Skip to Content
ublogo print

University at Buffalo Libraries

Music Library

Music


Archive for the ‘New Library Additions’ Category

With thanks to Pamela Gearhart

Posted on: |

Portrait of Pamela Gearhart playing the violin

When violinist, conductor, and former UB faculty member Pamela Gearhart died in 2014, she left a generous endowment to the University at Buffalo Music Library in her will. In honor of that gift, the Music Library has acquired a beautiful facsimile edition of Ludwig van Beethoven’s Violin Concerto, Op. 61. The 1979 facsimile publication was limited to one thousand copies and is a reproduction of Beethoven’s manuscript of the score held by the Austrian National Library in Vienna. The score contains Beethoven’s telltale markings of changes and corrections along with some sketches for his own arrangement of the violin part for piano.

The concerto was composed in 1806 for violinist Franz Clement. Although it was not initially a critical success, it is now considered one of the masterworks among violin concerti. The work’s famous opening of four solo strokes on the timpani (joined by the woodwinds on the fifth stroke) are clear on the first page of the score.

Thanks to Mrs. Gearhart’s generosity the Music Library is able to acquire items such as this facsimile that add considerable richness to the collection.

Facsimile of the manuscript of Beethoven's Violin Concerto, Op. 61

Facsimile of the manuscript of Beethoven’s Violin Concerto, Op. 61

New Book about Creative Associate Julius Eastman

Posted on: |

Multi-talented UB Creative Associate (1969-1975) and former music department faculty member Julius Eastman (1940-1990) is the subject of a new book, Gay Guerrilla: Julius Eastman and His Music (University of Rochester Press, 2015) co-edited by Renée Levine-Packer (Coordinator and Managing director of the Center of the Creative and Performing Arts 1965-1978 and author of This Life of Sounds: Evenings for New Music in Buffalo) and Mary Jane Leach. The text includes chapters by both editors, David Borden, R. Nemo Hill, Kyle Gann, John Patrick Thomas, Ryan Dohoney, Andrew Hanson-Dvoracek, Matthew Mendez, and Luciano Chessa.

Julius Eastman

Julius Eastman rehearsing Peter Maxwell Davies’s Eight Songs for a Mad King, Nov. 1 1970
Photograph by Jim Tuttle

Eastman was perhaps best known for his vivid performances of Peter Maxwell Davies’s Eight Songs for a Mad King. His performance with the Fires of London under the direction of the composer has remained in print since its release in 1971. However, there were no commercial recordings available of Eastman’s own compositions until Paul Tai and Mary Jane Leach produced the 3-CD compilation Unjust Malaise for New World Records in 2005 (including two archival recordings from the University at Buffalo Music Library).

The new book provides the most exhaustive examination to date of the many facets of Eastman’s life and career. Congratulations to Mary Jane and Renée on their collaborative effort to keep the legacy of Julius Eastman alive for a new generation of listeners, performers, and researchers.

Trial Database – PBS Video Collection

Posted on: |

The UB Libraries have a trial subscription to the PBS Video Collection from Alexander St. Press through May 17, 2014. The trial can be accessed from the Free Database Trial page or directly from on campus at http://search.alexanderstreet.com/pbsv. If you have comments on the database or would like to recommend that we subscribe, please contact us at musique@buffalo.edu.

The PBS Video Collection assembles hundreds of the greatest documentary films and series from the history of PBS into one convenient online interface. The diverse subject matter of the included films makes this an important collection for the study of history, science, business, technology, performing arts, anthropology, psychology, politics, health, and literature. Programs include Frontline, NOVA, American Experience, Odyssey, and films by Ken Burns and Michael Wood.

Ken Burns Jazz DVD set

The Jazz series by Ken Burns is included in the trial.

 

Welcome back

Posted on: |

It may not feel like spring weather, but the spring semester is here.  Please bear with us with a long post with some updates.

Research help/course help

As always, we are here to help you with finding books, articles and other sources for research papers/class projects, and can help you find scores, recordings, videos, and other materials. We’re available by email, phone, and in person–just ask for a librarian at the desk.

Music Library seating & carpeting

We are happy to announce that there is new carpeting throughout the library. This replaces the area destroyed by the flood as well as the older carpeting. Please help keep your study space clean by avoiding all messy foods in the library. We will be getting new seating for study areas, and you are invited to try test models and submit your comments.

Seating options for study spaces

Seating options for study spaces

New scores, CDs, books, and databases

Naxos Music Library Jazz: We have an extended trial through September 30, 2014. NML-Jazz has an extensive collection including the catalogues of Blue Note and Warner/EMI. Please note that most of the jazz content has been pulled from Naxos Music Library and moved to NML-Jazz. Access both via our Streaming Audio and Video page.

Other recent acquisitions of note: facsimile editions of the full and piano 4-hands scores of Rite of Spring; Grove Dictionary of American Music, 2nd ed. online and in the reference section; scores and recordings by senior June in Buffalo 2014 composers; and, clocking in at CD 20000, the UB Music Department’s own CD, University at Buffalo Music.

Concert/event notices

If you would like to post a notice for a department-affiliated or co-sponsored event on the event bulletin board in the Baird Lobby, please bring a copy inside the library and we will be happy to post it for you. We want to help you attract great audiences to your concerts, recitals, and lectures.

Exhibit

Exhibit in Commemoration of the Inaugural Concert Funded by the Muriel Wolf and Albert Steger Endowment for the Music Library, curated by John Bewley, is newly on display in the exhibit cases in the library. The exhibit is presented in conjunction with the Muriel Wolf and Albert Steger Endowment inaugural concert, (Re)Constructions, presented by Wooden Cities with a program of works by Buffalo composers (concert Feb. 7, Brown Bag Feb. 4).

Library skills workbook

For those still needing to meet your gen-ed workbook requirement, we hope you will keep the music version in mind.

We are always happy to answer any questions you have, and we look forward to seeing you in the library or working with you by phone or email. Best wishes for a productive and enjoyable spring semester.

New Resource – medici.tv

Posted on: |

logo-medici-betaMedici.tv is a streaming video provider of classical music programs that is now accessible to the UB community. Medici.tv’s catalog includes films from the 1940s to the present and webcasts of live events. The video streams are of high quality and change regularly. The collection of over 1,000 videos includes performances, films, and interviews from a wide array of performers and composers. These videos include performances by the Arditti String Quartet, the Bolshoi Ballet, Pierre Boulez, Rene̒e Fleming, Wynton Marsalis and the West-Eastern Divan Orchestra.

In addition to the streaming video service, medici.tv hosts biographies of some of the performers. These biographies include a list of videos within the online collection attributed to them, as well as suggestions for other artists of interest.

The live webcast performances are streamed from performance venues around the world. Some of the performance spaces include the Salle Pleyel, the Berlin Waldbühne, the Louvre Auditorium, and the Park Avenue Armory. This gives give you the ability to experience a live performance that may be taking place thousands of miles away.

After a live webcast has been performed it is readily available within the collection for a period of time. The most recent performance will usually begin to play when entering the site. This means there is always something new to see on medici.tv.

Click here for the library portal page for both on- and off-campus access to medici.tv. Medici.tv can be accessed directly from on campus. To access the service from off campus you will need your UBit login.

This is a guest posting written by Philip M. Siblo-Landsman, a student worker at the Music Library and a graduate student in UB’s Libraries and Information Studies and Musicology programs.

New DVD – Talking Heads, Stop Making Sense

Posted on: |

The following post was written by one of the Music Library’s student workers, Sean Ahern, a graduate student in the American Studies program at UB.

A new title in the recent acquisition of new popular music titles at the Music Library is the DVD of  the Talking Heads’ and Jonathan Demme’s Stop Making Sense (DVD 931).

The 129 minute film is a synthesis of three nights of concerts by the Talking Heads while promoting their newest album Speaking in Tongues. Directed by Demme, the concert starts with an acoustic version of “Psycho Killer” by David Byrne as members of the band are gathered and join him on stage for live versions of “Heaven,” “Thank You For Sending Me An Angel,” “Burning Down The House,” “Life During Wartime,” “Once In A Lifetime,” and “Take Me To The River,” among others. Often remembered for the oversized suit that Byrne wears during “Girlfriend Is Better” that also graces the cover of the DVD, the movie is as much a piece of modern art as it is new wave rock concert, be it with Byrne’s coordinated and rubbery dancing during “Life During Wartime” or the slideshow presentation during “Naive Melody (This Must Be The Place).” The film catches the Talking Heads in their prime as the four-piece of Byrne, Chris Frantz, Tina Weymouth and Jerry Harrison is fleshed out to include veteran artists Bernie Worrell, Alex Weir, and an appearance by the Tom Tom Club (Weymouth and Frantz’s side project).

The film’s drawbacks are often related to the combination of film from multiple concert nights–the process creates unforeseen instrument and clothing changes (most notably seen in Weymouth’s on-stage outfits). At the same time, the fact that these mistakes find their way into the final film and are almost unnoticeable speaks to the musicianship of the group and their combination of multiple performances into one film.

The UB Music Library’s copy of Stop Making Sense includes a widescreen digitally remixed and remastered version of the film, a two channel version of the film by Jonathan Porath, commentary by the four separate members of the Talking Heads and Demme, a storyboard-to-film comparison of Byrne’s original drawings to what is seen on film, and two separate bonus tracks—“Cities” and “Big Business/I Zimbra”—removed from the original film. An interview of David Byrne interviewing David Byrne to promote the film is also included in the special features. The film is a must-watch for those interested in popular music, filmmaking, dance and theatre.

This DVD joins our collection of recordings by the Talking Heads on CD and vinyl. If you are interested in work by David Byrne, we also have a number of items you can explore.

New Title – Classic Earl Hines Sessions, 1928-1945

Posted on: |

The following post was written by one of the Music Library’s student workers, Daniel Weaver, a recent graduate of the Department of Library & Information Studies and a current MA student in the Music Department.

Earl Hines at piano

Portrait of Earl Hines, New York, N.Y., ca. Mar. 1947, by William P Gottlieb.
Photograph from the William P. Gottlieb Collection at the Library of Congress.

 

An exciting new addition to the Music Library is the Mosaic Records issue, Classic Earl Hines Sessions 1928-1945. (CD19362/68)  This seven-disc set chronicles some of the most important recordings made by Hines as a leader of his own big band, as a soloist, and as a featured performer with ensembles such as the Sidney Bechet Trio. Earl Hines was one of the single most important innovators in the history of jazz piano playing. Freeing the development of piano jazz from the strict distinctions of blues, ragtime, and stride, Hines cultivated a unique style that blended elements of all three plus a linear approach to melody, “trumpet style” octaves, and a rhythmically loose left hand.  He was a major influence on a range of artists including Art Tatum, Teddy Wilson, and Nat King Cole. Taken from the masters, as well as some commercially-released 78s of Hines’s original recordings with OKeh, Victor, Brunswick, Vocalion, Bluebird, and Signature, the set picks up immediately after the conclusion of Hines’s tenure in Louis Armstrong’s Hot Five, and extends through the late 1940s when Hines had to disband his orchestra for economic reasons.

Among the many highlights on the set are Hines’s solo tracks including the initial post-Armstrong “Blues in Thirds,” “A Monday Date,” and his 1940 recording of “Body and Soul,” described by jazzweekly.com as “overwhelmingly lovely.” One of the strengths of the Mosaic set is the experience of following the development of the Hines big band’s many incarnations, and consequently the overall development of jazz from the 1920s to the 1940s. Although the classic line-up featuring Dizzy Gillespie and Charlie Parker could not be preserved on recording due to the American Federation of Musicians strike, other important musicians who performed with Hines are represented in the set, including Billy Eckstine, Oscar Pettiford, and Ray Nance.

If you like what you hear on the Mosaic set, and want to explore more of Hines’s work, ask at the circulation desk for CD6800, Louis Armstrong Volume IV: Louis Armstrong and Earl Hines, featuring arguably Hines’s most famous performance, “West End Blues.” For a late-career recording ask about Earl Hines Plays Duke Ellington, (CDX217/18).

New Title – Towncraft

Posted on: |

The following post is the first in a series of new additions of popular music. It was written by one of the Music Library’s student workers, Sean Ahern, a graduate student in the American Studies program at UB.

Towncraft DVD cover

With my background in the study of popular music, I have been working in the UB Music Library on developing the holdings of our popular music collection with the addition of albums, books, documentaries and concerts from popular artists and music scenes. Each of the items acquired by the library help to frame popular music over the past four decades and include seminal albums and artists that encapsulate specific times periods, from the 1960 to the 2000s. One of the newest items in our collection is Richard Matson’s Towncraft: Notes from a Local Scene, (DVD 934/36).

Local scenes are often an intricate network of basement shows, high school band competitions and open mic nights that fan the flames of stardom within the radius of metropolitan hubs such as New York, Chicago or Los Angeles. For that reason (among a pile of others) the music scene of Little Rock, Arkansas started in the mid-1980s, its flourishing throughout the 1990s and onward into the new millennium is a case study in do-it-yourself scene building. Towncraft: Notes from a Local Scene has director (and Little Rock native) Richard Matson interviewing local scene members that tell the tale of handmade zines, teenager-owned record shops and rock bands that, instead of looking outward for inspiration, found energy within local hangouts and appropriated public spaces—public parks with electric hookups became spaces for shows while benefit concerts worked towards a compilation album of local bands in the early 1990s that would gain national attention. The evolving soundscapes of the music scene are used here to frame the image of Little Rock and the independent labels, musicians and style that has flourished since.

The UB Music Library’s copy of Towncraft includes the 104 minute film with a 60-page booklet of commentary from Matson and fellow members of the Little Rock scene and a two disc, forty song soundtrack of bands that had their start out of the Little Rock scene. The film is a must-watch for fans of independent music and researchers that delve into subcultures and popular music studies as audience members are privy to the inner workings of a community from its inception to the present day.