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Reviewed by:

• Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France by Yossi Maurey
• Jennifer Thomas

Much of medieval culture relates to the objects and impetus of personal devotion. The ritual act of pilgrimage moved believers from home to distant destinations, expanding their experience and faith, and marking their devotion. Crusaders in the twelfth and thirteenth centuries performed a type of pilgrimage as they journeyed to the Holy Land, awakening a consciousness across Europe of the material and spiritual power contained in the places and artifacts of the primitive Christian movement. The practice of affective devotion drew believers close to the emotions and actions of the central figures of Christian belief, and as saints became recognised as possessing the attributes of sacrificial faith, objects of veneration multiplied. Personal salvation loomed in the minds of believers, and the Church offered saintly models and essential pathways to that fervently hoped-for state. At this time, Europe oriented itself geographically and politically around leaders who understood and claimed their power as ordained by God. Sites of religious authority shifted from Jerusalem (which Crusaders swore to protect) to Constantinople (where treasures removed from Jerusalem anchored the eastern Christian capitol), to European cities and cathedrals, which sought sacred relics that would elevate their spiritual and earthly status. Relics engaged the devotion of the faithful, many of whom undertook pilgrimages to visit these powerful objects, the focus of their meditations, which awakened or affirmed their understanding and awareness of the reality of the gospel story and its miracles. These pilgrimage sites—such as Jerusalem, Constantinople, Rome, Tours, and Santiago de Compostela—attracted worldly and religious prestige, power, and capital.

The bourgeoning and diverse practices and beliefs emanating from both heavenly and earthly sources created a potent cultural moment vividly and thoughtfully explored in Yossi Maurey’s Liturgy and Sequences of the Sainte-Chapelle: Music, Relics, and Sacral Kingship in Thirteenth-Century France. In 1238, King Louis IX of France (canonised Saint Louis, 1297) purchased from his cousin Baldwin, Latin Emperor of Constantinople, some of the most potent relics of Christendom, which the deeply indebted Baldwin had pawned to a Venetian merchant. Acquiring these treasures for France, with

• Briefs / Feuilletons
• Ruth Hellen and Liz Hart

Among the various early music imprints and manuscripts held among the Library of Congress Music Division’s rare general collections are 306 music anthologies dating from the late fifteenth through seventeenth centuries. These materials represent about ten percent of the total number of musical anthologies produced at that time and are sources for some of the greatest musical works of the period.

A new bibliography, Anthologies of Musical Works in Print and Manuscript from the 15th–17th Centuries in the Library of Congress Music Division, presents an inventory of the Music Division’s holdings with tables of contents and annotations for most entries: https://www.loc.gov/static/research-centers/performing-arts/documents/Anthologies-Final-Bibliography.pdf .

An accompanying research guide provides discussions about and highlights from this unique body of materials, emphasizing matters of provenance, cataloguing, music publishers, online resources, and bibliography, and how the Music Division’s collection historically parallels the total output of anthology sources: https://guides.loc.gov/music-anthologies/introduction .

Please contact https://ask.loc.gov/performing-arts with any questions.

The newest volume of the Bohuslav Martinů Complete Edition has been published. The Frescoes of Piero della Francesca, H 352 and The Parables, H 367, edited by Arne Stollberg and Janina Müller (BMCE II/2/7; BA 10590-01) represent the culmination of the late Neo-Impressionist orchestral output of Bohuslav Martinů, marked by a fantastic, kaleidoscopic style. Martinů transforms his extramusical inspirations (visual, literary) into the principles of musical forms, which are open to associations from mood setting to philosophical inquiries into the essence of human existence.

The composer wrote The Frescoes in spring 1955 and conceived them after the cycle of Renaissance frescoes of Piero della Francesca in the Basilica of St Francis of Assisi in Arezzo, Italy. The premiere at the Salzburg Festival on 26 August 1956 was given by the Vienna Philharmonic under Rafael Kubelík, to whom the composition is dedicated. Martinů wrote the first two movements of The Parables in July 1957; he returned to the work after a break in early 1958 (completing the final, third movement on 8 February). The Parables premiered in Boston on 13 February 1959 by Charles Munch and the Boston Symphony Orchestra. The mottos of the first two movements of The Parables reference ‘The Wisdom of the Sands’ by Antoine de Saint-Exupéry. For the third movement, Martinů created a motto from loosely associated excerpts from Georges Neveux’s play ‘The Voyage of Theseus’,

Reviewed by:

• Accenting the Classics: Editing European Music in France, 1915–1925 by Deborah Mawer, et al.
• Peter Asimov

Right around the time of the first installment of the Durand publishing house’s Édition classique, the French music critic, Jean Marnold suggested that famous composers lacked the requisite skillset to produce worthy musical ‘editions’: if appending their names helped to boost sales, the commercial gains were, he argued, but a short-sighted reward for a compromise in quality and integrity. Marnold was right to distinguish musicological from musical authority—and Saint-Saëns’s reply to Marnold (‘Tout ce qui, dans l’édition en question, ressort de la “musicology”, comme les dates, n’est pas de mon fait’ [Everything that, in the edition in question, emerges from ‘musicology’, such as the dates, is not my doing]) illustrates the limited awareness of leading musicians about what constituted musicological expertise. Marnold was prescient, too, in foreseeing the waning appeal of scores that traded on the imprint of a contemporary composer in favor of ‘Urtext’ editions premised on philological methods and authentistic ideals. But a century on (and a few French Theories later), the illusion of textual fixity has yielded its preeminence to the allusions of intertextual interplay: ‘Saint-Saëns’s Mozart’ has become as valid (or more valid) a site of inquiry, and even performance, as Mozart’s Mozart, and Durand’s instincts proved, once again, keener than most.

The core subject of Accenting the Classics— the Édition Classique A. Durand & Fils (hereafter ÉCD), misleadingly named after Auguste Durand, who despite hatching the idea died before his son Jacques brought it to fruition— is a terrain both fascinating and innovative for research. Instigated by a wartime ban on German imports and a gap in the market for affordable French editions of the European ‘classical’ canon, the ÉCD, initially encompassing core repertory by Bach, Beethoven, Chopin, Mozart, Schumann, and a disconcerting amount of Czerny, was progressively stretched to accommodate works by composers as unclassical as Wagner and as alive as Maurice Emmanuel (himself also an editor), not to mention editions of Couperin and Rameau published before the inception of the series but retroactively incorporated into it. (Apparently Durand was less precious about the boundaries of ‘classic’ than he was attuned to the commercial potential of that moniker.) He recruited at the highest level a network of composers (including Fauré, Debussy, Ra

Abstract:

Archiving processes reveal multiple perspectives in physical, digital, and human memories. Africa has cultural archiving that relies on ‘virtual’ repositories in individual memories of people through practice. This is widespread among the Igbo of Nigeria. Threats to such ‘virtual’ archives, arising from deaths, memory loss from aging, as well as urbanisation, call for attention to the fast-eroding data content. This article discusses the nature, significance, and challenges of human memory as archival repositories in the sustaining of musical and cultural heritage practices in Igbo land. We argue for the retrieval, recording, and transfer to digital media of vital indigenous musical data as a support system to individual memory to stem extinction. This discourse draws from postcolonial notions and positions, fieldwork, and personal experiences of the authors to advance a dual system in which performance process as an archival method that depends on individual memories of practitioners is combined with digital transfer as a mechanism for safeguarding the musical heritage of the Igbo due to the perceived increasing abandonments of indigenous musical performances by the younger generation. The idea is to have a recovery and repatriation mechanism for musical material that may go extinct.

Abstract:

Les processus d’archivage révèlent de multiples perspectives dans les mémoires physiques, numériques et humaines. En Afrique, l’archivage culturel repose sur les dépôts “virtuels” que constituent les mémoires individuelles des individus par le biais de leur pratique. Ce phénomène est très répandu chez les Igbo du Nigeria. Les menaces qui pèsent sur ces archives “virtuelles”, dues aux décès, à la perte de mémoire liée au vieillissement, ainsi qu’à l’urbanisation, exigent que l’on s’intéresse à la rapide érosion des contenus de ces données. Cet article traite de la nature, de l’importance et des défis posés par la mémoire humaine en tant que dépôt d’archives pour la préservation des pratiques musicales et du patrimoine culturel dans le pays Igbo. Nous défendons la récupération, l’enregistrement et le transfert sur support numérique des données musicales indigènes vitales en tant que système de soutien à la mémoire individuelle pour éviter son extinction. Ce discours prend appui sur les concepts et les positions postcoloniales, le travail de terrain et les expériences personnelles des auteurs pour promouvoir un double système dans lequel le processus de performance comme méthode d’archivage dépendant des souvenirs individuels des exécutants est combiné avec le transfert numérique en tant que mécanisme de sauvegarde du patrimoine musical des Igbo face à la constatation de l’abandon croissant des pratiques musicales indigènes par la jeune génération. L’idée est de disposer d’un dispositif de récupération et de restitution du matériel musical susceptible de disparaître.

Abstract:

Archivierungsprozesse eröffnen vielfä