Project MUSE®: Fontes Artis Musicae - Latest Articles
https://muse.jhu.edu/journal/688
Project MUSE®: Latest articles in Fontes Artis Musicae.daily12026-05-15T00:00:00-05:00text/htmlen-USVol. 63 (2016) through current issueLatest Articles: Fontes Artis MusicaeTWOProject MUSE®Fontes Artis Musicae2471-156X0015-6191Latest articles in Fontes Artis Musicae. Feed provided by Project MUSE®Editor’s Preface
https://muse.jhu.edu/article/986632
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Music manuscripts and their locations past and present surface as perennial issues for librarians, archivists, musicologists, and antiquarian dealers. This issue of Fontes takes that subject to heart from multiple vantage points. Materials often change hands or can remain uncatalogued for decades. Histories that document those changes and/or provide more detailed inventories constitute necessary and vital work, supporting wide arrays of scholarly inquiry—be they for ethical, historiographic, archival, or musicological reasons.No other event in the twentieth century has impacted collection provenance more than World War II and its political aftermath. To that end, the first two articles in this issue trace and
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmallEditor’s Preface2026-03-25text/htmlen-USEditor’s Preface2026-03-252026TWOProject MUSE®33612026-05-15T00:00:00-05:002026-03-25‘Tenderly Guarded Treasure’: The Gisella Selden-Goth Collection at the Library of Congress
https://muse.jhu.edu/article/986633
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On Sunday evening, 14 January 1940, the Young Men’s Hebrew Association in New York City hosted a concert and exhibition highlighting the music manuscript collection of pianist, composer, and collector Gisella Selden-Goth1. The programme featured the Fugue in C minor for two pianos, K. 426, by Wolfgang Amadeus Mozart, Joseph Haydn’s Capriccio on an Austrian Folk Song, Frédéric Chopin’s Impromptu in G-flat major, op. 51, and the famous Rondo (Perpetuum Mobile) from Carl Maria von Weber’s Piano Sonata no. 1 in C major. Songs by Felix Mendelssohn, Johannes Brahms, Hugo Wolf, and Gustav Mahler were also on the programme. The autograph manuscripts of all these works belonged to Selden-Goth. Since 1923, Selden-Goth had
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmall‘Tenderly Guarded Treasure’: The Gisella Selden-Goth Collection at the Library of Congress2026-03-25text/htmlen-US‘Tenderly Guarded Treasure’: The Gisella Selden-Goth Collection at the Library of Congress2026-03-252026TWOProject MUSE®306822026-05-15T00:00:00-05:002026-03-25Between Forced Donation and Restitution: The Chequered History of the Strauss-Meyszner-Collection in the Vienna City Library
https://muse.jhu.edu/article/986634
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In 2025, the city of Vienna celebrated the 200th birthday of Johann Strauss II (1825– 1899). In addition to Franz Schubert (1797–1828), the ‘King of Waltz’ is one of the world’s most famous Viennese composers. Johann II’s biography and works are inextricably linked not only to Vienna but also all of Austria. For this anniversary year, the Johann.Strauss-Festjahr2025 GmbH was founded and a budget of twenty-two million euros made available to organise over sixty events—including classical concerts, operettas, and theatre performances as well as dance, circus, film, and three exhibitions1. The Vienna City Library played an important role in these undertakings, as it houses the world’s largest Strauss-Collection.
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmallBetween Forced Donation and Restitution: The Chequered History of the Strauss-Meyszner-Collection in the Vienna City Library2026-03-25text/htmlen-USBetween Forced Donation and Restitution: The Chequered History of the Strauss-Meyszner-Collection in the Vienna City Library2026-03-252026TWOProject MUSE®475502026-05-15T00:00:00-05:002026-03-25Radio Plays and Poetic Broadcasts with Music by Witold Lutosławski in the Collections of the Polish Radio Archive and the National Digital Archive in Warsaw: A Catalogue of Recordings
https://muse.jhu.edu/article/986635
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Witold Lutosławski (1913–1994) consistently drew a clear distinction between his functional compositions and his autonomous works, which he valued far more highly. In 1963, already an acclaimed composer in Poland and abroad, he achieved financial independence and ceased writing utilitarian music altogether, dedicating himself exclusively to autonomous compositions. He openly acknowledged that, in the difficult postwar years, writing functional music had been a crucial source of income. Yet he also admitted that it consumed valuable time and diverted his focus from what he considered his primary artistic vocation. This is not to say that Lutosławski dismissed his functional output as unimportant. On the contrary, he
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmallRadio Plays and Poetic Broadcasts with Music by Witold Lutosławski in the Collections of the Polish Radio Archive and the National Digital Archive in Warsaw: A Catalogue of Recordings2026-03-25text/htmlen-USRadio Plays and Poetic Broadcasts with Music by Witold Lutosławski in the Collections of the Polish Radio Archive and the National Digital Archive in Warsaw: A Catalogue of Recordings2026-03-252026TWOProject MUSE®1999262026-05-15T00:00:00-05:002026-03-25Primary Sources in Czech Cinema: Identifying Musical Manuscripts of the Nation’s Film History
https://muse.jhu.edu/article/986636
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The study of film music has become an increasingly dynamic field of musicological and cultural inquiry, yet one of the most persistent challenges continues to be the identification and accessibility of primary source materials. These resources often remain ‘hidden’ in fragmented or minimally described archival holdings, limiting their visibility to scholars both within and outside their countries of origin. This article presents findings from research conducted during a 2024 Fulbright Scholar grant at the Czech Museum of Music (České muzeum hudby) in Prague. The project involved cataloguing over 2,000 film music sources, spanning the work of twenty composers and encompassing scores, sketches, working notes, and
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmallPrimary Sources in Czech Cinema: Identifying Musical Manuscripts of the Nation’s Film History2026-03-25text/htmlen-USPrimary Sources in Czech Cinema: Identifying Musical Manuscripts of the Nation’s Film History2026-03-252026TWOProject MUSE®2627612026-05-15T00:00:00-05:002026-03-25Briefs / Feuilletons
https://muse.jhu.edu/article/986637
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Marcel Tournier (1879–1951), French composer and harpist, professor at the Paris Conservatoire from 1912 to 1948, is considered one of the leading figures of the French harp school. Currently his work is enjoying renewed interest thanks to the rediscovery and study of manuscript and printed sources preserved at the Music Library of the Conservatoire of Rennes in France. An initial donation by the Tournier family contained the music of Franz Tournier, former Director of the Conservatoire of Rennes. Subsequently, some archival boxes were found to contain scores by Marcel Tournier, Franz’s uncle, as well as works by André, Marcel’s brother and Franz’s father. More than fifteen years later, the picture has now become
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmallBriefs / Feuilletons2026-03-25text/htmlen-USBriefs / Feuilletons2026-03-252026TWOProject MUSE®213782026-05-15T00:00:00-05:002026-03-25‘Zur Fröligkeit componirt’: Der Coburger Hofkapellmeister Melchior Franck by Niels Fleck and Angelika Tasler (review)
https://muse.jhu.edu/article/986638
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This attractive and richly illustrated volume brings together contributors from a range of disciplines who offer distinct perspectives of the life, music, and milieu of Melchior Franck, one of the most prolific German composers of the early seventeenth century. Thought to have been born in 1579 in Zittau, Silesia, Franck taught briefly at the Egidienkirche in Nuremberg before becoming, by the start of 1603, Kapellmeister at the court of Duke Johann Casimir of Saxe-Coburg. Franck remained in Coburg until his death in 1639. Though generally considered a conservative composer in comparison to many of his contemporaries, Franck’s compositional output was wide-ranging and widely distributed, the latter a result of the
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmall‘Zur Fröligkeit componirt’: Der Coburger Hofkapellmeister Melchior Franck by Niels Fleck and Angelika Tasler (review)2026-03-25text/htmlen-US‘Zur Fröligkeit componirt’: Der Coburger Hofkapellmeister Melchior Franck by Niels Fleck and Angelika Tasler (review)2026-03-252026TWOProject MUSE®122492026-05-15T00:00:00-05:002026-03-25Johann Christian Bach: Operas and Dramatic Works (review)
https://muse.jhu.edu/article/986639
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The 1990s and early 2000s looked to herald a significant revival of the interest in and performance of Johann Christian Bach’s vocal works, particularly the operas and dramatic works. Between 1760 and 1779, Bach wrote ten opere serie, multiple cantatas and serenatas, and a tragédie lyrique. Musicologist Ernest Warburton brought these and other works together for the first time in the forty-nine-volume Collected Works of Johann Christian Bach, 1732–1780 (New York: Garland, 1984–1999). In most cases, Warburton presented Bach’s vocal music primarily in facsimile form, thereby making potential performances difficult. The publication of the Bach Collected Works nevertheless inspired numerous noteworthy performances and
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Project MUSE®https://muse.jhu.edu/2026-05-15T00:00:00-05:00https://muse.jhu.edu/journal/688/image/coversmallJohann Christian Bach: Operas and Dramatic Works (review)2026-03-25text/htmlen-USJohann Christian Bach: Operas and Dramatic Works (review)2026-03-252026TWOProject MUSE®136772026-05-15T00:00:00-05:002026-03-25