was his custom. There is a strong element
of plainsong in the work whose growing popularity is due mainly to the famous
Huddersfield choir who have broadcast and recorded the work with immense
success.

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Music Librarianship

HONEGGER (c) Le roi David (Chester)

The text of this drama is based on a drama by Ren6 Morax and tells the story
of King David's life. Much of the work is allotted to a narrator, the chorus
representing a frenzied crowd of Israelites. Despite the technical difficulties and
the lack of a consistent style throughout the work (which has led to much critical
comment), King David is becoming better known in Britain and appears in the
repertory of a few enterprising choral societies. The Chester edition provides an
English translation only and not the original words.

IRELAND (c) These things shall be (Boosey)

The words are taken from A vista, by John Addington Symonds, and are set
for tenor solo, chorus and orchestra. The work dates from 1937, and because it
is a strong plea against war, it is often performed at Remembrance Day services.
Ralph Hill, in British music of our time (Penguin, 1946), called this "one of the
composer's most inspired works".

JACOB (e) The nun's pries fs tale (Novello)

KODALY (e) Psalmus Hungarians, op. 13 (Universal, G.E.)

This is a setting for tenor, chorus and orchestra of a paraphrase of the 35th
Psalm. The chorus is used in the modem manner of Walton's Belshazzar's feast
rather than the more traditional Handelian style. The work is undoubtedly

effective when well performed.

LAMBERT (e) The Rio Grande (O.U.P., G.E.)

Set to a poem by Sacheverell Sitwell, this work is a product of the late
nineteen-twenties. Its use of jazz idioms was considered rather startling at the
time though these same idioms now tend to "date" the work. However, it
remains popular with audiences and performers, probably on account of its
cheerful exuberance.

MENDELSSOHN (a) Elijah, op. 70 (Novello, E.)

(b) Hear my prayer (Novello)

(d) Lobgesang [Hymn of praise], op. 52 (Novello)

MOZART (d)Mass in C minor ("Grosse Messe"), K.427

(Breitkopf, L.; O.U.P., L.)
(c) Requiem in D minor, K.626 (Breitkopf, L. ;

Novello, E. or L.;O.U.P.)

At the time of writing, the O.U.P. editions of both Masses are out of print,
The Requiem was Mozart's last work, incomplete at his death, and finished by
his pupil Siissmayer.

ORFF (e) Carmina Burana (Schott, G.)

(e) Catulli Carmina (Schott, G.)
(e) Die Kluge (Schott, G.)

(e) Der Mond (Schott, G.)

A separate English libretto is available for Carmina Burana which is set to

388

Vocal Music

thirteenth-century poems. The three works are scenic cantatas, very successful in
their native Germany and this success is now spreading to Britain and America,
first through recorded and later from "live" performances. The repetitive rhythm
can be most effective, especially in the concert hall, but these do not seem to be
works that repay more than occasional repetition. Carmina Burana is first choice.
Der Mond is based upon a Grimm fairy tale.

PALESTRINA (e) Missa brevis (Novello, L.)

(e) Missa Papae Marcelli (Novello, L.; Peters, L.)
(d) Stdbat Mater (Novello, L.)

Palestrina (c. 1525-1594) took his name from his birthplace just outside
Rome, and was one of the greatest composers of liturgical music. The Missa
brevis is comparatively well known, but the other Mass is probably the best
written by the composer. Its name derives from the principles laid down by Pope
Marcellus it is clear, simple and the words are easily intelligible. The Stabat
Mater, written for double choir (eight voices), was performed by the Papal choir
on every Good Friday and is sometimes sung in Britain on this day; it is to be
regretted that many less worthy works receive more frequent performance upon
that occasion. All the three works are for unaccompanied choir and have no solo
parts.

PARRY (e) Blest pair of Sirens, op. 101 (Novello)

This is probably Parry's most popular work with British choirs and dates
from 1887. The words are by Milton.

PERGOLESI (e) Stabat Mater (Novello, L.)

Written for soprano and contralto soli, women's chorus and orchestra.

PROKOFIEV (e) Alexander Nevsky, op. 78 (Boosey, E.R.)

This cantata is an arrangement of music originally written for a Russian
film of the same name.

PURCELL (c) Ode on St. Cecilia's Day (Hail, bright Cecilia)

(Novello)

Purcell composed music for four odes in honour of St. Cecilia; she is the
patron saint of musicians and music. The recommended work dates from 1692
and is the last and greatest of the four. It is still regularly performed in London
on November 22nd each year.

ROSSINI (d) Petite Messe solenelle (Ricordi, L.)

(b) Stabat Mater (Novello, L.E.; Ricordi, L.)

The Mass may be "solenelle*' "petite" it is certainly not, for it lasts over
ninety minutes if performed without cuts. Ignoring this joke of Rossini's, the
music is effective and impressive, but the vocal score is very expensive (75s. in
1958).

SCHUBERT (d) Mass in Afy major (Breitkopf, L.; Novello, L.

orE.)

(c) Mass in Efy major (Breitkopf, L.; Peters, L.)
The A|? Mass was written between 1819 and 1822, the E-flat work in 1828.

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The two works are among the most important of Schubert's choral compositions
but the earlier work has suffered in popularity because of its unconventional key
for a work of this type.

SPOHR (e) Last judgment [Die lezten Dinge] (Novello)

An old favourite that still occasionally receives performance. Many church
choirs retain in their repertory two extracts Blest are the departed and Lord God
of Heaven and earth.

STAINER (a) Crucifixion (Novello)

STANFORD (e) The Revenge, op. 24 (Novello)

The Revenge is a cantata and an early work, while the Stabat Mater is
probably the composer's greatest choral work. Stanford (1852-1924) and Parry
were perhaps the two greatest figures in the English musical renaissance in the
early years of this century and have immensely influenced subsequent British
composers.

TDPPETT (e) A child of our time (Schott)

A modern oratorio which uses negro spirituals as a contemporary equivalent
of the chorales in Bach cantatas. The work has received an excellent recording.

VAUGHAN
WILLIAMS (b) Flos campi (O.U.P.)

(d) Mass in G minor (Curwen, L.)

Bell)

(e) Toward the unknown region (Stainer & Bell)

(d) 5 Tudor portraits (O.U.P.)

Flos campi (Flower of the field) is a continuous suite in six sections scored for
solo viola, small orchestra and chorus. The viola part is a difficult one and the
chorus is wordless. The Sea symphony is a choral one, with words by Walt Whit-
man, and dates from 1910. Vaughan Williams went to Whitman again for the
words of Toward the unknown region. The Tudor portraits is a choral suite set to
words by the English poet John Skelton (1460-1529).

VERDI (b) Requiem (Ricordi, E.L.)

(d) 4 sacred pieces [Quattro pezzi sacri] (Ricordi,
L.)

For many years the Requiem was considered too operatic for its liturgical
content but its genius has slowly won over critical opinion. The 4 sacred pieces
are an Ave Maria, a Stabat Mater, Laudi alia Vergine (from Dante's Paradiso)
and a Te Deum, an incredible piece of music from a man well into his eighties.

WALTON (b) Belshazzafs feast (O.U.P., E.G.)

This tremendous work dates from 1931, and is set to words selected from
Isaiah by Sir Osbert Sitwell. The scoring is for baritone solo, chorus, orchestra

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and brass band. The chorus is used in a barbaric and electrifying fashion and the
music represents as difficult a test as a choral society is likely to meet. Much of
the work's fame and popularity is due to the Huddersfield Choral Society whose
superb performances in broadcasts and recording can be regarded as models.

ANTHEMS

The single anthem, because of its brevity, cheapness and prob-
lems of filing is generally considered outside the scope of the public
library stock. Sets of anthems for use by local choirs are on a different
basis and have been considered in Chapter I. Two collections of
anthems, at least, give a good selection in a form that is both handy
and convenient and may be useful to local choirmasters. They are
mentioned below. Should recommendation for further anthems be
required, reference may be made to the anthologies of English
Church music recorded and issued on [English] Columbia gramo-
phone records. These discs offer an excellent choice of some of the
best (and occasionally some inferior) of our Cathedral music.

DAVIES, Sir Walford, and LEY, Henry G., editors. The Church
anthem book: 100 anthems. (O.U.P.)

The Novello anthem book. (Novello)

The preface to the Novello collection says that it is "A selection
of anthems within the power of average choirs covering all regular

occasions". Both Sir Walford Davies and Henry Ley have been
noted for their excellent work as choir trainers and the volume of
anthems edited by them is equally suitable as a guide to music in
which the quality of the selected works has been seriously considered.

SONGS BY INDIVIDUAL COMPOSERS

Introduction

The selection that follows is arranged on the same general prin-
ciples as the remainder of the recommended scores. Songs, however,
present added difficulty in listing, for different editions may contain
the words in different languages, may use different translations of
the original and in many cases both albums and single songs are
available for different ranges of voice. The first two problems are
also encountered with opera, but the last one is peculiar to songs; a
soprano will find a song-cycle for contralto almost as useless as an
arrangement of the same work for a violin or some other instrument.

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As in the earlier sections of this chapter the initials after the
publisher's name show the language(s) of the text of that particular
edition; no initial indicates that the words are in English only. The
letters "H", "M" and "L" in square brackets show that the work is
available in settings for High, Medium and Low voice though occa-
sionally a publisher has made things a trifle more difficult by offering
a setting for High-Medium or Low-Medium voice. Where no in-
dication of this type is given it may be assumed that only one setting
(usually in the original key used by the composer) is available. With
all these possibilities of variation, errors are more likely in this
section than in most others.

If additional copies of a work are bought, either because of im-
mediate demand or for stock in a branch library, etc., it is strongly
recommended that a different voice range be represented if the work
is available in more than one key. If, for example, the library already
has a copy of selected songs by Brahms, for high voice, then the
second copy might be a different selection (which would almost
certainly overlap) for low voice. In cases where choice is available, it
should not be automatically assumed that the first copy must be for
medium voice; this will suit the majority but is unfair to the real
sopranos, contraltos, tenors and basses. The advantages of a second
edition for an extra copy are twofold: it may provide the particular
translation favoured by a singer, and will satisfy the user who has a
preference for the edition of one editor or publisher compared with
another.

Songs are not likely to be as popular as piano music, in terms of
the numbers borrowed, nor of vocal scores of operas, but they repre-
sent a valuable and important side of the work of many composers
while singers deserve the encouragement of a well-chosen and
adequate selection. Works have been selected in the hope that they
will be of use and interest for years ahead as well as for today; if their
purchase is regarded as a long-term investment then comparatively
infrequent use is not discouraging.

The accompaniments of all the songs listed are either written or
arranged for piano. The accompanist is still usually undervalued and
the standard of pianistic ability required in the works that follow varies
as widely as the demands made upon the singer by different composers.

ARNE (b) 20 songs (Novello)

Dr. Thomas Augustine Arne (1710-1778) wrote numerous operas and the

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incidental music to many plays. His songs (generally from the incidental music)
are possibly his best-known works, particularly those set to Shakespearian words
such as Where the bee sucks. They still retain both freshness and popularity.
Ame's most famous vocal setting is that of Rule, Britannia. At the time of writing
the recommended volume is unfortunately out of print.

BACH (a) Songs and airs (ed. Prout), 8v. (Augener, G.E.)

Bach wrote over 200 church and 23 secular cantatas and the greater part
of this music is completely unknown to the average music-lover. The eight
volumes recommended contain items selected mainly from these works and
represents Bach at his best. Soprano, Contralto, Tenor and Bass have each two
volumes allotted, containing 22, 1 8, 1 8 and 22 excerpts for each voice respectively.
There are numerous alternative editions containing different selections.

BANTOCK (e) Songs from the Chinese poets, 2v. (Chester)

Bantock chose to write many of his songs to words from foreign, particularly
Oriental, lands; the two recommended volumes are representative. They are
difficult to sing and need an extremely skilful pianist but are most effective when
well performed. Bantock's two most popular songs are probably A feast of
lanterns (from the third of the four sets, Songs from the Chinese) and The lament of
Ms (which is the fifth of the Songs of Egypt). Both works are contained in a bound
album issued by Cramer's, which also includes the two Songs of the Western Isles,
Praise ye the Lord, Great is the Lord, and By the waters of Babylon (the first three
items of Six sacred songs).

BAX (e) Cradle song (Chappell)

(e) Green grow the rashes o (Chappell)
(e) / heard a piper piping (Chappell)
(e) J Irish songs (Chappell)
(e) The market girl (Chappell)
(e) Rann of exile (Chappell)
(e) The white peace (Chester)

The usual view of Bax is as a symphonist and perhaps as a composer of
piano music also, but his songs are often completely overlooked. This is to ignore
some of his loveliest music. The recommended items would bind conveniently
into one or two volumes if desired.

BEETHOVEN (b) Songs (Augener, E.G.; Novello, 3v., E.G.;

Peters, G.)

(b)An die feme Geliebte, op. 98 (Augener, E.G.
[H.L.]; Schirmer, E.G. [ELL.])

Generally speaking, Beethoven's songs are not an important part of his out-
put and he appears to have had difficulty in writing for the voice and in reaching
a satisfactory compromise between the rival demands of words and music. There
are other editions than those listed above, e.g. the Boosey and Universal albums
which are both out of print. At present only the second volume of the Novello
edition is available while the Peters edition contains only 30 songs compared with
the 67 in the Augener edition, which is therefore the one recommended. All

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editions contain the most frequeutly performed song Adelaide, op. 46.

The song cycle An die feme Geliebte (To the distant beloved) is the first set of
its kind and represents the composer's highest attainments in this field of com-
position. The original setting is that for high voice.

BERLIOZ (d) Les nulls d'ete, op. 7 (Augener, F.)

Berlioz wrote some two dozen songs; six of these comprise the above set, to
words by Gautier, The composer later orchestrated the accompaniments. These
works are a minor part of the composer's output but should be better known.
The large collection might also include La captive , op. 12.

BOYCE (e) 5 songs (Augener)

For baritone voice.

BRAHMS (a) Complete songs, 4v. (Peters, G. [H.M.L.]) or

(a) 50 selected songs (ScMrmer, E.G. [H.L.])

Brahms was not unduly worried about the poetic quality of the words he
set to music since he appears to have felt that the latter was paramount and the
words of secondary importance. This is a minor flaw and Brahms is recognized
as one of the finest song writers and examples of these works must appear in the
smallest collection of vocal music. The songs are beautifully written both for
vocalist and pianist, and it is extremely unfortunate that there is no available
version of the complete songs with an adequate English translation. Simrock
publish sixty songs (three volumes each containing twenty songs) but only the
first of these is in print. This version contains both English and German words.

BRIDGE (e) Adoration (Boosey)

(e) Come to me in my dreams (Boosey)
(e) Fair daffodils (Boosey)

(b) Love went a-riding (Boosey)
(e) O that it were so (Chappell)
(e) Thy hand in mine (Boosey)

Frank Bridge (1879-1941) is known to singers almost exclusively for his
highly effective Love went a-riding (with a difficult piano accompaniment) but a
number of his other songs deserve to be equally well known. The recommended
works would bind into a single album if desired.

BRITTEN (c) The holy sonnets of John Donne, op. 35 (Boosey)

(d) Les Illuminations, op. 18 (Boosey, F.)

(b) Serenade for tenor, horn and strings, op. 31

(Boosey)

(d) Winter words, op. 52 (Boosey)

Nearly all of Benjamin Britten's songs appear to have been written for his
friend Peter Pears. Generally speaking both voice part and accompaniment are
very difficult so that this taxing music is likely to be borrowed more frequently
by the listener than by the would-be performer. The cycles of songs comprising
opus 18 and opus 31 were originally written with string-orchestra accompaniment.

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BUTTERWORTH (c) 6 songs from "A Shropshire lad" (Augener)

Housman's poems have attracted many composers; this set is one of the
most successful. Butterworth was killed on the Somme in 1916 at the age of 31,
thus cutting short what appeared to be a career of very great promise. The
orchestral rhapsody A Shropshire lad is based mainly on one song of the cycle
Loveliest of trees.

CARPENXTER (e) Gitanjaly (Schirmer)

"The songs of John Alden Carpenter are too well known to need any
introduction.*' Thus Kagen yet this important American composer Is almost
entirely unknown in Britain. The cycle of six songs listed above should prove a
useful introduction. The words are by Tagore.

CHABRIER (e) Melodies (Enoch)

An album of fifteen songs by this nineteenth-century composer.

CHAUSSON (e) 20 songs (Rouart, Lerolle)

Chausson was a highly accomplished song writer but one whose works are
barely known outside the frontiers of his own country. Kagen particularly
recommends nine of Chausson's songs and four of them are in the volume listed
above La Chanson bien douce, op. 34, no. 1; Chanson perpetuelle, op. 17; Les
heureSy op. 27, no. 1, and Le temps de lilas (from Poeme de r amour et de la mer,
op. 19). The second and fourth of these songs were originally written with
orchestral accompaniment.

CHOPIN (e) 17 Polish songs, op. 74 (Schirmer, O.E. [H.L.])

CORNELIUS (d) Weihnachtslieder [Christmas songs}, op. 8
(Hinrichsen, E.G. [H.M.L.])

Peter Cornelius (1824-1874) is a composer who ill deserves his present
neglect. His songs are musicianly and attractive to sing and the six Christmas
songs are written to his own words, for Cornelius possessed considerable poetic
as well as musical ability.

DEBUSSY (d) Ariettes oubliees (Jobert, E.F.)

(e) Trois ballades de Francois Villon (Durand, F.E.)

(e) Fetes galantes (Jobert, E.F.)

(e) 5 poemes de Baudelaire (Durand, F.)

To Debussy (in contrast to the attitude of Brahms) the words he set were
quite as important as the music written to them. These French songs need a
skilled interpreter and are never likely to become generally popular. The Ariettes
oubliees, set to words by Verlaine, were dedicated to the famous American singer,
Mary Garden. Chansons de Bilitis is probably Debussy's most successful set of
songs.

DELIUS (e) Nietzsche songs (Boosey)

(e) 5 songs from the Danish (Boosey, E.G.)
(e) 7 songs from the Norwegian, 7v. (O.U.P.)
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Delius had a poor ear for words, his vocal line is often difficult and appar-
ently unrewarding yet the songs are most effective when well sung. Kagen
suggests that Delius's use of French and German texts (together with German
translations from the Norwegian) in preference to English words (to which he
set a very small number of songs) may have militated against greater popularity.
This is probably true both in Britain and the U.S.A.

DOWLAND (c) 50 selected songs, 2v. (Stainer & Bell)

During his lifetime Dowland was probably better known on the Continent
than in his native England; for some years he held the position of Court Lutenist
in Denmark. He was a first-class performer on that instrument, which is related
to the modern guitar and most of his solo songs were written with lute accompani-
ment. He is one of the great Elizabethan and Jacobean song writers. A number
of his songs have been recorded with lute or guitar accompaniment but most
singers will be content with the arrangement for pianoforte of the lute tablature.

DUPARC (d) Songs (Rouart, Lerolle, F.)

Few composers have been as self-critical as Duparc who destroyed the great
majority of his compositions. Only thirteen songs satisfied his own standards and
these are among the finest written in Europe during the last century, so deserve
inclusion in the larger collection. This may seem paradoxical unless it is realized
that the songs are not likely to be generally popular, for they demand a very high
degree of interpretative skill and their atmosphere is not easily captured by a
non-French singer. For the librarian who would like Duparc represented in his
collection (as is right) but feels that the complete songs are too expensive, I would
recommend Chanson triste, Vinvitation au voyage and Lamento.

DVORAK (d) Biblical songs, op. 99, 2v. (Simrock, E.G. [H.L.] )

(a) Gipsy songs, op. 55, 2v. (Simrock, E.G. [H.L.])

The Gipsy songs contain seven excellent songs of well-varied moods, yet
most singers know only one of them Songs my mother taught me. The Biblical
songs are infrequently sung today, though these, too, contain some lovely music.
If desired, the two works would conveniently bind into a single volume.

ELGAR (e) Fringes of the Fleet (Ashdown)

(d) 7 Lieder (Ascherberg)

(b) Sea pictures, op, 37 (Boosey)

Fringes of the Fleet (which is one of the comparatively few works of Elgar
without opus number) is a set of four songs to words by Rudyard Kipling. They
were first performed, with scenery and action, at the London Coliseum in 1917.
Later, a fifth song (Inside the bar, to words by Gilbert Parker) was added to the
set which cannot be considered vintage Elgar.

Sea pictures were written for Clara Butt to sing at the Norwich Festival of
1899. All five songs have words by different writers (including Elgar's wife) and
the cycle has remained popular with contraltos since it was written. Elgar's other
songs, the 7 Lieder, have faded badly but are still in some demand.

FALLA (e) 7 canciones popular es Espanolas (Chester, F. Sp.)

That these songs are so well known outside their native country is due
mainly to the agency of the gramophone record. There have been at least two

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first-class performances (with very different interpretations) by Conchita Supervia
and Victoria de los Angeles and either set will guide the singer who wishes to sing
these works in authentic style. An edition with English words only is published in
the U.S.A. by Associated Music Publishers, but this may not be sold in the
United Kingdom.

FAURE (c) La bonne chanson (Hamelle, F.)

(e) Songs, 3v. (Hamelle, F.)

The songs, like the remainder of Faure's output, are tasteful and well written
but insufficiently known outside his native France. La bonne chanson is a cycle of
nine songs to words by Verlaine.

FINZI (e) Before and after summer (Boosey)

A set of ten songs for baritone to words by Thomas Hardy. A second set,
for the same voice range and from the same poet, is entitled Earth and air and
rain.

FOSTER (b) Album of songs (ScMrmer)

A collection of the most popular songs of this short-lived American com-
poser, who was almost entirely self-taught. My old Kentucky home, The old folks
at home and others of Ms songs are likely to be in steady popular demand.

FRANZ (c) 30 songs (Novello, E.) or

Robert Franz (1830-1892) was the composer of over 300 songs, and is one
of the most important German composers in this field. His songs are generally
of a fairly simple type and are particularly suited to mezzo-soprano voices. With
its wider selection, choice of range and inclusion of the original words as well as
a translation, the Schirmer edition is strongly recommended.

GERSHWIN (c) The George Gershwin Song book (Gershwin)

This album may seem rather frivolous in company with the classics but it is
sure to be popular with many singers. It is of interest to pianists also; each song
including a chorus for piano solo. This solo is written in the fashion that Gersh-
win himself played that particular melody, and indicates his own talents as a
pianist.

GIBBS (e) By a bier-side (Curwen)

(e) The fields are full (Boosey)

(e) Five eyes (Boosey)

(e) The mad Prince (Curwen)

(e) Silver (Boosey)

(e) To Anise (Boosey)

C. Armstrong Gibbs (1889- ) is a British composer who has most
successfully set many of the poems of Walter De La Mare to music. The six songs
listed were selected by the composer himself as a representative selection from
over a hundred; they could be bound in a single volume if required.

GOUNOD (e) Miladies, v.l (Choudens, F.)

There are three volumes of songs, and all three should be included in the
large collection but the smaller music section will be content with the first

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volume since it contains the majority of Gounod's best-known songs, e.g. Venise,
Chanson de printemps> Ave Maria and O ma belle rebelle.

GRANADOS (d) Coledon de Tonadillas (Union Musical Espan-
ola, Sp.)

The tonadilla was introduced to the Spanish stage in the eighteenth century
and was an interlude song. These twelve songs by Granados are written in the
old style. As with the Falla songs, recorded performances by two outstanding
Spanish singers have made the set accessible and given the non-Spaniard an
opportunity to hear distinctive and attractive music that is rarely encountered in
concert or broadcast performances.

GRECHANINOV (e) Flocons de neige (10 chants du monde enfantin),

op. 47, lOv. (Gutheil, R.RG.E.)
(e) Les fleurs du mall 5 poesies de Ch. Baudelaire,

op. 48, 5v. (Gutheil, R.F.)
(e) Quatre melodies, op. 5 (Balaieff, R.F.G.)

Alexander Grechaninov (1864-1956) wrote a considerable amount of music;
his songs are probably the best known part of his output. Very few indeed will be
able to sing them in Russian, outside their native country, so that the first listed
set which includes an English translation has a definite appeal. Kagen lists a host
of songs by this composer, published in the U.S.A. by Ditson, but this edition
cannot be imported into Britain. The best-known song of all, Triste est le steppe
(known in English as Over the steppe or The dreary steppe) is the first song in the
opus 5 set. The second song is entitled La nuit, but it is the work with the same
title, but the third item in opus 20 (Belaieff), that is likely to be the version
required.

GRIEG (a) Songs, 4v. (Peters, G. [ELL.]) or

(a) Selected songs, 2v. (Enoch, Nor. E.) or
(a) Selected Lieder, 2v. (Peters, G, [H.M.L.])

Grieg's songs are usually brief and simple but extremely effective and
characteristic of his best writing. Most singers include a few of the most popular
songs in their repertoire but few are likely to emulate Miss Astra Desmond who
learned Norwegian for the express purpose of gaining a better insight into the
composer's intentions. Her five gramophone records (made for English Decca
during the Second World War) are collector's pieces and are sung "in beautifully
authentic style", to quote The record guide. Other songs by Kksten Flagstad
show how well the music is fitted to the Norwegian text and it is apparently
affectation that makes many singers use a German translation. A few of the songs
are actually written to German words.

Even the fairly small collection should have the complete songs despite the
unfortunate lack of the original words in the Peters edition. For the very small
collection, or as a useful duplicate, the two Enoch volumes with twenty and
eighteen songs respectively are excellent. These quote the original Norwegian
words together with an English translation by R. H. Elkin.

GRIFFES (e) By a lonely forest pathway (Schirmer)

(e) The lament of Ian the Proud (Schirmer)
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Charles T. Griffes (1884-1920) is an outstanding American composer yet
one whose name is almost completely unknown to British musicians. There are
twenty-eight songs in all, some of them to German texts, and the two recom-
mended above are those by which the composer is best known. Others (all from
the same publisher) could be bought if it was desired to make up a volume of
selected songs.

GUKNEY (d) Songs, 3v. (O.U.P.)

During World War I, Ivor Gurney (1890-1937) was wounded and shell-
shocked; after the war he suffered poverty and neglect. As a result he had an
almost complete mental breakdown. Only at the end of his life did recognition
come to him and distinguished critics praised his talent and (more important)
arranged for his best songs to be published. These songs are still known to too
few singers.

HAHN (d) Melodies, v.ll. (U.M.P., R)

Although he was born in Venezuela, Reynaldo Hahn (1874-1947) is gener-
ally regarded as a French composer. He had a varied musical talent but is now
remembered almost entirely as a composer of pleasantly melodious songs. The
recommended album contains twenty songs. Two other volumes of songs are
available.

HANDEL (a) Opera songs (Boosey, IE.)

(b) Oratorio songs (Boosey; Novello, 5v.)

Handel's operas are never likely to be staged again with the exception of
occasional special performances. Similarly, many of the oratorios will be heard
very rarely. The collections listed above are fairly representative, though there are
a number of excellent alternatives, particularly in albums published by American
and German composers. First choice should be a collection of opera songs since
the smaller collection may well have no single example of a Handel opera in
stock. Augener publishes a nine-volume edition (edited by Visetti) of songs from
the operas and oratorios and these give a wide selection. The Novello edition
of oratorio songs comprises two volumes for soprano and one each for contralto,
tenor and baritone or bass. The seven-volume Boosey edition of songs is edited
by Walter Ford and R. Erlebach. For American libraries, in particular, an
attractive alternative is a two-volume edition in the "Musician's Library" pub-
lished by Ditson. The first volume contains songs for high voice, the second
volume for low.

HAYDN (c) Canzonettas and songs (Peters, E.G.)

These songs represent one of the minor aspects of a great composer, but
they are none the less attractive for that. My mother bids me bind my hair is
probably the best-known work in the recommended volume which contains
thirty-five works; fourteen of these are settings to English words.

HEAD (e) Over the rim of the moon (Boosey, [HX.])

(e) Six sea songs, 6v. (Boosey [M])

Michael Head (1900- ) is a British composer whose songs are often sung
by British singers. His best-known songs include Sweet chance that led my steps,

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Foxgloves (from Short songs of the country side) > Little road to Bethlehem and The
ships ofArcady (the first song in Over the rim of the moon, which comprises four
items), while Sweethearts and wives (the last of the Six sea songs) is an excellent
example of the humorous type of song that delights so many baritones.

HOLST (d) Songs, op. 48, 12v. (Augener)

These twelve songs, published separately, are to words by Humbert Wolfe
and are among Hoist's last compositions. Like all his later works they are ex-
tremely austere though listeners and performers today appear to come to terms
with this phase of Hoist without much difficulty a contrast to the nineteen-
twenties when each new work by this composer appeared to be less approachable
than the last. The Hymns from the Rig Veda y op. 24 (Chester, 3 v.) were originally
written for women's choir and orchestra, but in an arrangement for solo voice
with piano accompaniment make a useful second choice.

HUGHES (d) 9 songs from Connacht (Boosey)

(d) Rhymes, 2v. (Boosey)
(d) Parodies, 2v. (Boosey)

The songs of Herbert Hughes deserve more frequent performance for they
are rewarding to sing and pleasant for the listener. The Parodies and Rhymes
(sub-titled Studies in imitation) are amusing songs in the styles of the great com-
posers and show Hughes's own skill. At present, only Rhymes is in print.

IRELAND (c) The land of lost content (Augener)

(d) Songs sacred and profane (Schott)

Sea fever (Augener) is John Ireland's best-known song and his others are
unduly neglected in comparison. The land of lost content is a cycle of six songs to
words by A. E. Housman, while the Songs sacred and profane also number six;
in this case three of the poems are by Sylvia Townsend Warner, two by Alice
Meynell and one by W. B. Yeats.

IVES (e) (Selected songs)

Charles Ives (1874-1954) is an extremely important and highly individual
American composer whose songs are difficult (both for singer and audience)
but they well repay efforts to come to terms with them. Most of the 1 14 songs are
available in collected volumes. Southern Music Publishers Inc. have issued
10 songs (1888-1902), 12 songs (1894-1921) and 14 songs. Any of these volumes
is worth adding to a large British collection, and none costs more than 15s.; an
American library might well consider these works as category (a) rather than (e).

KILPINEN (e) Lieder der Liebe, op. 60, 61, 2v. (Bote & Bock, G.)

(e) Lieder urn den Tod, op. 62 (Bote & Bock, G.)
(e) SpfelmannsUeder, op. 77 (Bote & Bock, G.)

Yrjo Kilpinen (1892-1959) is a Finn whose songs are still barely known
despite the efforts of a small band of enthusiasts to propagate his fame. A volume
of records, sung by the famous German baritone Gerhard Husch with piano
accompaniment played by the composer's wife, was released as a limited "Society"
issue in Britain by H.M.V. in the middle nineteen-thirties. The major works were
the three sets listed above. Kilpinen has written songs to Finnish, Swedish and

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German texts. Only the large collection Is likely to need more than one of the
cycles listed above unless experience suggests that wider coverage would be
appreciated.

LEHMANN (b) In a Persian garden (Cramer)

This song cycle, set to poems from the Rubaiyat, is for four soloists (soprano
contralto, tenor and bass) with orchestral or piano accompaniment. The work
still retains much of its former popularity though it is rarely sung complete;
rather single excerpts, such as the bass song Myself when young, are given.

LISZT (d) 12 songs (Schirmer, G.E. [H.L.])

Perhaps because the piano accompaniments are often extremely difficult,
the songs of Liszt are not often sung today. They certainly do not deserve this
neglect. Many of the seventy (or thereabouts) songs are unlikely to be revived,
but the best have very real merits. The most popular is Die Loreley and critical
opinion appears to favour Oh! quandje dors (to words by Victor Hugo) as his
best song.

LOEWE (d) Album (Schimer, G.E.)

Carl Loewe (1796-1869) is famous for his ballads, which include German
translations of Archibald Douglas and Edward', these, like his other songs, are
usually sung by baritones or basses. Loewe's version of Der Erlkonig (The Erl
King) is considered by some writers to equal Schubert's setting of the same poem.

MAHLER (b) Kindertotenlieder [Songs on the death of infants}

(Kahnt, G.E.)

(Universal, G.E.)
(e) 7 last songs (Kahnt, G.E.)

(b) Das Lied von der Erde [Song of the earth}

(Universal, G.E.)

(d) Lieder und Gesange aus der Jugendzeit [Songs of

the days of youth}, 3v. (Universal, G.)

farer} (Weinberger, E.G.)

Much of the interest evident in Mahler's vocal works since World War II
can be traced to the performances and recordings of Kathleen Ferrier with Bruno
Walter as accompanist or conductor. The fact that most of the cycles listed above
are available on gramophone records is likely to stimulate demand. Only the
Songs of youth were originally written with piano accompaniment; the others all
had orchestral accompaniment. Das Lied von der Erde is, strictly, a symphony in
six movements for orchestra with contralto and tenor soloists. This is the most
famous of the vocal works and is set to German translations of Chinese poems.
The orchestral score has proved difficult to adapt adequately for piano.

MARTIN, E. (a) Four songs of the Fair (Enoch)

(a) Three more songs of the Fair (Enoch)

Easthope Martin is a lightweight composer in this company but Come to the
Fair appears to retain a tremendous hold on the affections of British audiences,

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and to be in the repertoire of every singer at popular concerts. The two sets
would bind conveniently into a single volume if desired.

MARX (e) Album, 4v. (Universal, G.)

Joseph Marx has written many songs and his works in this field appear to
be barely known outside his native Austria. Kagen recommends Hat dich die
Liebe beriihrt, Der Ton, Marienlied, Selige Nacht and Nocturne^ these five songs
could be bound together to give a small representative selection.

MENDELSSOHN (d) 52 songs (Augener, E. G. [L.]) or

20 songs (Hinrichsen, G. [H.M.]) or
16 songs (Schirmer, G.E. [H.L.])

Mendelssohn's songs, like his other works, are under something of a cloud
today. They are well laid out for the voice and have effective piano accompani-
ments, and may well regain a little of their lost popularity as time goes on.
Because of the wider selection, the Augener edition is recommended.

MOZART (c) Concert arias (Schirmer, E.G.)

(b) Songs (Augener, E.G.; Boosey, E.G.; Hinrich-

sen, G. [M.L]); Universal, G.E.

The songs are mainly small and unpretentious works and many of them are
within the scope of the average amateur. The concert arias, on the other hand,
are major pieces that demand a wide range and accomplished technique for
adequate performance.

MUSSORGSKY (d) Songs and dances of death (International Music

Co., E.R.)

(e) Enfantines [Songs of the nursery] (Augener,
F.E.; Chester, F.E.)

Most people appear to think of Mussorgsky solely in terms of his operas
(with Night on the bare mountain and Pictures at an exhibition as major excep-
tions), and to overlook all but one of his output of over sixty songs, which are
both dramatic and highly effective. The famous solo is The song of the flea, almost
his last song. It is unfortunate that nearly all his works in this form lack good
English translations, since they would make these effective pieces much more
accessible.

POULENC (d) Airs chants (Rouart, Lerolle, F.)

(e) BanalMs (Rouart, Lerolle, F.)

These songs are not easily interpreted. Airs chantes comprises four varied
pieces, while Le bestiaire is a set of six brief and amusing songs on zoological
subjects the camel, carp, dolphin, etc. The words ofBanalites are by Apollinaire.

PURCELL (a) 20 favourite songs (Augener) or

Songs and airs, 2v. (Novello)

PurcelTs songs should need no recommendation to British singers, even
though too many appear to know only Dido's lament (from Dido and Aeneas),
The Blessed Virgin's expostulation (to words by Nahum Tate, beginning Tell me,

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some pitying angel', this is published separately by Schirmer) and Nymphs and
shepherds. The songs are both dramatic and effective. The Novello edition is to
be preferred since it contains 30 songs (15 in each volume) compared with 20 in
the Augener edition. Purcell wrote well over one hundred songs as well as many
in the operas.

QUILTER (b) 7 Elizabethan lyrics (Boosey)

(a) Shakespearian songs, 3v. (Boosey)

Roger Quilter may be regarded as a minor composer but his songs are
musicianly, attractive and effectively written. The three Shakespeare sets are
opus 6, 23 and 30 respectively and would bind into a single volume. It might also
be good policy to make up a volume of single works that do not appear in a set
but which are very popular songs such as Love's philosophy, Music when soft
voices die, Go, lovely rose, Now sleeps the crimson petal, etc.

RACHMANINOV (b) Selected songs (Boosey, R.F.E.G. [ELM.])

Like all works written by this composer, the songs are effective and well
laid out for both soloist and piano. The Boosey selection consists of three songs
each from opus 4, 14 and 26, two songs from opus 21 and one from opus 34.
The large library could usefully widen its selection by the addition of all of these
sets. The six songs which comprise opus 4 are for medium or high voice, except
for the second which is for low voice. Similarly, the six songs of opus 8 are
published with numbers 2, 4 and 5 available for medium or high voice, number 1
for medium voice only and no. 6 for high voice only. There are no alternative
settings for the 12 songs, op. 21, 15 songs, op. 26, 14 songs, op. 34 and 6 songs,
op. 38. All of these are published in Britain by Boosey & Hawkes and have
words in Russian, French, German and English.

An excellent two-volume selection of songs published by Breitkopf & Hartel
is not available in Britain.

RAVEL (c) Chants populates (U.M.P., F.)

(d) Histoires naturelks (U.M.P., F.)

(e) Bpo&mes de St&phane Mallarml (U.M.P., F.)

(d) Shthtrazade (U.M.P., F.)

Ravel's songs are among the most outstanding produced by a French com-
poser but they are difficult for effective performance and this undoubtedly limits
their appeal. Many of the songs require an expert pianist. Sheherazade (to words
by Tristan Klingsor) is a cycle of three songs originally written with accompani-
ment by small orchestra, while the Mallarme' songs were written with piano,
flute, string quartet, 2 flutes and 2 clarinets as accompanying instruments.

REGER (c) Schlichte Weisen [Simple melodies], op. 76,

nos. 1-15 (Bote & Bock, G.E.)
(d) 6 songs, op. 4 (Augener, G.E. [M])

(d) 5 songs for high voice, op. 8 (Augener, G.E.)

(e) 5 songs, op. 12 (Augener, E.G.)

(d) 10 songs for medium voice, op. 15 (Augener, G.)
This German composer wrote a large number of songs, many of them with

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the attractively simple vocal line reminiscent of a folk song, and with straight-
forward piano accompaniments. Opus 76 contain Reger's best-known songs, so
far as British singers are concerned, but only the first volume is available at the
time of writing. There are sixty songs in all, in four volumes. Five of the songs
are available separately and would form an attractive volume to many singers:
Two cradle songs (Maria Wiegenlied [The Virgin's slumber song], op. 76, no. 52,
and Zum Schlafen [The golden bird], op. 76, no. 59); Waldensamkeit [Quiet of the
woods], op. 76, no. 3; Mein Schatzelein [My little sweetheart], op. 76, no. 14, and
Des Kindes Gebet [Children's prayer], op. 76, no. 22. All five songs include an
English translation as well as the original German words.

SCHOENBERG (e) 4 songs from "Gurre Lieder" (Universal, G.)

Gurre Lieder is a song cycle for soli, chorus and a massive orchestra. The
work is an early one and is somewhat overlarge for its musical content; it is not
characteristic of the mature Schoenberg. The four songs should be of some
interest, and while Schoenberg's later twelve-tone works are likely to have very
limited appeal indeed, the songs of opus 3 and opus 6 may also be given a quali-
fied recommendation.

SCHUBERT (a) Songs, 8v. (Peters, G. [See note below]) or

(a) Selected songs, 2v. (Schirmer, G.E. [H.L.])

(b) 24 favourite songs (Augener, G.E. [Original;

L.])

The smallest collection should have at least one of the many available albums
of Schubert songs, for their importance should need no stressing. For small and
medium collections, the Schirmer volumes are recommended; each contains
eighty-two songs and the well-known song cycles are included. The Augener
edition is mentioned among smaller selections because of the excellent English
translations of Richard Capell, and equally felicitous translations are to be found
in single songs and two of the song cycles (Die Schdne Mullerin and Winterreise)
issued by the Oxford U.P., though both cycles are o.p. in this edition at the time
of writing.

The larger library should provide the complete songs even though the
original German words only are given. The first Peters volume contains 92 songs,
mainly those of the song cycles, and is available for high, medium or low voices.
The second and third volumes contain 75 and 45 songs respectively and are
available for high or medium-low voices. Volumes 4 to 7 contain 62, 52, 69 and
51 songs and offer no alternative ranges; all are given in the original keys. At the
time of writing the eighth volume has still to achieve publication.

SCHUMANN (a) Songs, 3v. (Peters, G. [v.l, H.M.L.; v.2 & 3 9

H.])or

(a) 77 songs (Universal, G.E. [H.]) or
(a) 55 songs (Schirmer, G.E. [H.L.]) and
(a) Frauenliebe undLeben (Schirrner, G.E. [H.L.])

Like Schubert, Schumann was a song writer of the very first rank and his
works in this field may be considered basic stock. For small and medium lib-
raries the two Schinner volumes or the Universal selection would be sufficient;
large libraries should stock the complete songs. There are many other editions
with selections from the songs.

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SHAW (d) Seven selected songs (Cramer)

Martin Shaw is a contemporary British composer whose songs are well
written for both voice and piano. One or other of them often appear as test pieces
in competitive festivals. His best-known song is probably / know a bank which
appears in the bound selection recommended above. The other songs included
are: At Columbine 9 s grave; The cuckoo; Glad hearts adventuring; Ships of Yule;
Song of the palanuin bearers and Wood magic.

SIBELIUS (e) Black roses (Breitkopf; E.F.)

(e) First kiss (Breitkopf; E. F.)
(e) The tryst (Breitkopf; E. F.)

The songs of Sibelius are not an important part of his compositions but
still deserve representation in the large music collection. The three songs listed
above are the only ones available in Britain at the time of writing with the
exception of a song arrangement of the famous theme from Finlandia, with
English words only, entitled "Be still my soul". This last is not recommended.

STANFORD (d) The fairy lough, op. 77, no. 2 (Boosey)

(d) A soft day, op. 140, no. 3 (Stainer & Bell)

(b) Songs of the Fleet, op. 117 (Stainer & Bell)

The two sets of songs are for baritone, chorus and orchestra, and have a
verve that has kept them popular favourites for over fifty years. Only a handful
of the many songs that Stanford wrote have remained in the repertory but some
are really lovely, particularly the two recommended. The best-known song
attributed to Stanford is Trottirf to the fair which is actually an arrangement of a
traditional Irish melody.

STRAUSS (c) Lieder album, 4v. (Universal, G.E. [H.M.L.])

The songs of Richard Strauss are well written and effective and he is probably
underrated in this sphere of activity in Britain. Understandably enough, a
handful of songs have become much better known than the remainder, e.g.
Standchen [Serenade], op. 17, no. 2, and Morgen [Morning], op. 27, no. 4. The four
volumes listed contain forty-four songs in all and all the best-known Lieder are
included.

TCHAIKOVSKY (b) 12 songs (Schirmer, G.E. [ELL.])

Although they represent but a minor part of his output, Tchaikovsky's songs
are typically written with assured craftsmanship. The two songs most frequently
sung and recorded are (to give them the English titles by which they are generally
known) None but the weary heart, op. 6, no. 6, and At the ball, op. 38, no. 3.
Kagen complains of the inadequacy of the majority of translations into English
of Tchaikovsky's songs.

VAUGHAN

WILLIAMS (d) On Wenlock edge (Boosey)
(c) Songs of travel (Boosey)

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Vaughan Williams wrote excellently for the voice. On Wenlock edge is one
of the many song cycles set to poems selected from Housman's A Shropshire lad,
and is written for tenor, piano and string quartet. Songs of travel, to words by
Robert Louis Stevenson, for voice and piano, contains the popular songs Bright
is the ring of -words and The vagabond; most library users, however, are likely to
look for Linden Lea (Boosey), Orpheus with his lute (Keith Prowse) and Silent
noon (Ashdown) which could be bound together, if desired.

VERDI (d) Operatic excerpts, 6v. (Peters, G.I.)

These are not songs at all, of course, but a series of operatic arias that
provide handy material for solo singers interested in Italian opera. Two of the
six volumes are for soprano (30 arias), and there is one each for mezzo (7 arias),
tenor (23), baritone (20) and bass (13 arias).

WAGNER (d) 5 Gedichte fur eine Frauenstimme (Schirmer,

E.G. [ELL.])

The five songs, to words by Mathilde Wesendonck, are a product of Wagner's
maturity and two of them (Im Treibhaus [In the hothouse] and Traume [Dreams])
were studies for Tristan und Isolde. There have been at least two excellent gramo-
phone recordings to increase interest in the set. Wagner's earlier songs are much
less typical (and also much less important), but might well be included in the
stock of the large music collection.

WARLOCK (b) Album of songs (O.U.P.)

(d)Peterisms (v. 1, Chester; v. 2, O.U.P.)

Peter Warlock, the pseudonym of Philip Heseltine, was one of our finest song
writers. The biography by Cecil Gray is fascinating but shows an unhappy man
apparently unable to come to terms either with the world or himself. Warlock's
ambivalent nature (the "Warlock" and "Heseltine" aspects) is reflected in his
songs. The one side is represented by the simple song, often with an ornate
accompaniment (such as Sleep), the other side by the jaunty song often with a
tavern background. There is a third type of song, the quasi-mediaeval, which
reminds us of his first-rate editing of the lute songs of the Elizabethans and other
early music; for this he seemed to have a natural affinity. The three albums
recommended above present a good selection of his songs.

WOLF (a) 57 songs (Peters, E.G. [EL, MX.] )

(e) EichendorjfLieder, 2v. (Peters, G.)
(c) Goethe Lieder, 4v. (Peters)
(c) Italienisches Liederbuch, 3v. (Peters, G.)
(e) Michaelangelo Sonnets (Peters, G.)
(e) Spanisches Liederbuch, 4v. (Peters, G.)
(c) Morike Lieder., 4v. (Peters, G.)
(e) Settings from various poets, 2v. (Peters, G.)

Hugo Wolf (1860-1903) probably excelled all other song writers in his ability
to combine words and music into an organic unity, so that the music points and
illuminates the words and the latter are not maltreated to fit a preconceived
musical pattern. Interest in Wolf's songs, outside his native Austria, was largely
stimulated by the incomparable interpretations of Elena Gerhardt and her album

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of 51 selected songs (from a total of about 250) should be regarded as a prime
necessity despite the fact that demands for this and other volumes of Wolf s songs
may be disappointingly slow. Another general selection is a Baritone or Bass
album (Peters) containing thirty-five songs. The individual albums are all pub-
lished in the original keys, but the second volume of both the Eichendorrf and
Morike songs can be obtained for low voice; only the original setting is available
for the other volumes in each set. The Michaelangelo Sonnets comprise three
songs written for a bass voice. Peters publish two further selections "for lower
voice", one of sacred and the other of secular songs.

It must be emphasized that for a Wolf Lied the pianist is not, strictly speak-
ing, an accompanist but rather a musician whose part is as important as that of
the singer, so that a very high degree of interpretative skill is required as well as a
good pianistic proficiency.

DUETS

Vocal duets are not usually popular unless they are excerpts from
operas and musical plays. Where such works are required, the
following items are suggested for consideration.

BRAHMS 14 soprano and contralto duets (Peters, G.)

4 contralto and baritone duets (Peters, G.) or
4 duets for contralto and baritone, op. 28 (Augener,
E.G.)

These duets can hardly be rated as an important part of Brahms's music, yet
they do show his skilful writing for both voices and pianoforte and are likely to
prove enjoyable both to performers and listeners. The soprano and contralto
duets comprise opus 20, 61 and 66, which comprise three, four and five duets
respectively plus the second and third items from the Four ballads and romances,
op. 75 (the other two duets in that particular set being for contralto and tenor and
for two sopranos respectively). The Augener edition of opus 28 contains the four
items that comprise the work and is to be preferred to the Peters edition which
contains items from both opus 28 and opus 75, but neither work complete.

DVORAK Moravian duets, op. 32 (Simrock)

A set of 13 duets for soprano and contralto with poor English translations.

MENDELSSOHN 16 two-part songs (Schirmer, G.E.)

PURCELL 6 duets for soprano and baritone or contralto

(Augener)

SCHUMANN 34 duets (Peters, G.)

This album contains an excellent mixture with duets for two sopranos,
soprano and contralto, soprano and tenor, contralto and bass, and tenor and
bass. As with Brahms, the vocal duets are not well known and are of less musical
value than most of Schumann's solo songs, but they do make useful provision
for duettists.

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Music Librarianship
Collection of Songs
DOLMETSCH (c) Selected English songs and dialogues (Boosey)

FELLOWES (b) 40 Elizabethan songs, 4v. (Stainer & Bell)

Canon Edmund H. FeUowes was the author of the standard book on the
English madrigal composers. This collection has the expert and scholarly editing
that would be expected and provides an excellent choice of material.

HARDY (c) Songs from Shakespeare's plays, 2v. (Curwen)

These volumes contain the earliest settings of these famous lyrics.

JEPPESEN (b) La flora, 3v. (Hansen, I.)

Though not as well known as the Parisotti collection (listed on the next
page), these three volumes are well selected and edited; English translations are
provided for the Italian words, but these are literal translations and appear at the
beginning of each volume so cannot be used as an alternative to the Italian words
though they are an obvious aid to interpretation. Italian song writers of the
sixteenth and seventeenth centuries should be represented in quite small collec-
tions of vocal music for their contribution to the art of song-writing has both
historical importance and current interest since many of them are still found in
the standard repertory.

KEEL (a) Elizabethan love songs, 2v. (Boosey)

The standard of editing may not be so high as that of the similar collection
edited by Fellowes, but this is a selection of better-known songs with works by
Morley, Campian, Pilkington, etc.

NORTHCOTE (b) The New Imperial albums, 6v. (Boosey)

Of the many collections of songs suitable for different ranges of voice this
is probably one of the best. There is one volume each for soprano, mezzo-
soprano, contralto, tenor, baritone and bass. There are thirty songs in each
volume, written by standard composers and covering a range in period from the
sixteenth century to the present day. Arrangement within each volume is
chronological and operatic and oratorio excerpts are in a very small minority.

PARISOTTI (b) Aria antiche, 3v. (Ricordi, I.)

Probably the best-known collection of early Italian songs and airs. Only the
large collection will require both this set and that edited by Jeppesen since the
two collections cover much the same ground.

POTTER (b) The reliquary of song (ScMrmer)

A collection of English songs edited by an American, it provides a useful
alternative or additional selection to the others listed here.

REIMANN (c) Das deutsche Lied, 4v. (Simrock, G.)

This is a standard selection of early German songs.

SCHUMANN (d) Elisabeth Schumann album (Chester, E.G.)

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Vocal Music

A collection of songs from the repertoire of this famous singer it is suitable
for most sopranos. Most of the items included are to be found in one or other of
the volumes recommended in this section.

WBCKERLIN (d) Echos du temps passe 3v. (Durand, F.)
A collection of early French songs.

WILSON (a) Old English melodies (Boosey)

This collection by Lane Wilson is justly famous. It includes such perennial
favourites as My lovely Celia (George Munro) and Phillis has such charming
graces (Anthony Young).

NATIONAL AND FOLK SONGS

Almost every country has produced a number of volumes con-
taining national songs and airs and the list below represents but a
small fraction of the available material. For obvious reasons, selec-
tions for the Home countries far outweigh others. Collections with
songs from more than one country are listed first under "Britain"
and England, Ireland, Scotland and Wales have separate entries.
Other countries follow in alphabetical order.

Britain

BRITT