MarcatoNewsletter of The Major Orchestra Librarians’ Association

VOLUME XXXII, NUMBER 4 JUNE 2018

FROM OUR PRESIDENTJuhana Hautsalo, Finnish National Opera & Ballet

Dear colleagues, friends,

More than a month has passed already since the Kansas City MOLA conference, and a lot has happened. “You live on another planet,” noted Karen Schnackenberg, when I reported that I was continuing my winter (net) fishing sea-son after returning home. Two weeks later, the Finnish spring went from unusually cool to unusually warm and brought the ice fishing season to a definite conclusion. On the other hand, my work season is certainly not concluded yet, but the end will be closer by the time you are reading these words.

Recalling Kansas City, my mind is still filled with deep gratitude to Elena Lence Talley and Fabrice Curtis for their unbending commitment to making the conference a success. The same applies to all those who presented at the conference, those who volunteered as mentors and all who sponsored the event. Special thanks to our stellar administrator, Amy Tack-itt, for holding the lines together in such a virtuosic manner. Thanks, everyone. It was good seeing you all.

The European MOLA/Publisher Joint Committee held its annual meeting at the Frankfurt Musikmesse in April. This time we were fortunate to have a guest star from our Ameri-can sister committee: co-chair Mark Wilson, who came all the way from Dallas to share his experience and knowledge from his years on the North American MOLA/Publisher Joint Committee.

The Frankfurt Musikmesse itself seems to be in flux. The classical music exhibition offerings seem to be getting smaller year after year, and the future of the publishers’ attendance remains to be seen. Despite this, there is no better arena for meeting the European publishers than the Musikmesse, for the time being. The MOLA presence was very good, as almost all of the members of the European Joint Committee were able to attend. This is hopefully a positive signal to our pub-lisher colleagues, showing our commitment and willingness to discuss matters and work for a better future in the orchestral sheet music business.

I would like to take this opportunity to thank Georgina Govier, the chair of the European MOLA/Publisher Joint Committee, for the tireless work that she does, getting mat-ters addressed in an effective, positive and solution-oriented manner. I am particularly satisfied with the collaborative spirit established between the committee and our publisher partners. Partners, not counterparts; I firmly believe that we are supposed to be partners in trying to give music, die holde Kunst, the best possible send-off, facilitating the ability of the

performers to give their best to our audiences.In our discussions with publisher representatives, it has

become evident that the main purpose of the MOLA/Publisher Joint Committees, on a higher level, must be transforming a win-lose situation into a win-win, finding practices that allow us as librarians to do our job in a responsible and profession-ally sustainable manner, while allowing the necessary space for reasonable business for the publishers. We need to bear in mind that music publishing is primarily a commercial enterprise and not a charity. Beyond business, it’s all about music.

With summer holidays looming in mind (albeit, for many of us, beyond that gigantic end-of-season mountain to be climbed), I would like to wish you all a successful remainder of your seasons and relaxing holidays. Enjoy!

INSIDE THIS ISSUEFrom Our President .......................................................... 1New MOLA Members ...................................................... 2Announcement: Future MOLA Conferences ............... 2MOLA 2018 Conference Donor Acknowledgments ... 3Errata Report ...............................................................................4Farabee Library Exchange Program Announcement ... 5FLEP Exchange Report ...................................................... 5Conference Session Review: Librarians and the CBA .. 7Conference Session Review: Going it Alone ................ 8A Reflection on Librarianship at TFO ........................... 8Transitions ......................................................................... 10Coffee Break ..................................................................... 12

Post-conference ice fishing in Tampere, Finland.

2 Marcato June 2018

Marcato is the quarterly newsletter of The Major Orchestra Librarians’ Association, Inc. (MOLA), ISSN 1543-0235. Subscriptions may be obtained by sending a check to the Treasurer, payable to MOLA. Rates are $30.00 US for addresses within North America, $40.00 US for addresses outside North America, and $20.00 US for electronic delivery. Subscriptions begin with the September issue.

Blaine Cunningham, Treasurer · Orchestra Iowa · 119 3rd Avenue, SE · Cedar Rapids, IA 52401, U. S. A. Ph: +1-319-366-8206 ext. 24 · mola.treasurer@gmail.com

Articles and information for possible inclusion in future issues of Marcato should be mailed, faxed or emailed to the Managing Editor.The deadline for article submissions for the September 2018 issue is July 15, 2018.

Nishana Dobbeck, Editor-In-Chief, Marcato · United States Marine Band · 8th and I Streets SE · Washington, D.C. 20390, U. S. A.Ph: +1-202-433-4298 · Fax: +1-202-433-2221 · ngdobbeck@gmail.com

Courtney Secoy Cohen, Managing Editor, Marcato · San Diego Symphony · 1245 Seventh Avenue · San Diego, CA 92101, U. S. A.Ph: +1-619-237-1962 · Fax: +1-619-231-0648 · ccohen@sandiegosymphony.org

Sarah Logan Smith, Layout Editor, Marcato · The Florida Orchestra · 244 2nd Avenue North, Ste. 420 · St. Petersburg, FL 33701, U. S. A. Ph: +1-727-362-5463 · Fax: +1-727-892-3338 · slsmith@floridaorchestra.org

2018-2019 MOLA Board of Directors

MOLA, as a federally incorporated not-for-profit organization, is able to solicit and accept tax deductible donations to support its endeavors. In return for such donations, the donor can expect our acknowledgement and gratitude. No other benefits, real or implied, can be offered. MOLA accepts such donations on a case-by-case, nonpartisan basis. The opinions expressed herein do not necessarily reflect the opinion or policies of the editors or

of MOLA. The editors reserve the right to edit content where necessary.

www.mola-inc.org

President ..................... Juhana Hautsalo, Finnish National Opera & BalletSecretary .............................Nishana Dobbeck, United States Marine BandMember-at-Large ...... Michael Ferraguto, Baltimore Symphony Orchestra

Vice President ................................. Jane Cross, United States Marine BandTreasurer ..............................................Blaine Cunningham, Orchestra Iowa Past President............................John Rosenkrans, Lyric Opera of Chicago

NEW MOLA MEMBERS Michael Ferraguto, Member-at-Large, Baltimore Symphony Orchestra

MOLA enthusiastically welcomes the following new mem-ber organizations and their librarians, who were voted into membership during the business meeting at the 2018 annual conference in Kansas City:

• Boston University School of Music: Boston, Massachusetts, U.S.A.

Meredith Gangler, librarian• The Glimmerglass Festival: Cooperstown, New York, U.S.A.

David Jackson, librarian• Kuopio Symphony Orchestra: Kuopio, Finland

Oskari Räsänen, librarian• Lincoln’s Symphony Orchestra: Lincoln, Nebraska, U.S.A.

Renee Ann Pflughaupt, librarian• University of Michigan, School of Music, Theatre & Dance:

Ann Arbor, Michigan, U.S.A.Alizabeth Nowland, librarian

The following Emeritus membership was voted upon by the membership:

Jim Kortz, St. Paul Chamber Orchestra, retired

The following Honorary membership was conferred upon by the Board of Directors in the 2017-18 year:

Joann Vosburgh, Pittsburgh Symphony, retired

June 2018 Marcato 3

Gold Sponsors

Thanks to Edwin F. Kalmus & Co., Inc. for their continued support of the James B. Dolan Fund for Professional Development

2018 CONFERENCE SUPPORTERS

Bronze SponsorsSilver Sponsors

Kansas City Federation of MusiciansLocal 34-627 A.F. of M.

Musicians’ AssociationAdditional SupportersRebecca Beavers

Colonial Road Music PublishingPaul GuntherBob O’BrienTony Rickard

Karen SchnackenbergJason SeberKT Somero

Michael SternBob Sutherland

Elena Lence Talley and Doug TalleyLarry Tarlow

Marty Burlingame and Jim Kendrick pose outside the Kauffman Performing Arts Center

MOLA Past Presidents Meeting (Presidents Past and Current Left to Right: Juhana Hautsalo, Marcia Farabee, John Rosenkrans, Patrick McGinn, Jane Cross, Bob O’Brien, Ella M. Fredrickson,

Karen Schnackenberg, and Bob Sutherland (not pictured, Elena Lence Talley)

4 Marcato June 2018

ERRATA REPORT Doug Adams, Fort Worth Symphony, Errata Chair

Composer Title Edition Entries AuthorBartók Concerto for Orchestra Scores Reformed 31 pg. Winnipeg Symphony (Chrunyk)

Berlioz Béatrice et Bénédict Bärenreiter 165 Seattle Opera (Rozendaal)Berlioz Cléopâtre Bärenreiter 8 Kansas City Symphony (Talley)Bernstein/Coughlin

Arias and Barcarolles Boosey & Hawkes 6 Kansas City Symphony (Talley)

Bernstein Mass: Three Meditations Boosey & Hawkes 5 Kansas City Symphony (Talley)

Bernstein Symphonic Suite from On the Waterfront Boosey & Hawkes 3 Kansas City Symphony (Talley)

Bernstein Serenade Boosey & Hawkes 1 Sarasota Orchestra (Vibbard)

Bernstein Songfest Boosey & Hawkes 2 Kansas City Symphony (Talley)

Bernstein/Peress West Side Story: Overture Boosey & Hawkes 1 file* Fort Worth Symphony (Adams)

de Falla La vida breve: Spanish Dance No.1 Eschig/Kalmus 294 Edmonton Symphony (Hawn)

Debussy/Molinari

L’isle joyeuse Durand 155 San Diego Symphony (Fields)

Elgar Enigma Variations Bärenreiter 7 Fort Worth Symphony (Adams)

Glazunov Symphony No. 4, Op. 48 Belaieff/Kalmus 262 Edmonton Symphony (Hawn)

Gould Troubadour Music G. Schirmer 67 San Diego Symphony (Chen)

Granados/Grignon

Tres danzas españolas Unión Musical Española/Kalmus

93 San Diego Symphony (Cohen)

Handel/Casadesus

Concerto for Viola in B minor Eschig 12 pg. San Diego Symphony (Cohen)

Liebermann Concerto for Cello, Op. 132 Presser 15 Annapolis Symphony (Anderson)

Mahler/Kubik Symphony No. 7 Bote & Bock 4 Kansas City Symphony (Talley)

Mussorgsky/Gortschakov

Tableaux d’une exposition Sikorski 62 Fort Worth Symphony (Greer)

Mussorgsky/Gortschakov

Tableaux d’une exposition Sikorski 5 files* Fort Worth Symphony (Adams)

Price Mississippi River Suite Fleisher Collection 112 San Diego Symphony (Cohen)

Puccini Turandot N/A 10 files* Lyric Opera of Chicago (Skoczen)

Rachmaninov Concerto for Piano No. 3 Luck’s (new printing) 265 Dallas Opera (Highland)

Rachmaninov/Respighi

Cinq Études-tableaux, Op. 33 Boosey & Hawkes 47 pg. San Diego Symphony (Cohen/Fields)

Ravel/Nieweg Daphnis et Chloé Durand/Kalmus 98 pg. Leighton/Nieweg

Saint-Saëns Samson et Dalila Bärenreiter 33 Dallas Opera (Highland)

Saint-Saëns Suite algérienne, Op. 60 Durand/Kalmus 3 National Arts Centre Orchestra (Rempel)

Schumann Symphony No. 4, Op. 120 (rev. 1851) Breitkopf & Härtel 1 U.S. Marine Band (Wharton)

Shostakovich Symphony No. 4, Op. 43 DSCH Publishers 18 Boston Symphony (Ochoa)

R. Strauss/Nieweg/Serio

Also sprach Zarathustra Kalmus (new printing) 1 Toledo Symphony (Gardiner)

June 2018 Marcato 5

(cont.)

BRIDGING THE GAP AFTER MOVING 800 MILES AWAY: A FLEP EXCHANGE WITH THE MILWAUKEE SYMPHONY

Carl Wilder and Pat McGinn were one of the first pairs of librarians selected to participate in the Farabee Library Exchange Program (FLEP) in 2016. While it took some time for them to schedule the exchange around their busy calendars, the two were eventually able to connect in Janu-ary of 2018. Marcato Editor-in-Chief Nishana Dobbeck contacted them after their week together at the Milwaukee Symphony Orchestra, so they could let the MOLA commu-nity know how their exchange went from the point of view of both the host and the exchange librarian.

Can you both tell us a little bit about your backgrounds as librarians and how you arrived at your current organizations?

Pat: As with many ensemble librarians, I did not choose this as a career path; it found me. I attended the University of Michigan as a percussion major, and, after graduat-ing and moving to Milwaukee, I was eager to find ways to make a living. In addition to freelancing, there was a part-time librarian position open at the Milwaukee Symphony. Paul Gunther, the principal librarian at the time, hired me and began training me. Soon, a full-time assistant position opened up and was offered to me. Continuing to work with Paul for five more years was an excellent way to “learn on the job.” When Paul returned to the Minnesota Orchestra, I was offered the principal librarian position, and I’ve been here ever since.

FARABEE LIBRARY EXCHANGE PROGRAM ANNOUNCEMENT

The Education Committee is delighted to announce this year’s participants in the Marcia Farabee Library Exchange Program: Signe Toomla, Librarian of the Esto-nian National Opera, will be going to Helsinki to work with Juhana Hautsalo, Mari Rautio and the Finnish National Opera and Ballet; and Julie Lefebvre, Performance Librar-ian for the Schulich School of Music at McGill University in Montreal, will be traveling to Milwaukee to work with Pat McGinn and the Milwaukee Symphony. Congratula-tions to the recipients of the awards, and we are looking forward to hearing all about their exchanges.

This program is designed to offer performance librar-ians in the first five years of their career an opportunity to participate in and learn from the workings of a differ-ent organization. Now in its third year, FLEP is drawing interest from both North America and Europe. We are hopeful that more librarians, as well as host organizations, will apply to participate in this program over the coming years. While we aren’t yet able to offer inter-continental exchanges, we can offer intra-continental ones. The cost to the participant is negligible, as both MOLA and the host organization (and, in a few instances, the librarian’s home orchestra) cover the cost of this exchange.

If you know of a librarian who could benefit from this exchange, or if your organization would like to host a librarian for a week, please encourage them to apply. The next round of applications will be open beginning later this fall, and will be online. If you have any questions about the program, please contact Nicole Jordan (Atlanta Sym-phony Orchestra) or Marcia Farabee (National Symphony Orchestra, retired), co-chairs of the Education Committee.

Composer Title Edition Entries AuthorStravinsky/Nieweg

Suite from L’oiseau de feu (1919) Kalmus (2016) 6 pg. Nieweg

Tchaikovsky Eugene Onegin Jurgenson/Kalmus, Luck’s

24 Kansas City Symphony (Talley)

Tchaikovsky Eugene Onegin Jurgenson/Kalmus, Luck’s

17 pg. National Symphony (Griffin)

Tchaikovsky Fantasie de Concert, Op. 56 Jurgenson/Kalmus

13 Kansas City Symphony (Talley)

Tchaikovsky/Ceo (Reduction)

Nutcracker, The Luck’s 31 Williamsburg Symphony (Girsberger)

Wagner Tristan und Isolde: Prelude N/A 1 file* Edmonton Symphony (Hawn)

Wagner Tristan und Isolde: Prelude (Concert Ending)

Breitkopf & Härtel/Kalmus

89 Edmonton Symphony (Hawn)

Wagner/Seidl Tristan und Isolde: Prelude to Act III (Concert Ending)

Breitkopf & Härtel/Kalmus

12 Edmonton Symphony (Hawn)

Wagner Tristan und Isolde: Prelude und Liebestod

N/A 1 file* Edmonton Symphony (Hawn)

*Resource sharing

6 Marcato June 2018

Carl: While attending Wheaton College, I worked in the aca-demic music library and had also previously filled in for a semester as orchestra librarian. I enjoyed working with the parts and scores and became curious about what it meant to be a performance librarian. A professor suggested I con-tact Peter Conover about doing an internship at the Chicago Symphony Orchestra, which was where I started to learn some of the skills and tasks required of a librarian. A couple of months later, a position opened up with the Wisconsin Chamber Orchestra as an administrative assistant and assis-tant librarian. After half a year, I became the sole librarian and personnel manager for the WCO. During this time, I applied to participate in the Marcia Farabee Exchange Pro-gram and was paired with Pat McGinn at the MSO. This would have been very convenient in terms of travel, had I not taken my current position with the Virginia Symphony Orchestra soon after receiving the award and moved across the country. It took nearly two years for us to find a week that would work for both of us. Ultimately, it worked out for the best, since I gained more relevant experience and had more questions after my year as principal librarian for a symphony orchestra.

Pat, what was the MSO’s program for the week of the exchange? Was it a fairly standard week for you, or were there any unusual elements?

Pat: During the week with Carl we had an open side-by-side reading session with adults, as well as a regular Classics Sub-scription Series program with our Music Director, Edo de Waart. The Classics concert included Copland’s Quiet City, Bernstein’s Serenade for Violin and Orchestra, and Adams’ Harmonielehre. Because of scheduling challenges for both of us, this was one of the few possible choices for our exchange, but it turned out to be a representative week for us.

Carl, how did you feel going into your exchange week? Was there any-thing you did to prepare for it?

Carl: After two years of delay, I was excited that the week was finally going to happen. In preparation, I tried to think of questions and issues that had come up over the past year about which I wanted to ask Pat’s advice. I knew that he had probably encountered just about every situation in his career, and it was great to have the opportunity to get his perspective and learn from his experience.

Did you have any specific goals for the week, such as projects that you planned to finish, skills you wanted to work on or areas you hoped to learn about?

Pat: In addition to sharing with Carl how and why I do things the way I do, I also wanted to get input from him on his observations, ideas and suggestions for other ways to approach the work. I’ve done things the same way for so many years, but I am always open to new ideas.

Carl: The main questions I had centered around preparing and planning for upcoming seasons. This was one area of

weakness for me, coming from a chamber orchestra that didn’t have as busy a season. I was also interested in see-ing how Pat dealt with music distribution and practice parts. Mostly I was interested in seeing how a different library handled its everyday tasks, which I still felt like I was impro-vising at my own library.

Tell us about your exchange week. What were some highlights?

Pat: Carl and I got along very well and worked well together. One of the highlights was getting to know Carl. He had lived in Madison, Wisconsin, only 75 miles down the road, for a number of years, but it wasn’t until he moved 800 miles away to Virginia that we finally got together.

Carl: The highlight of the week was definitely spending time with Pat and learning from him. I thoroughly enjoyed being in the library during a typical week for the MSO and help-ing as much as I could, while asking lots of questions. It was nice meeting Maestro de Waart and members of the orchestra. Besides finding a week that worked for both of us, there really weren’t any challenges. Pat and the rest of the orchestra were incredibly welcoming.

What do you think you got most out of the exchange?

Pat: For me, expanding connections with colleagues is one of the biggest benefits of the exchange.

Carl: Observing another orchestra and learning how its librarian takes care of everything was very beneficial. It was great to work alongside Pat and see how he dealt with issues as they came up. I can’t think of a better way to learn.

Pat, do you have anything to tell librarians considering hosting in the future?

Pat: I would encourage anyone to be a part of this program. My management was very much behind supporting the exchange, in terms of allowing me both time and finances. I see this as an exchange that goes both ways, and I would encourage everyone to consider being a part of this pro-gram. I am volunteering to participate again if there is a need.

Carl, any words for those thinking about applying for FLEP in com-ing years?

Carl: Apply! When Marcia Farabee first announced this program, I couldn’t wait to send in my application. It was exactly what I wanted as a new librarian, because there were so many issues that came up nearly every day for which I needed someone’s guidance. This was my chance to ask all of my questions and to think of ones I didn’t even know I had. Many thanks to Marcia and the Education Committee for organizing this great program, and thank you so much to Pat and the Milwaukee Symphony for being such wonderful hosts.

June 2018 Marcato 7

2018 CONFERENCE BREAKOUT SESSION REVIEW: LIBRARIANS AND THE COLLECTIVE BARGAINING AGREEMENT Meredith Gangler, Boston University School of Music

Session Presenters:Moderated by Karen Schnackenberg, Dallas Symphony

Orchestra

Paul Greitzer, Sarasota OrchestraPaul Gunther, Los Angeles PhilharmonicKim Hartquist, Rochester Philharmonic OrchestraBrian Rood, Trumpet, Kansas City Symphony; President

Emeritus, ICSOM; Chair, Kansas City Symphony Musicians Association Negotiating Committee

Rochelle Skolnick, Director of Symphonic Services Division, AFM

The afternoon breakout session on the topic of col-lective bargaining agreements (CBAs) featured a stellar panel of presenters, who made the case for the benefits of having librarians included in the musicians’ CBA, pro-vided practical tips and advice on how librarians can best position themselves to advocate for inclusion as non-playing musicians and presented the political and legal options that may be pursued.

The benefits to the librarian for inclusion in the CBA are clear: better job security, improved wages and work-ing conditions, access to dispute resolutions through contractual grievance processes, formalized hiring pro-cesses and greater integration into the overall musician community. To the administration, it’s worth pointing out that inclusion in the CBA will likely yield a higher qual-ity pool of applicants when positions open. Practically, it makes sense to be part of the CBA as the nature of the librarian’s work closely aligns them with the players: the requirement to be present at rehearsals and perfor-mances, the level of musical training necessary, the fact that librarians are performing a musical job function that the players would otherwise need to do themselves, indispensable work that directly relates to the players’ ability to perform their jobs and the accountability of librarians and players alike to the music director.

Each of the librarians on the panel described their ultimately successful—though often lengthy—bids to become part of their orchestras’ CBAs. While manage-ment often proved frustratingly resistant, a number of tactics laid the groundwork for success. First and fore-most, developing positive relationships with management and players and being a fully enmeshed member of the organization can be vital when rallying support to join the CBA. Ideally, the librarian simply asks to join and doesn’t encounter much resistance. Of the panel, Kim Hartquist seemed to have had the smoothest experi-ence getting herself incorporated into the CBA. Having

developed good working relationships with all her col-leagues and then waiting for a strong fiscal year to make the request, she received enough support to join the CBA without much pushback.

If simply asking management doesn’t yield results, the librarians can ask the union to request their addi-tion during contract negotiations. A potential downside to this approach is that the issue could end up on the floor as a bargaining chip during the negotiation pro-cess. Karen Schnackenberg encountered this hurdle: although she had full support from players, the fraught environment of contract negotiations meant that it ulti-mately took nineteen years before the Dallas Symphony Orchestra players were able to secure inclusion for her-self and the associate librarian. If all else fails, a legal option called self-determination elections, also known as “Armour-Globe” elections, may be pursued. In this situ-ation, an employee can request to be added to an existing bargaining unit, on the basis that their role in the orga-nization shares a “community of interest” with the unit. Ultimately, the National Labor Relations Board (NLRB) will decide whether the petitioning employee should be added to the CBA.

For success with the Armour-Globe process, and in making the case at any stage to players and management, the key is the “community of interest” concept, which relates to the librarian sharing key job features with the players. Aside from pointing out the ways in which librar-ians are an integral component for the players to perform their jobs, there are key ways that the librarians can posi-tion themselves to reinforce the idea that they should be considered members of the orchestra, such as ensuring that they are listed on the program with the orchestra, requesting that job titles parallel the players’ (e.g. Princi-pal, Assistant Principal) and even appearing in musician group photos. When their cases are presented to the non-musicians on the NLRB, these optics will matter. Paul Greitzer successfully went through this process. He and Principal Librarian Justin Vibbard laid the ground-work to firmly establish the link between the playing musicians of the Sarasota Orchestra and the librarians as non-playing musicians. After attempting to be added to the CBA through union contract negotiations and being rejected a number of times, they used ballot elections to request admission, then gave the organization the choice to accept their request or begin the Armour-Globe pro-cess. In the end, the organization chose to allow them to join the CBA.

The panelists expertly addressed the hurdles librar-ians may need to surmount, but also emphasized that persistence can pay off. If librarians can effectively state their case, there is a strong legal argument to be made for inclusion to the CBA, with alternative options to pursue if the organization is resistant to the change. The session laid out the basics of how librarians can best advocate for CBA inclusion, ultimately ensuring that the organiza-tion recognizes librarians as the highly trained, essential musicians that they are.

8 Marcato June 2018

2018 CONFERENCE BREAKOUT SESSION REVIEW: STRATEGIES FOR “GOING IT ALONE” AS THE ONLY FULL-TIME LIBRARIAN IN YOUR ORCHESTRAJohanna Groh, The Colburn School

Session Presenters:Chris Blackmon, Orchestre Philharmonique du LuxembourgKim Hartquist, Rochester Philharmonic OrchestraSarah Bowman Peterson, Grand Rapids Symphony

At some point in your career as a performance librarian, you have most likely worked solo. Maybe your second librarian has accepted another position and you are in the hiring pro-cess, maybe you hire assistants or student workers only when needed or maybe you are simply a complete rock star and hold down the fort as the only librarian for your organization. What-ever the case, you’re doing it on your own and everything needs to get done. How do you, as one person, do it all? In a discus-sion led by Chris Blackmon, Kim Hartquist and Sarah Bowman Peterson, this question was addressed and the session covered, but was not limited to, hiring assistants, budgeting and wearing many, many hats.

The discussion began with each panelist giving some back-ground on their library’s setup and describing how they manage their work alone. Sarah told the group about her tiered system of prioritizing work and the frustrations of being limited by time. As a solo librarian, the nitty-gritty of a piece of music cannot always be attended to: errata have to go unfixed and poorly printed parts must go undarkened, but because we care about the smoothness of any given performance (and are all slightly neurotic), parts prepared to the best of our abilities will always be on the stand. The three panelists agreed that their saving grace is the availability of assistance, whether in the form of orchestra members acting as part-markers or having the ability to hire assistance when needed. It can’t be stressed enough that this assistance must be advocated and budgeted for by the librarian. The conversation concerning assistance digressed into details of the hiring process, primarily what to look for in a trustworthy assistant. Assistance can look differ-ent for each library. In the case of Chris’ library, the Orchestre Philharmonique du Luxembourg is willing to hire assistance in the form of musicians who are unable to play, but due to contractual obligations cannot be let go from the ensemble. Kim has members from each string section who are paid a sal-ary to mark parts. Sarah has a part-time library assistant for ten hours a week. The availability of assistance, however, adds to your workload the task of determining which assignments are appropriate for each worker, and sometimes reassessing work completed by the assistant.

Kim broached the topic of librarians becoming victims of their own industriousness, which resonated strongly with everyone in the crowd. As organizations grow and program-ming and projects are expanded, managements often expect

the library to keep up with the growing workload, sometimes without considering additional assistance. As professional help-ers, we have a tendency to say yes without a second thought, only later realizing the consequences of agreeing to the added responsibilities. Having agreed to and completed the task, we don’t give ourselves credit where credit is due and then say yes to the next request, continuing the cycle. The expectation mov-ing forward, then, is that, solo or not, you and your library can make anything happen. While we usually can, it’s important to remember that you are only one person and can’t sustain that pace of work indefinitely.

Sarah explained that she documents her work in great detail (date, start and end times, project description, task list, etc.), so that she can show her administration what it actu-ally takes to make a performance or requested assignment happen. Unfortunately, this step takes additional time, but is very beneficial to breaking down tasks into an understandable language for non-library personnel. (“What do you mean you can’t program based on a YouTube link? What do you mean you can’t find the sheet music? Who knew there was more to the process?” Your librarian, that’s who knew, because we are wizards!) Along similar lines, Chris will hire coverage when he will be away from the library, such as for a MOLA conference. The requests that come in during his leave can wait (really, they can!), but this in turn means additional work has piled up once he returns to the office. Aside from allowing you to take leave as needed, hiring coverage shows your administration that a constant presence in the library is necessary, solidifying the importance of the position within any ensemble or institution.

Organizations can be resistant to change, including changes in staffing, new delivery methods of materials, and changes in protocol from librarian to librarian. Working in a solo library often means having to be the most flexible member of the organization, rolling with the punches, never finishing your daily to-do list and constant education of patrons, all while maintaining your professional integrity and your own sense of self. At the end of the day, you are the only librarian, and you’re the boss.

If you have any questions or would like further advice from any of the panelists, feel free to contact them directly or email the MOLA Administrator, who can put you in touch with them.

A REFLECTION ON LIBRARIANSHIP AT THE FLORIDA ORCHESTRA Adam Berkowitz, Intern, The Florida Orchestra

As a Master of Library and Information Sciences (MLIS) student at the University of South Florida, I have actively pur-sued opportunities for learning and networking in the field of music librarianship. My first exposure to music librarian-ship was at Florida Atlantic University, where I managed the choral music library. Since graduating with my Master of Arts in music history and literature, I have been exposed to music collections and resources in academic libraries, performance

June 2018 Marcato 9

libraries, archives and museums. I completed a summer fel-lowship at the Rutgers University Libraries Institute of Jazz Studies, after which I contacted Ella Fredrickson, principal librarian of The Florida Orchestra, in order to learn more about the field of performance librarianship. As a result of this meeting, it was agreed that I would be allowed to work in the music library as an unpaid intern. The following is a reflection of my experience at a performance library from the point of view of an MLIS student and serves as a com-parison of academic and performance music librarianship.

One of the first lessons I learned while working in The Florida Orchestra’s library was the importance of informa-tion organization. The library’s collection of sheet music is divided into three categories, each organized differently: Western art concert sheet music, popular concert sheet music and Western art concert scores. The Western art con-cert sheet music is arranged alphabetically by the composer’s last name, and within that, by the selection’s title. Each piece of music is also given a catalog number, which is labeled on the container to make it easily identifiable on the shelf. The popular concert sheet music, on the other hand, is arranged in alphabetical order by the title of the work. Although this collection of sheet music is stored in the same housing as the Western art concert sheet music, the pieces of music are not given catalog numbers. This collection is stored separately from the Western art concert sheet music which makes it more easily distinguishable. Finally, the Western art concert scores are arranged in alphabetical order by the composer’s last name, and then by the title of the selection. The scores are not stored in any sort of housing and do not have assigned catalog numbers.

A primary concern for any library is tracking and main-taining its inventory. At TFO, the parts for a piece of music are numbered in score order. Parts are then distributed in a number of ways including by mail, in person at the library and in person at the rehearsal venue. All music removed from the library must be returned following the concerts at which the music is performed. Selections with an incomplete collec-tion of parts are not returned to the shelves until the missing

parts are returned. Only then can the piece be reintegrated into the library.

Much of the organization methodology employed by TFO music library has a great deal in common with the prac-tices employed in academic music libraries, such as assigning collections based on content, utilizing a system of access codes to assist in search and retrieval, employing strict collec-tion development and circulation policies and organizing the collections in alphabetical order. The main difference between the two types of libraries is the audience for whom the collec-tions are organized. An academic music library’s patrons are typically the university’s students, faculty and any researchers who want to use the library’s resources. Conversely, a perfor-mance library’s patrons are the musicians who perform in the ensembles served by the library. As such, the nature of how information is accessed is different. In many academic librar-ies, any patron may search the library’s catalog of resources, and through the use of a system of call numbers (i.e. Dewey Decimal or Library of Congress), the patron may immedi-ately access the needed resource. However, in a performance library, access to the resources is limited to the librarian. A per-formance library’s system of organization is set up to provide the most convenient level of access to the librarian and does not prioritize access for the musicians. This is because the performance library’s purpose is not education and research. It is meant to serve as a repository of materials to be used in a performance, which requires that access be restricted to the librarians who are responsible for ensuring that the music is properly prepared, delivered to the correct musicians and then promptly returned to the library. The academic music librarian serves as a guide, while the performance music librarian acts as a gatekeeper.

The requirements for the preparation of music are differ-ent for each concert. The primary factors are the preferences of the conductor and concertmaster and the nature of the performance and venue. Even if the sheet music remains the same, it may need to be edited or mark-ings may need to be changed. For exam-ple, bowings must be decided upon and then written into the music. Sections of music may be cut from, or added to the performance. In some cases, the distribution of music may depend on the specific musi-cian listed on the personnel roster. In order to accommo-date these unique specifications, a great deal of time and effort is focused on the preparation

Shelving units housing the permanent collection in TFO’s library.

One of the library’s four music trunks, used to transport and distribute music to the orchestra.

10 Marcato June 2018

process, prior to distributing the parts to the musicians. Such a system would not be conducive to an environment in which musicians may come to the library and retrieve music at their leisure. Musicians would be at risk of taking music which has not been properly prepared, or may not be the appropriate part for that particular performance. However, most performance libraries allow musicians to submit a writ-ten request to the library for their music to be prepared and completed in advance, or for photocopies to be made for practice purposes.

Another difference between performance libraries and academic libraries is the manner in which music is cataloged. An academic library must strictly adhere to standardized rules for procuring, recording and rendering metadata. These rules are outlined by a number of different cataloging stan-dards, such as OCLC, DACS, EAD, RDA and others. The standards make it so that a patron who located a resource at one library can go to another library, utilize the same search methods and still access the same resource. It also allows for copy cataloging, a method of cataloging a new item by copying the metadata already recorded for that item by another library. This practice keeps the metadata for a specific item consistent, while expediting the cataloging pro-cess. More importantly, though, these cataloging standards use controlled vocabularies and access points to ensure that information retrieval is intuitive, quick and convenient for anyone who enters the library.

The cataloging methods employed in a performance library, on the other hand, do not require the same level of scrutiny. A performance library’s catalog is geared towards the needs of the librarian as opposed to patrons, and as such, is not concerned with controlled vocabularies and access points. A performance librarian primarily focuses on the names of the composers, arrangers, orchestrators, com-positions and publishers, along with instrumentation, date of publication and whether an errata list is available. Aca-demic libraries include details which would be unnecessary in performance libraries, such as the number of pages, the size of the sheet music, alternate titles, language, media for-mat, OCLC number, ISBN number and Library of Congress call number, among other pieces of metadata. Furthermore, because the performance library’s catalog is meant mainly for the use of the few librarians employed by the library, formats for rendering metadata such as MARC and Dublin Core are unnecessary during the cataloging process.

Another concern for TFO music library is that of materials preservation. The primary method for preserving materials is limiting the number of alterations done to the music during the preparation process. Bowings and other markings are written into the parts, but sometimes may be removed later, due to various circumstances. Extraneous markings must also be erased after music is returned. Addi-tionally, musicians will write and erase as needed over the course of rehearsing and performing. Each of these physi-cal alterations degrades the materials. The physical handling of the sheet music also slowly damages the materials. The causes of this damage can include bodily oils transferring from a person’s hands to the sheet music, light damage

occurring from making photocopies and accidental rips or tears, which can occur at any point from when the music is removed from the shelves to when the music is replaced. Furthermore, the materials used to house the sheet music need to be taken into consideration. At TFO music library, large envelopes are used to contain each set of parts. The envelopes provide an inexpensive and somewhat effective means for storing the collections of sheet music; however, from an archival standpoint, they are far from ideal. Ulti-mately, a performance library must operate within its budget, and the materials gathered for library use must remain cost effective.

In an academic library, acid-free boxes would be used for storing sheet music for extended periods of time, as sheet music in an academic library is most often utilized for research, as opposed to performance. Damage incurred as a result of physical handling is assessed periodically, and the librarian in charge of collection development determines whether or not it is feasible to replace anything that can no longer be used. As such, the obstacles for materials preser-vation are more numerous in a performance library than in an academic music library, especially when considering the differences in budgetary needs and resources.

Without this experience at TFO music library, I would have been ill-prepared to attempt to serve as a professional performance librarian. While the skills gained in academic and performance music libraries are transferable, the institu-tions themselves are not by any means the same. Therefore, as a final note, I would like to express my sincerest appre-ciation for the experience, imparted wisdom, advice and newly-developed skills as a result of the careful guidance I received from the librarians of The Florida Orchestra.

TRANSITIONSMelissa Robason, The Metropolitan Opera

The Lexington Philharmonic welcomes Chase Miller as their new librarian. Chase grew up in Stanford, Kentucky, and was first introduced to music when he began piano les-sons at the age of three. When he was young he wanted to be a marine biologist, but once he started playing the clarinet at the age of six, he knew that was what he wanted to do with his life. Chase received his bachelor’s degree in clari-net performance from the University of Kentucky and his master’s degree in clarinet performance from the University of Arizona. Chase is a Teaching Artist for the Central Kentucky Youth Orchestra and also serves as the Education Coordinator for the Lexington Philharmonic. He was a band librarian throughout college and was offered the posi-tion of librarian at the Lexington Philharmonic based on this expe-rience. Best of luck with your new duties, Chase, and welcome to MOLA!

June 2018 Marcato 11

carols on the piano. Cynthia took piano lessons when she was a child, even though she strongly disliked them, but she continued her musical education by joining band in grade school. She studied bassoon performance at DePaul Uni-versity and went on to study both bassoon performance and ethnomusicology at the New England Conservatory. She worked as a librarian while attend-ing both DePaul and the New England Conservatory and fell in love with the work. Before com-ing to Indiana University, Cynthia was the head librarian of the Aaron Copland Chamber Music Library at Tanglewood. She loves to write, study languages, invent new recipes and play with her dog, Atlas.

Matt Gray replaces Daniel Ferriera at the San Fran-cisco Symphony. Elizabeth Dunning replaces Matt Gray as assistant librarian for the Cincinnati Symphony. Eliza-beth grew up in St. Joseph, Missouri. Her mother played both the piano and the organ, and her grandfather played French horn. Elizabeth studied at the University of Mis-souri-Kansas City Conservatory of Music and Dance, where she earned both her master’s degree and her DMA in horn performance. Sara Griffin attended the University of Mis-souri-Kansas City around the same time as Elizabeth, and when Sara became the assistant librarian at the Kansas City Symphony, Elizabeth also developed an interest in the career of an orchestra librarian. After a few odd library jobs and a summer at the Brevard Music Festival, Elizabeth knew that she wanted to be an orchestra librarian but wanted to learn more. When the assistant librarian position opened up at the Cincinnati Symphony, Elizabeth jumped at the chance to become a better librarian, and she is grateful for the oppor-tunity to learn from Mary and Christina. Congratulations, Elizabeth!

Staff Sergeant Rogelio (Roger) Garza replaces Robin Felt as librarian for The United States Army Band. Roger grew up in Corpus Christi, Texas, and joined both the choir and string programs of his elementary school in fifth grade. He studied music and biology at Texas A&M University in Kingsville and earned his master’s degree from the Peabody Conserva-tory. Roger was formally trained as a clarinetist and bassoonist but has learned the other woodwind instru-ments, as well. He enjoys playing low reed books in musical the-ater, subbing with area orchestras, performing chamber music recit-als and has recently taken up the harp. Roger was a clarinetist with the United States Army Ceremo-nial Band for years and has recently worked in their library as an adjunct librarian. When the full-time library position with the Army’s concert band opened up, it was only natural to take the opportunity to become more involved with the “Pershing’s Own” music library.

The Omaha Symphony and Sara Baguyos are proud to announce Anna Menkis as their new librarian. Anna grew up in the world of music since her father plays the horn with the Boston Symphony Orchestra. Her mother is a teacher, so when Anna was young she wanted to be a music teacher. In high school, she studied clarinet with Marty Burlingame’s

wife, Aline Benoit. Anna went on to earn her interdisciplinary degree in clarinet performance and linguistics from Carnegie Mellon University in Pittsburgh. Yet, during her studies, she was interested in pursuing other career options in music, which led her to a conversation with Marty Burlin-game about the career of an orchestra

librarian. She approached Lisa Gedris and Joann Vosburgh at the Pittsburgh Symphony and started an internship in their library. Anna also did library work for the Carn-egie Mellon University Philharmonic and went on to be a Tanglewood fellow, later working part-time in the Boston Symphony library. While she was there, she also had a job at a vegetarian/vegan diner, which only solidified her inter-est in orchestra librarianship (and definitely not in the food industry!). We’re glad it worked out, and our best wishes to you in Omaha!

Alizabeth Nowland is now the librarian at the Univer-sity of Michigan School of Music, Theatre and Dance, one of MOLA’s new member organizations. Cynthia Stacy replaces Alizabeth Nowland at the Indiana University Jacobs School of Music. Cynthia is originally from the Chi-cago area and performed with the Chicago Youth Symphony Orchestra when she was young. Her father is a pianist and organist, and one of her first memories of music is dancing around the living room while her father played Christmas

ANSWER TO PREVIOUS PUZZLE

A R C O G R A B A T P A SM O O T M I N E T A E D TF U R T W A N G L E R T I OM E D E A K L E M P E R E R

R R S E M P O R I U MO D E M I G O N EB E R N S T E I N S N O R EE L M O Z E R O S O M A RY E A R N S T O K O W S K I

D O M K I R K E NO S T I N A T O N F LT O S C A N I N I E A G L EO R A M I T R O P O U L O SE R R E L A Y N E D U M PS Y S S A N E S T A M E N

12 Marcato June 2018

DUOS BY THOMAS TAKARO

Across 1 Concert disturbance 6 Writer Martin or Kingsley 10 Poisonous creepy crawlers 14 Progeny 15 Beeping underwater 17 Fraternal grp. 18 Glinka title duo 21 “___ Maria” 22 Provider of health insurance 23 ___ Cruz, “Anna in the Tropics”

playwright 25 Gershwin title duo 29 Egyptian sun god 30 Charlottesville sch. 31 Houston athlete 32 Book by Piers Paul Read 33 Rice in an Indian restaurant 37 $: Abbr. 39 Bus. bigwig 40 Prokofiev title duo 45 City of David Robertson’s orch. 46 Prefix for classical or

conservative 47 Suffix for Japan or Vietnam 48 Humperdinck title duo 54 “A long time ___, in a galaxy far,

far away” 55 Kazakhstan, formerly: Abbr. 56 Almost tied 59 “___ zu schnell” (not too fast) 61 Past President 65 People or language of Southeast

Asia 66 Suffix for kitchen or room 67 Frank Loesser title duos 71 Handel oratorio 72 “___ a sentence” 73 Collectible candy dispenser 74 Wagner title duo 80 Lil’ Abner’s “basta” 81 Parts of many concert halls 82 Prepare dough for rising 83 Kid’s concert excerpt, for short 84 Creepy crawler 85 Dal ___

Down 1 Street name abbr. 2 Columbus sch. 3 Ship name inits. 4 Place of Siberian exile 5 Deep 6 “Fit ___ fiddle” (“Singin’ in the

Rain”) 7 Indivisible units 8 Having a financial obligation 9 One adding seasoning

10 Cold war deterrent: Abbr. 11 Of the backbone 12 Publication which covers

governmental goings-on on the web and in print

13 Baseline from which altitude is measured

16 Gets used up 19 Supporter of American orchs. 20 “___ Lied von der Erde” 24 “___ those heavenly days that

cannot die” (Wordsworth) 25 “The heart of England,” per

Samuel Pepys 26 Common ending for female

Russian names 27 Carpenter’s tool 28 Filmmaker Mira (“Mississippi

Masala”) 32 Half of a familiar carol title 34 “What a fine ___ this is” 35 Swear to 36 Small revealing signals 38 Reflective quality 41 Author Patchett (“Bel Canto”) 42 Composer Rorem 43 “___ Day Afternoon” (Al Pacino

film)

44 Intrusive greenery 48 Maker of hose and shorts 49 Roiled 50 One of 21 by Chopin 51 State of excitation 52 Speckled brown 53 Take one’s ease 57 Commercial prefix for mart or

greens 58 Measure ___ (something a cond.

may ask for) 60 Lighter-than-air gas 62 “See you later” 63 Alternative to Romano or

Parmesan 64 “What ___ of man is this?”

(Gospel of St. Matthew) 67 Eviscerate 68 Scan quality meas. 69 Stands 70 Atmospheric layer 75 New Mexico summer arts org. 76 Dr.’s guide to mental disorders 77 Opposite of stacc. 78 Steely or Dapper one 79 Tokyo, originally

1 2 3 4 5 6 7 8 9 10 11 12 13

14 15 16 17

18 19 20

21 22 23 24

25 26 27 28 29

30 31 32

33 34 35 36 37 38 39

40 41 42 43 44

45 46 47

48 49 50 51 52 53

54 55 56 57 58

59 60 61 62 63 64 65

66 67 68 69 70

71 72 73

74 75 76 77 78 79

80 81 82

83 84 85

Opus 146 4/15/18

COFFEE BREAK: DUOSThomas Takaro, Houston Symphony