Richard Strauss Werkverzeichnis. (Veröffentlichungen der Richard-Strauss-GesellschaftMünchen, 12) by Franz TrennerReview by: Scott WarfieldFontes Artis Musicae, Vol. 42, No. 4 (October-December 1995), pp. 382-384Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23508587 .

Accessed: 15/06/2014 11:30

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

International Association of Music Libraries, Archives, and Documentation Centres (IAML) is collaboratingwith JSTOR to digitize, preserve and extend access to Fontes Artis Musicae.

http://www.jstor.org

This content downloaded from 62.122.72.104 on Sun, 15 Jun 2014 11:30:42 AMAll use subject to JSTOR Terms and Conditions

382 FONTES ARTIS MUSICAE 42/4

for cello and percussion, etc. Though not

necessarily graceful, the system serves its

purposes adequately.

Full description in individual entries in

clude composer, title, opus number, pub

lisher, date of publication, and data on first

performance (performer, date, location, and

dedicatee or commissioner). Homuth also

provides recording information (performer,

label, number, and format—mostly long

playing vinyl recordings) if known. Annota

tations add commentary on the level of dif

ficulty, scoring, use of newer performance

techniques, number of movements, and ap

proximate duration.

Two indexes provide access to personal

names. One lists composers, the other cel

lists. To aid in the acquisition of scores and

recordings, Homuth includes an address list

for publishers and distributors of the printed

music as well as for record, disc, and tape

labels. This list could have been enhanced

with the inclusion of telephone and fax num

bers, and electronic mail addresses when

available. The Introduction also includes a

listing of information sources useful in deter

mining availability, such as Musk in Print or

the Bielefelder Katalog. Appropriately given

the recent nature of the repertoire, there is

a list of publications which may help cellists

decipher modern notation or aid them with

new performance technique. Volume 12 of the fine Fallen Leaf Refer

ence Books in Music, The Solo Cello: A

Bibliography of the Unaccompanied Violon

cello Literature by Dimitry Markevitch (Ber keley, CA, 1989), is the most recent work

on unaccompanied cello literature, covering

the Baroque to 1989. It is interesting to note

that the entire contents of the Markevitch

bibliography (approximately 1,500 works) do

not equal the number of unaccompanied

works in Homuth (1,541), indicating verita ble boom in composing for the cello since

1960. Besides this, the most recent update to cello bibliography is Wayne Wilkins's The

Index of Cello Music: Including the Index of Baroque Trio Sonatas (Magnolia, AK: Music

Register, 1979). Although more current

than the two venerable bibles of cello liter

ature, Handbuch der Violoncell-Literature

(third edition, Vienna: Universal-Edition, 1929) by Bruno Weigl and La Littérature du

Violoncelle (Delagrave: Paris, 1925) by Ed

ouard Nogué, the Wilkins index is less than

thorough. In short, Homuth has filled a great void with his publication.

Homuth's work is well-researched, accu

rate, seemingly exhaustive, and easy to use.

Its value in building the cello collections in

libraries will be extraordinary. In his Preface

the author hopes that "this bibliography will

be enlightening and helpful to both the cellist

and composer, as well as to musicians and

the music public in general" (p. vii). Let's

add librarians to that list.

Sarah Dorsey

University of North Carolina

Greensboro, NC, USA

Richard Strauss Werkverzeichnis. By Franz Trenner. (Veröffentlichungen der

Richard-Strauss-Gesellschaft München, 12)

München: W. Ludwig Verlag, 1993. [399 p. ISBN 3-7787-2137-2. DM 128.00]

The sudden death of Franz Trenner on 4

November 1992 marked the end of an era in

Strauss scholarship. Trenner's career span ned more than forty years, beginning with

his 1949 dissertation on the relationship of

Strauss and Hofmannsthal to this posthu

mously published Richard Strauss Werkver

zeichnis. Between these two items Trenner

wrote numerous articles and books on vari

ous aspects of Strauss's life and career, and

edited the Veröffentlichungen der Richard

Strauss-Gesellschaft, München, an occa

sional series well known to Straussians ev

erywhere as the "Blaue Reihe."

Beyond his own work as author and edi

tor, Trenner contributed quietly over the

years to literally scores of articles, disserta

tions, and books by other scholars. He was a

friend and confidant of Strauss's heirs and of

virtually every significant Strauss scholar in

the world, and no one knew the source ma

terials for the composer better. He was al

ways glad to check a fact or verify a source

This content downloaded from 62.122.72.104 on Sun, 15 Jun 2014 11:30:42 AMAll use subject to JSTOR Terms and Conditions

REVIEWS 383

for a colleague, and any Straussian who most important aspects of Mueller von

came to Munich was welcome to call on him Asow's work at the request of the publish

for help or merely to visit for a chat about ers, Doblinger Verlag,

their favorite composer. The numerous ac- The product of Trenner's continuing la

knowledgements of his help found through- bors was issued in 1985 as the Richard

out much of the Strauss literature of the past Strauss Werkverzeichnis (Wien: Doblinger).

quarter century scarcely begin to recognize In contrast to Mueller von Asow's nearly

Trenner's contribution as a facilitator of the 1700 pages, Trenner's Werkverzeichnis had

work of others. a mere 153. The length the earlier work

Trenner was also well known as a cata- resulted from exhaustive entries that often

loguer of Strauss's music, a responsibil- ran to more than twenty pages for each

ity that occupied the last thirty years of his work. Trenner wisely made no attempt to

life. Erich H. Mueller von Asow had first rewrite entries in full; instead, he reduced

proposed an index of Strauss's compositions each to a few lines by eschewing musical

in 1942, but the Second World War and its incipits and ephemeral data in favor of only

aftermath made it impossible to set that the most salient information. More impor

project in motion until many years later. The tant, the speed with which this new volume

initial fascicle of Mueller von Asow's Richard was produced made it relatively accurate

Strauss Thematisches Verzeichnis (Wien: and reliable. When used with Mueller von

Doblinger) was issued in 1954, and within a Asow's three volumes, the two items

decade, the second volume was in print. formed a serviceable catalogue for Richard

Mueller von Asow died in 1964, however, Strauss's music.

leaving his notes for the third volume in a One might have assumed that Trenner

rough and incomplete state. would have considered his cataloguing work

The task of finishing the catalogue fell over in 1985. In fact Strauss sources contin

jointly to Trenner and Alfons Ott, then the ued to surface throughout the 1980s. It was

music librarian of the Munich City Library. rare for more than an issue or two of the

As they worked on the third volume, it be- biannual Richard Strauss-Blätter to appear

came apparent that there were several ob- without some mention of a new manuscript,

stacles to completing the project as Mueller an important sale of sources, or a gift to an

von Asow had envisioned it, not the least of archive or library. Moreover, scholarship which was the ever-increasing number of continued to refine the Strauss chronology. Strauss's manuscripts then coming to light. Consequently Trenner carried on as cata

Despite such problems, Trenner and Ott loguer, and at the time of his death he was

were able to complete the Thematisches preparing an updated version of his 1985

Verzeichnis approximately as its first author volume. His final work was completed by his

had planned. Their third volume included an son, assisted by Rosewitha Schlötterer, and

extensive "Corrigenda et Addenda" section issued as Band 12 of Trenner's own "Blaue

as a means of bringing earlier entries up to Reihe."

date. This new Richard Strauss Werkverzeich

Even with careful checking by the edi- nis is more than a revision of Trenner's 1985

tors, the Thematisches Verzeichnis showed work, although it is not quite a replacement

the effects of its long gestation as soon as it for Mueller von Asow's Thematisches Ver

was finished in 1974. The rediscovery of lost zeichnis. A strict chronological ordering of

manuscripts, the transfer of sources to new Strauss's compositions based on their known

owners, and research into Strauss's career dates of completion retains the "T" numbers

that changed the chronology of his oeuvre assigned to works in 1985 in addition to

rendered significant portions of it obsolete. either Strauss's own opus number or Muel

Consequently, Trenner—now working alone 1er von Asow's "AV" or "o.Op." number,

—took on the responsibility of revising the Trenner's numbering system has the virtue

This content downloaded from 62.122.72.104 on Sun, 15 Jun 2014 11:30:42 AMAll use subject to JSTOR Terms and Conditions

384 FONTES ARTIS MUSICAE 42/4

of showing better the temporal relationship of two or more works, something that could

not always be divined from Mueller von

Asow's arbitrary numbering system. The

new volume also includes a much-needed

concordance of Mueller von Asow's with

Trenner's numbers.

The basic format of the present volume

follows that of the 1985 one, with one major

improvement. Each entry now begins with a

musical incipit taken from Mueller von

Asow, which Schlötterer has proof read

against Strauss's autographs. She has also

transposed the Lieder incipits into their orig

inal keys. The remainder of each entry is

similar to those in the 1985 volume, with

only the most basic information given for

each work. The date and place of composi

tion appear first, followed by the location

ofthe autograph and other manuscript

sources. Next are the exact dedication, pub

lished editions, and facsimiles, if any. Infor

mation on the singing roles in the dramatic

works, the performing forces, and each

work's duration completes most entries.

Various remarks have also been added to a

few entries.

The most important differences between

the 1985 and 1993 catalogues can be found in

the first two categories of each entry. The

dates of completion for some pieces have

been shifted a few days, while intermediate

dates for sketches and particells have been

added in many cases. No work has had to be

redated completely, so that the basic chro

nology remains unaltered, however, and

therefore all works retain their 1985 "T"

numbers. Some previously unknown pre

mieres are also identified here for the first

time.

Manuscripts and their locations repre

sent the main area of revision in the 1993

volume. Nearly a third of the 298 entries

identify either new manuscripts and other

source materials, or new locations for items

already known, which more than justifies the

publication of this volume so soon after the

1985 update. Users of this new catalogue

should note one inconsistency. Since Tren

ner earlier indexed the 144 sketchbooks held

by Strauss's heirs (Die Skizzenbücher von

Richard Strauss aus dem Richard Strauss

Archiv in Garmisch [Tutzing: Hans Schnei

der, 1977]), those sketches are not noted in

either the 1993 revision or the 1985 volume.

In contrast, literally any newly discovered

preliminary materials, ranging from single leaves to whole sketchbooks, are included

here. Consequently, anyone interested in

Strauss's sketches for a work ought to check

Mueller von Asow, Trenner's Die Skizzen

bücher, and the 1993 Werkverzeichnis to en

sure comprehensiveness. As for items that

have changed hands in recent years, Straus

sians will breathe a sign of relief when they

see that many of those sources have found

permanent homes in Garmisch, Munich, or

Vienna, three locales already rich in Strauss

manuscripts. The publication of the 1993 revision of

the Richard Strauss Werkverzeichnis brings

the process of cataloguing Strauss's music to

an end. With Trenner gone, there is really no one qualified to take his place. At the

same time, his efforts to identify every

manuscript and verify every fact has made

this catalogue the very best it can be, and it

will be some time before yet another revi

sion is necessary. Meanwhile this catalogue with its "T" numbers will serve as a fitting

legacy of a notable career devoted to the

music of Richard Strauss. No serious music

library should be without this volume, either

as an update of the Mueller von Asow The

matisches Verzeichnis or as its only catalogue

for the music of Richard Strauss.

Scott Warfield Chapel Hill, NC, USA

Anthologies of Music: An Annotated In

dex. By Sterling E. Murray. 2nd edition. (De troit Studies in Music Bibliography, 68) Warren, MI: Harmonie Park Press, 1992. [xxiii, 215 p. ISBN 0-89990-061-5. $35.00 US]

Music for Piano and Orchestra: An Anno

tated Guide. By Maurice Hinson. Enlarged

edition. Bloomington; Indianapolis IN: Indiana

This content downloaded from 62.122.72.104 on Sun, 15 Jun 2014 11:30:42 AMAll use subject to JSTOR Terms and Conditions