Supporting your music teaching

1. Getting the most out of Irish library services

2. Selecting music editions

• Overview of RIAM library • Music library collections &

networks in Ireland • Online audio resources • Selecting music editions

Supporting your music teaching

RIAM Library

• Long established (1939) • Historical collections (dating from before

RIAM foundation in 1848) – some digitised • Extensive modern editions of performance

materials, recordings and academic texts • Online databases (Grove Music, Naxos etc.) • Member of MusicPal network

RIAM Library

Hudleston Collection of guitar music– digitised and free to search and download

RIAM Library

in the fast lane of the information superhighway …

RIAM Library

RIAM library today …

RIAM Library

Come and visit us!

Website: www.riam.ie/library Blog: http://riamlibrary.wordpress.com Facebook : www.facebook.com/RIAMLibrary Youtube: www.youtube.com/RIAMLibrary

Music libraries and networks in Ireland

• Public libraries available throughout Ireland, some with substantial music collections

• Scores & printed music and CDs – extensive collections in Dublin, Cork and Belfast

• Other libraries subscribe to useful music databases (Grove Online & Naxos Music)

• Academic, Conservatoire and special libraries can be visited using the Music Pal network

Music libraries and networks in Ireland

Library Scores Recordings Books on music

Belfast Central Library 40,000 20,000 CDs, 1,500 DVDs

35,000

Cork – Rory Gallagher Music Library

13,000 35,000 CDs 3,500 DVDs

?

Dublin City Libraries 13,700 9,700 CDs 4,000

Public libraries – main music collections (Source: libraries’ own websites & www.rascal.ie)

Music libraries and networks in Ireland

• Grove music online: Most comprehensive and authoritative English language music dictionary available (accessible online via Belfast, Cork City, Fingal & Galway libraries; print copy in Dublin City music library)

• Naxos Music Library: largest single collection of classical

music audio recordings (nearly 100,000 CD-length recordings) (accessible online via Kerry, Kilkenny, & Cork City libraries)

Online encyclopaedias and audio collections:

Music libraries and networks in Ireland

Feeling excluded?

Music libraries and networks in Ireland

Getting more out of the system …

• Borrowbooks.ie linked network of public libraries, allowing you obtain books from a different county/city – check with your local library about this (RoI only)

• Music Pal: gain access to any library with music collections in Ireland (RoI and NI). This includes University & Conservatoire libraries (downside: usually you can’t borrow materials)

Music libraries and networks in Ireland

Using Music Pal

• Website: http://pathwaystolearning.ie/music-pal-2/ … or just type “music pal” into Google

• Check if your local library participates in the scheme. If so, you can apply for a Music Pal card

• Use your Music Pal card to gain access the library you wish if they are participants (e.g. TCD, RIAM, NUIM, DIT Conservatory, UCC)

Spotify

Other “free” stuff ..

Youtube

E.g. search for: Elkinson Elfentanz (violin, Grade IV)

E.g. Mussorgsky Gopak (Piano, Senior certificate)

• Spotify – available free with ads (audio!) subscription €4.99/month upwards

Selecting music editions

Selecting music editions The impact of different editions: Debussy: Prelude “Le cathédrale engloutie”,

bars 19 – 23

1. Arturo Michelangeli

Recorded 1978, using old Durand edition from 1910

1. Paul Crossley Recorded 1992, using Durand’s new critical Urtext edition (ed. Roy Howat) from 1985

Selecting music editions The editorial history of a piece: Debussy: Prelude “Le cathédrale engloutie” • Debussy’s 1st book of preludes was published in 1910.

• The composer’s own recording of this prelude (on piano rolls) was made in 1913 but varied enormously from the printed edition

• The composer’s piano rolls recording was issued on LP in 1962, making it much more widely available

• Following pianists’ and musicologists’ questions about the validity of the old Durand edition, a new edition emerged in 1985 which resolved these discrepancies

Selecting music editions Problems with older “performing” editions: • Over-editing (many 19th century editions were edited by virtuosi

such as Liszt and Von Bulow and overlaid with subjective expression marks)

• Composer’s original intentions obscured if editorial marks are not distinguished from the original articulation markings

• Sometime even notes were added for additional effect

Selecting music editions Issues with 19th & early 20th c. editions: e.g. Bach Italian concerto (published NY 1918, ed. Mortimer Wilson)

Bach Italian concerto (original edition, 1735)

Selecting music editions Issues with some established editions: e.g. Beethoven op. 13, ii (ABRSM, ed. Craxton & Tovey)

RIAM Piano album, 2014 (reprinted from Henle Urtext edition)

Selecting music editions Issues with some established editions: e.g. Beethoven op. 13, ii (original edition, 1797) – much closer to Henle Urtext – including the division between treble and bass

Selecting music editions Urtext Urtext = “Source text” Derived from from original manuscripts and first editions Faithfulness to composer’s original intentions is paramount so the editor does not add interpretation marks Detailed notes on sources highlighting any discrepancies between sources Represents best practice in music editing

Selecting music editions Example of an Urtext

Bach Italian concerto: source (original edition, 1735)

Bärenreiter Urtext edition. No added interpretation marks or fingering. However, music put into modern notation (no tenor clef!)

Selecting music editions Which is the best Urtext?

Composers Editions Notes

Bach, Beethoven, Mozart, Haydn, Schumann, Schubert, Brahms etc.

Bärenreiter, Henle, Wiener Urtext. More recent Peters Urtext editions

Fingering: note Bärenreiter editions often lack fingering

Chopin PWM edition (Paderewski & Ekier)

Henle and WU also good

19th – 20th c. French composers

Recent Durand & Peters Urtext ed. Nichols & Howat

Liszt Editio Musica Budapest Henle also good

Vivaldi, Corelli Ricordi or Henle

Selecting music editions Why use Urtext editions? • Gives the clearest idea of the composer’s intent

• Avoids the imposition of outmoded performance practices which arise using outdated editions

• Enables good practice in teaching – students will learn early on to “respect the text” if the teacher doesn’t have to cross out unnecessary printed editorial marks

• Gives the teacher (and the student) more choice in interpretation

• May also includes separate guidelines on interpretation and on the background of the piece

Selecting music editions Modern annotated Urtext editions • Challenge of the Urtext – how to interpret unmarked score?

• Some editions based on good sources add interpretation notes at

the end: e.g. Richard Jones’ edition of Anna Magdalena Notebook (ABRSM):

Selecting music editions Modern annotated Urtext editions • Other approaches: marked up scores from RIAM Key Skills Series

2014: a sneak preview!

Further questions? Philip Shields, Librarian, RIAM philipshields@riam.ie

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