Reviewed by:

• Dommusikarchiv Salzburg (A-SD). Thematischer Katalog der musikalischen Quellen, Reihe A. ed. by Eva Neumayr und Lars E. Laubhold
• Andrea Lindmayr-Brandl

It does not happen very often that a research project is rooted in a crime case. An earlier article in this journal (Hans Spatzenegger, 'Entwendete Musikalien aus dem Besitz des Domchors in Salzburg', Fontes Artis Musicae 25, no. 2 [April–June 1978]: 152–156) reports that about 600 music books and scores were stolen from the Salzburg Cathedral archive in the 1960s. Although most of the objects could be traced and restored, the list of still-missing items, given in the appendix with the hope to identify them in antiquarian bookshops or auction catalogues is impressive.

As a consequence of these events, the whole library was transferred to the better secured and better equipped archive of the archdiocese of Salzburg (Konsistorialarchiv), and a cataloguing process of the collection started. Financed by the Austrian Science Fund (FWF), detailed bibliographic data based on a former card index have been integrated into RISM between 2007 and 2014. The research group responsible for this, the so-called RISM Arbeitsgruppe Salzburg, consisted of Ernst Hintermaier, an expert on music history of the Salzburg court chapel, and his two collaborators, Eva Neumayr and Lars E. Laubhold. The present catalogue is an edited offprint from the RISM database.

The catalogue lists all items with the shelf number A in the Dommusikarchiv that are mostly manuscript parts of the Salzburg court [End Page 372] chapel and other local ensembles active at the Cathedral up to 1841, the founding year of the Dom-Musikverein and Mozarteum. The oldest manuscripts in this collection stem from the second half of the seventeenth century, a continuous transmission starts a hundred years later, in the second half of the eighteenth century. The collected repertoire comprises works by Heinrich Ignaz Franz von Biber, Johann Ernst Eberlin, Leopold Mozart, Wolfgang Amadeus Mozart (twenty-six entries, several parts with notes by him and his father's hand) and Michael Haydn, the so called 'Salzburger Haydn'. It documents the music performance practice embedded in the liturgy of the Salzburg Cathedral.

The catalogue is primarily organised according to composers and their works in alphabetical order and provides a detailed description of 2,838 items. It starts with Adlgasser and ends with Wölfl, with 'Anonyma' added at the end. In addition, thirty-five manuscript collections relating to works that are already listed in the composer/work section are designated with individual numbers. The last sixty pages of the book are most important for the practical use of the catalogue. They contain registers for titles and text incipits, names of persons involved, shelfmarks, and watermarks.

When cataloguing began, problems with work identities occurred, specifically in music consisting of several movements. For example, vespers could be understood as a cycle of numbers, including the four psalm settings at its centre. In many cases, however, the first and last piece, Dixit Dominusand Magnificat, are interpreted as individual works. The editors of the catalogue based their decision on the physical state of the source material: where the numbers are notated together within a single part, it is considered as one work with several movements; where the numbers are copied in individual sets of parts, the material counts as a collection. This practical procedure is perfectly understandable when sorting the musical sources and having the material in hand, but it leaves a feeling of inconsistency when one considers concepts and organisation of musical works in larger dimensions. This general problematic issue is addressed by the current discussion about norm data for works. While norm data for persons and places are already available (GND in German-speaking countries, VIAF international), the development of norm data for musical works is an ongoing project with high priority for library...

审核人：

• Dommusikarchiv萨尔茨堡（A-SD）。Thematischer Katalog der musikalischen Quellen，Reihe A.编。Eva Neumayr和Lars E.Laubhold着
• 安德烈·林德玛·勃兰德

研究项目植根于犯罪案件的情况并不经常发生。该杂志的较早一篇文章（Hans Spatzenegger，“萨尔茨堡州立音乐厅”，字体艺术出版社25，第2号[1978年6月至6月]：152-156）报告说，大约有600本音乐书籍和乐谱在1960年代从萨尔茨堡大教堂的档案中被盗。尽管大多数物品都可以追踪和恢复，但附录中列出的遗失物品清单令人印象深刻，希望能在古书店或拍卖目录中识别出它们。

由于这些事件，整个图书馆被转移到萨尔茨堡总教区（Konsistorialarchiv）的安全性更高，装备更完善的档案馆中，并且开始了馆藏的编目过程。由奥地利科学基金（FWF）资助的基于前卡索引的详细书目数据已在2007年至2014年之间整合到RISM中。负责此工作的研究小组，即所谓的RISM Arbeitsgruppe Salzburg，由Ernst Hintermaier，萨尔茨堡宫廷教堂音乐史专家，以及他的两个合作者Eva Neumayr和Lars E. Laubhold。本目录是RISM数据库的编辑后印本。

该目录列出了所有在Dommusikarchiv中带有架子编号A的物品，这些物品大部分是萨尔茨堡法院的手稿部分[结束第372页]小教堂和其他地方合奏团一直活跃在大教堂上，直到1841年，即Dom-Musikverein和Mozarteum的建国年。该系列中最古老的手稿起源于十七世纪下半叶，一百年后的十八世纪下半叶开始不断传播。收集的曲目包括Heinrich Ignaz Franz von Biber，Johann Ernst Eberlin，Leopold Mozart，Wolfgang Amadeus Mozart的作品（二十六件作品，几部分带有他和他父亲的手的笔记）和迈克尔·海顿（Michael Haydn），即所谓的“萨尔茨堡海顿” 。它记录了萨尔茨堡大教堂礼拜仪式中嵌入的音乐表演实践。

该目录主要是根据作曲家及其作品的字母顺序排列的，并提供了2838个项目的详细说明。它以Adlgasser开头，以Wölfl结尾，最后添加了“ Anonyma”。此外，已经在作曲家/作品部分列出的与作品相关的35种手稿收藏用单独编号指定。这本书的最后六十页对于目录的实际使用是最重要的。它们包含标题和文本登录名，相关人员姓名，架子标记和水印的寄存器。

当开始编目时，工作身份出现了问题，特别是在由几个动作组成的音乐中。例如，vespers可以理解为一个数字循环，包括其中心的四个诗篇设置。然而，在很多情况下，第一个和最后一个作品Dixit Dominus和Magnificat被解释为单独的作品。目录的编辑者根据原始材料的物理状态做出决定：如果数字在单个部分中一起表示，则将其视为一个。进行几个动作；如果将数字复制到单独的零件集中，则材料将计为一个集合。在整理音乐来源和手边的材料时，这种实用程序是完全可以理解的，但是当人们从更大的角度考虑音乐作品的概念和组织时，就会感到前后不一致。当前有关工程规范数据的讨论解决了这个普遍的问题。虽然已经有了关于人和地方的规范数据（德语国家的GND，VIAF国际组织），但音乐作品规范数据的开发却是一个正在进行的项目，图书馆的工作尤为重要。