BEETHOVEN AND THE PIANO: PHILOLOGY, CONTEXT AND PERFORMANCE PRACTICE LUGANO, 4–7 NOVEMBER 2020

attributions of a work. These problems are even greater for other sacred works. Weinmann’s catalogue did not properly acknowledge the fluidity of genre at the time, but remained faithful to the labels found on the works’ wrappers, resulting in a complex web of generic cross-references that makes it hard even to say how many such works he thought Waṅhal composed. This will be my next contribution to the catalogue over the coming few years. Beyond this, I will be acting as general editor for the catalogue at large.We are currently looking for specialists whomay be interested in taking on the responsibility for chartingWaṅhal’s contributions to particular genres and as found in particular collections. We are especially interested in assisting students who are writing (or planning towrite) their theses onmusic collections in central Europe and can help us better to understand the role Waṅhal’s works played in the musical life of the institutions where manuscripts survive. One of the earliest decisions for the catalogue was to replace the quasi-Linnaean numbering system of Weinmann (reminiscent of Hoboken) with a single sequence of digits (as in Köchel), but to keep this organized according to genre. Whilst these digits are intended to be replaced by Waṅhal numbers in the future, we have created a temporary system of Nokki numbers that will remain in use until that numbering scheme is completed. (Nokki takes its name frommy parents’ cat, which was recovered two hundred and fifty kilometres from home after having been missing for several months.) As we believe that the complete numbering scheme is still far off, we recommend that Nokki numbers be fully embraced at this point, and promise they will remain supported by the catalogue.