Comments for Loeb Music Library

Comment on Newly Digitized: Meyerbeer Operas and 18th-century Keyboard Works by Angela

Angela — Sun, 25 Mar 2012 14:10:08 +0000

Giacomo Meyerbeer in the 1830s and 1840s, he was the most famous and successful composer of opera in Europe.
I love his music so much.

Comment on Newly-digitized opera scores: Luigi Cherubini by » Newly Digitized: 19th-century Opera Loeb Music Library

» Newly Digitized: 19th-century Opera Loeb Music Library — Thu, 05 Jan 2012 20:45:12 +0000

[...] full score of Cherubini’s popular rescue opera (see our earlier post for a digitized copy of the vocal [...]

Comment on Newly Digitized: Meyerbeer Operas and 18th-century Keyboard Works by Michael Loren Simon

Michael Loren Simon — Fri, 25 Nov 2011 16:44:32 +0000

I would love to be able to hear some of the 18th and 19th century bel canto work of Niccolo’ Zingarelli. This opera is supposed to be his greatest work of more than 35 operas, but I have been unable to find any recorded examples, except for the aria where Romeo dies at the opera’s conclusion.
Thank you.
mike Simon

Comment on Voices of Indigenous Siberia – The Musical Culture of Yakutia by Garfield

Garfield — Wed, 25 May 2011 16:26:52 +0000

This is why I think audio preservation is so important. It would be a shame for all of this to be lost forever. Once the original is gone, if no copies are made, there's no way to get it back.

Comment on Newly-digitized opera scores: Luigi Cherubini by Links: Flanders Recorder Quartet, Loeb Music Library, and Jessica Duchen

Links: Flanders Recorder Quartet, Loeb Music Library, and Jessica Duchen — Mon, 02 May 2011 18:57:23 +0000

[...] opera scores: Luigi Cherubini (Loeb Music Library): More scores available online from Harvard University’s music [...]

Comment on Polish Solidarity Tapes Digitized by loebmusic

loebmusic — Thu, 24 Mar 2011 16:33:03 +0000

Ksenya,
Thanks! I suppose it’s something of a cliche to talk about making unexpected discoveries in archives, but that’s part of the fun of the research, too, isn’t it? I hope you find your own treasures once you have a chance to look through the recordings at your university, and best of luck with your conference paper.
-Kerry Masteller

Comment on Polish Solidarity Tapes Digitized by Ksenya

Ksenya — Wed, 23 Mar 2011 21:17:48 +0000

Congratulations on this project! I came across this story while researching dissident archival material in preparation for a conference paper. We have here at my university a collection of Polish uncensored publications and Solidarity material, I took a quick look at the finding aid to the collection and see that we, too, have one box with phonodiscs, and another full of cassettes. Now I am quite curious as to what they may hold.

Comment on Polish Solidarity Tapes Digitized by » Tapes from Houghton’s Solidarity Collection digitized Modern Books and Manuscripts

Tue, 22 Mar 2011 13:40:26 +0000

[...] 37 audio tapes from the Solidarity Collection, an archive of Poland’s “Solidarność” independent trade union movement in the 1970s and 1980s, have recently been digitized. Andrea Bohlman, a doctoral candidate in Historical Musicology in the Harvard University Department of Music, contributed a post on the tapes to the blog of the Loeb Music Library, available here: http://blogs.law.harvard.edu/loebmusic/2011/03/16/polish-solidarity-tapes-digitized/ [...]

Comment on John Ward’s Treasure Trove of Microfilms by More Links: Odds and Ends

More Links: Odds and Ends — Thu, 06 Jan 2011 14:58:06 +0000

[...] Microfilm Treasure: A unique collection of microfilms donated to Harvard’s Isham Memorial Library turns up many gems. [...]

Comment on La Belle, La Perfectly Swell Romance by Florence Launay

Florence Launay — Wed, 22 Dec 2010 12:32:35 +0000

Bonjour,
Happy to read that the library has an interest for Loïsa Puget! As a music historian specialist of french women composers, I devoted quite a lot of my studies to her. I would be very happy to know where Sarah Barton found the information about Loïsa Puget and George Sand sharing the same boarding school. I am also very pleased to hear about the poem in “occitan” by Jacques Jasmin and shall look for it. I also would like to correct a few mistakes: her poet, whom she married in 1945, was called Gustave and not Alfred. “Le Mauvais Oeil” was a comic-opera, and did not consist of numbers set to her popular romances. This confusion emanates probably from Berlioz’s review of the piece, which sees in it a succession of romance-typed pieces, but an examination of the work shows that this is not the case! (I devoted some pages to the piece in my thesis). Puget’s romances were indeed popular on stage, but in the “vaudevilles”, a type of plays that interspersed dialogues with popular songs of the time.
Bien amicalement.
Florence Launay
Mannheim, Germany