{"id":23591,"date":"2026-09-16T15:32:03","date_gmt":"2026-09-16T19:32:03","guid":{"rendered":"https:\/\/www.esm.rochester.edu\/sibley\/?p=23591"},"modified":"2026-09-16T16:47:21","modified_gmt":"2026-09-16T20:47:21","slug":"sep14-sep20","status":"publish","type":"post","link":"https:\/\/www.esm.rochester.edu\/sibley\/2026\/09\/sep14-sep20\/","title":{"rendered":"Sep 14th- Sep 20th: Accessioning of the SML\u2019s first Scriabin Concerto manifestation"},"content":{"rendered":"

[vc_row css=”.vc_custom_1763390766007{padding-top: 40px !important;}”][vc_column][vc_column_text css=”.vc_custom_1789581787165{background-color: #ffffff !important;}”]Published on Sep 14th, 2026<\/em><\/p>\n

Back to This Week at Eastman<\/a><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1726852979961{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_custom_heading text=”1924: Accessioning of the SML\u2019s first Scriabin Concerto manifestation” font_container=”tag:h3|text_align:left” use_theme_fonts=”yes” css=”.vc_custom_1789581870572{border-top-width: 0px !important;border-right-width: 0px !important;border-bottom-width: 1px !important;border-left-width: 0px !important;border-left-style: solid !important;border-right-style: solid !important;border-top-style: solid !important;border-bottom-style: solid !important;border-color: #dddddd !important;border-radius: 1px !important;}”][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css_animation=”none” width=”1\/3″ css=”.vc_custom_1789588496844{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-4 vc_col-sm-inherit”][vc_single_image onclick=”link_image” image=”23592″ img_size=”350×450″ style=”vc_box_outline” border_color=”#000000″ alignment=”center” css_animation=”none” css=”.vc_custom_1789588707064{margin-top: -10px !important;padding-top: 0px !important;}”][vc_column_text css_animation=”none” css=”.vc_custom_1789588772784{margin-top: -10px !important;}”]\u25ba Alexander Nikolayevich Scriabin (1872-1915), photographed in 1914. Photo appears on several websites, unattributed<\/span>[\/vc_column_text][\/vc_column][vc_column width=”2\/3″][vc_column_text css_animation=”none” css=”.vc_custom_1789588533573{margin-top: 20px !important;padding-top: 20px !important;}”]An Eastman piano major recently asked me about the Sibley Music Library\u2019s acquisition of a particular concerto score, having found a .PDF of the item in the Library\u2019s digital repository.\u00a0 She noted that the edition was an older one, and the work in question not in the standard repertory, hence her curiosity.\u00a0 I welcomed her interest, for informing patrons of the ins and outs of library and archival procedure is part of what I love about this job.\u00a0 And so, for the record, one hundred and two years ago this week, on September 14th<\/sup>, 1924, the M. P. Belaieff edition of the piano reduction score of A. N. Scriabin\u2019s Concerto for Piano and Orchestra, opus 20, was formally accessioned in the Sibley Music Library, thereby initiating that work\u2019s continuing presence in the Library\u2019s physical stacks and intellectual corpus.\u00a0 This story illustrates the logical progression that is being enacted every day of the week in a performance\/research library such as the Sibley Music Library: from informed acquisition to accessioning to cataloguing to digitization and networked access; and separately, the magic of realization in performance in the concert hall.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”0px” css_animation=”none” css=”.vc_custom_1789587262490{background-color: #F4F4F4 !important;}”][vc_column css=”.vc_custom_1726852979961{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_column_text]By way of background, Alexander Nikolayevich Scriabin composed his Concerto, opus 20 between October, 1896 and May, 1897; the work was premiered in Odessa on October 23rd<\/sup>, 1897, conducted by Vasily Safonov and with the composer at the piano.\u00a0 The Concerto belongs to Scriabin\u2019s early period, when his music was of a noticeably Romantic character, solidly diatonic, and composed in the time-honored formal structures. (Chopin has frequently been mentioned as an influence.) Scriabin\u2019s music has been extensively analyzed (and, at times, psychoanalyzed) in both the scholarly and popular music literatures; it is unnecessary for me to repeat or volunteer anything in that vein here. \u00a0Suffice it to say that the Concerto is a musically appealing work that for decades suffered the fate of obscurity and under-rated status. Was that because the piece lacked the overt virtuosity and showmanship of such piano concertos as those by Tchaikovsky and Rachmaninoff?\u00a0 Whatever the reason(s) may have been, unappealing this work is not.\u00a0 The composer himself performed it while he lived, both at home in Russia and abroad, and Rachmaninoff himself is also known to have performed it.[1]<\/a>\u00a0<\/sup> While it doesn\u2019t appear to be in the repertory of every performing pianist, the Concerto today enjoys more visibility via commercial recordings than ever before, and video of numerous live performances can be accessed on YouTube.[2]<\/a><\/sup><\/a>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”15px” equal_height=”yes” css_animation=”none” css=”.vc_custom_1789586926564{background-color: #F4F4F4 !important;}”][vc_column css_animation=”none” width=”1\/2″ css=”.vc_custom_1789584607435{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-6 vc_col-sm-inherit”][vc_images_carousel images=”23608,23607″ img_size=”medium” speed=”5000ms” css_animation=”none” css=”.vc_custom_1789584784222{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;}”][vc_column_text]\u25ba Title page of the piano reduction score (Belaieff, 1898); and, first page of music. <\/span>[\/vc_column_text][\/vc_column][vc_column css_animation=”none” width=”1\/2″ css=”.vc_custom_1789584721953{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-6 vc_col-sm-inherit”][vc_images_carousel images=”23624,23625,23626,23627″ img_size=”medium” speed=”5000ms” css_animation=”none” css=”.vc_custom_1789584799006{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;}”][vc_column_text]\u25baConcluding pages of the piano reduction score of the Concerto, opus 20. The solidly diatonic character of this music contrasts sharply with some of Scriabin\u2019s later works. <\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”0px” css_animation=”none” css=”.vc_custom_1789588190890{background-color: #F4F4F4 !important;}”][vc_column css=”.vc_custom_1726852979961{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_column_text]The Concerto was published in 1898 by the firm of M. P. Belaieff\u2014that is, the full score, orchestral parts, and piano reduction score. \u00a0The title page and first page of music of the piano reduction are displayed here; note the rubric \u201cPrinted in Germany\u201d. Belaieff was one of several Russian publishers who performed a huge service by bringing out the first editions of works by many Russian composers. (Other leading Russian publishers of the day were Bessel, Gutheil, and Jurgenson.)\u00a0 Mitrofan Petrovich Belaieff, son of an affluent timber merchant, founded the firm in 1885 in Leipzig, choosing the German location so as to secure international copyright (which at that time did not extend to music published in Russia), and also identifying the superlative quality of the work of local printer C. G. R\u00f6der, who would become a resource.\u00a0 \u00a0The firm eventually published more than 200 works by Russian composers, and further, promoted Russian music in other ways that included concert management.\u00a0 Significantly, the Leipzig office ensured the firm\u2019s survival in the wake of the Bolshevik Revolution in 1917, when private enterprises throughout Russia were seized and nationalized.\u00a0 Belaieff\u2019s printed editions are noteworthy for their artistic appeal and quality, featuring handsome multi-tinted title pages of distinctive design, the musical text laid out with generous spacing, and the paper of a durable quality. Indeed, it was M. P. Belaieff\u2019s actual intention to create artifacts that would appeal first of all to the musician\u2019s eye.\u00a0 A recent monograph, The Beauty of Belaieff, <\/em>preserves a visual record of many of the beautiful title pages and\/or covers together with invaluable historical data.[3]<\/a><\/sup><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”15px” equal_height=”yes” css_animation=”none” css=”.vc_custom_1789586940531{background-color: #F4F4F4 !important;}”][vc_column css_animation=”none” width=”1\/2″ css=”.vc_custom_1789584607435{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-6 vc_col-sm-inherit”][vc_images_carousel images=”23633,23634″ img_size=”medium” speed=”5000ms” css_animation=”none” css=”.vc_custom_1789585215582{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;}”][vc_column_text]\u25ba Entry for the 1898 Belaieff score, no. 110730, in the Sibley Music Library accession book. <\/span>[\/vc_column_text][\/vc_column][vc_column css_animation=”none” width=”1\/2″ css=”.vc_custom_1789584721953{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-6 vc_col-sm-inherit”][vc_images_carousel images=”23635,23636″ img_size=”medium” speed=”5000ms” css_animation=”none” css=”.vc_custom_1789585244326{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;}”][vc_column_text]\u25baThe entry for the piano reduction score (Belaieff, 1898) in the Sibley Music Library shelflist, printed in 1924; the reverse side shows barcodes added in or after 2022. <\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1789585438344{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;border-bottom-style: solid !important;}”]<\/a><\/p>\n

When the Sibley Music Library acquired the Belaieff score in 1924, the Library had only recently become a conservatory library following its early years as a circulating public music library for the townspeople of Rochester.[4]<\/a>\u00a0<\/sup> The level of difficulty in the Scriabin Cocnerto demands a higher degree of technique than was generally required for the music that the Library acquired between 1904 and 1921, which was mainly solo piano pieces and four-hand piano music, art songs, and the easier chamber music literature.\u00a0 The Scriabin Concerto more appropriately fit a class of piano majors studying at the collegiate level.\u00a0 The copy bears (on the first page of music, and also on page 31) the stamped number 110730, which is the Library\u2019s accession number, which can be traced to September 14th<\/sup>, 1924 when the score was accessioned.\u00a0 In any library or archive, the action of accessioning is the all-important administrative step of entering each new acquisition in a given tool, whether that be (in an earlier time) an accession book[5]<\/a><\/sup>, or in our digital era, a database or some other management system. Each institution maintains maintains its own manner of accessioning based on its own needs and infra-structure.\u00a0 The point is that each acquisition is accounted for, and further, the order of acquisition is preserved and can be tracked.\u00a0 Thus, the Belaieff score was entered in the Library\u2019s accession book as the 110,730th<\/sup> item acquired by the Library.\u00a0 The price is not indicated, nor is the vendor from whom the score was purchased, but it\u2019s nevertheless recorded that the funds for the purchase came from the Eastman School Fund\u2014that is, out of the school\u2019s budget, rather than any gift funds from Mr. Sibley.[6]<\/a><\/sup>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”15px” equal_height=”yes” css_animation=”none” css=”.vc_custom_1789586907804{background-color: #F4F4F4 !important;}”][vc_column css_animation=”none” width=”1\/2″ css=”.vc_custom_1789584607435{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-6 vc_col-sm-inherit”][vc_single_image onclick=”link_image” image=”23638″ img_size=”medium” alignment=”center”][vc_column_text]\u25ba Staff of the Sibley Music Library, 1920s; at right, head librarian Barbara Duncan; at left, cataloguer Elizabeth Schmitter. Eastman School Photo Archive. <\/span>[\/vc_column_text][\/vc_column][vc_column css_animation=”none” width=”1\/2″ css=”.vc_custom_1789584721953{padding-top: 20px !important;padding-bottom: 20px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-6 vc_col-sm-inherit”][vc_images_carousel images=”23639,23640″ img_size=”medium” speed=”5000ms” css_animation=”none” css=”.vc_custom_1789585764996{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;}”][vc_column_text css_animation=”none” css=”.vc_custom_1789590659038{margin-top: -10px !important;}”]\u25baSibley Music Library reading room as it appeared in the 1920s. Today this space is the Rayburn Wright Room. Eastman School Photo Archive.
\nESPA 8×10 37-83 and, ESPA 8×10 37-84 <\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1789586157851{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;border-bottom-style: solid !important;}”]<\/a><\/p>\n

<\/a><\/p>\n

Following accessioning, the score would have gone into a queue for cataloguing, eventually receiving the attention of Elizabeth Schmitter, the SML\u2019s designated cataloguer for more than a quarter-century. The step of cataloguing would have generated at least two printed cards: one for the shelflist, and at least one for the card catalogue[7]<\/a>.<\/sup>\u00a0 The Sibley Music Library\u2019s card catalogue is now gone, having been closed in the 1990s[8]<\/a><\/sup> and later physically removed.\u00a0 The shelflist, however, is still extant, standing in the Library\u2019s technical services area.\u00a0 A shelflist is exactly what its name suggests\u2014a list of what\u2019s on the shelves, arranged sequentially in order by call number.\u00a0 The Library\u2019s shelflist resembles a card catalogue, comprised of standing wooden cabinets bearing drawers filled with cards.\u00a0 It is an artifact from an earlier generation that nevertheless continues to yield useful information to members of the Library staff.\u00a0 The shelflist card for the Scriabin score indicates that when initially catalogued, the score was assigned call no. M215 .C629co; the classification M215<\/strong> signifies \u201cInstrumental music\u2014Music for two or more solo instruments\u2014Duets\u2014Two pianos, two performers\u201d.\u00a0 \u00a0More recently, when the score was digitized in 2022, \u00a0it was assigned the new call number M1011 .S434 op.20 1898, its new classification M1011<\/strong> signifying \u201cInstrumental music\u2014Orchestra\u2014Original compositions\u2014Solo instrument with orchestra\u2014Piano\u2014Solo with piano\u201d.\u00a0 The earlier classification under M215 was no doubt based on considering each piano as one half of a duet, whereas the later classication under M1011 more accurately recognizes that the Concerto, opus 20 is for orchestra with solo piano, rather than a duet of two solo instruments.<\/p>\n

In time, the Sibley Music Library would acquire other editions of the Scriabin Concerto.\u00a0 To date, these have included a 1945 printing by Broude Bros. (New York) of the full score, which was possibly a facsimile of the earlier Belaieff score; a 1963 printing of the full score \u00a0(plate no. \u041c.\u0413. 21934) by the USSR\u2019s State Musical Publishing House (\u0413\u043e\u0441\u0443\u0434\u0430\u0440\u0441\u0442\u0432\u0435\u043d\u043d\u043e\u0435 \u041c\u0443\u0437\u044b\u043a\u0430\u043b\u044c\u043d\u043e\u0435 \u0418\u0437\u0434\u0430\u0442\u0435\u043b\u044c\u0441\u0442\u0432\u043e)[9]<\/a><\/sup>; a 1975 printing by M. P. Belaieff of the full score in miniature format; and a 2003 printing of the piano reduction score (plate no. 15787) by Moscow-based publisher \u041c\u0443\u0437\u044b\u043a\u0430 (Music). (\u041c\u0443\u0437\u044b\u043a\u0430 had previously issued the piano reduction in 1990; I own a copy which I bought in Moscow that same year).\u00a0 Moving into the 21st<\/sup> century, digitization became a daily concern.\u00a0 In 2022, the bibliographic rarity of the 1898 Belaieff score prompted the Sibley Music Library to digitize it; since then, a .PDF is accessible in the Library\u2019s digital repository that is maintained on a University server.[10]<\/a> <\/sup>\u00a0In addition, two copies that were printed from the .PDF and then bound are in the circulating shelves.\u00a0 Copies of their barcodes were placed on the reverse side of the shelflist card, thereby indicating a continuing use of the shelflist.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1789586672524{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;border-bottom-style: solid !important;}”]<\/a><\/p>\n

<\/a><\/p>\n

When the Sibley Music Library acquired the Belaieff piano reduction, Scriabin had been dead for nearly a decade, but his music was gaining a definite following in the West. The Eastman premieres of Scriabin\u2019s works can be discerned from the Eastman School\u2019s archived concert programs.\u00a0 To name just a few: throughout the 1920s and \u201830s, several Eastman piano majors performed selected Preludes and Etudes; in 1926, guest artist Josef Hofmann performed the Sonata no. 4 in an Eastman Theater recital; in 1937, faculty artist Sandor Vas performed the Sonata no. 5 in Kilbourn Hall. From among Scriabin\u2019s orchestral works, the Rochester Philharmonic Orchestra performed the Rochester premiere of the Symphony no. 3 (The Divine Poem)<\/em> in a matinee concert in 1927, and the Eastman School Symphony Orchestra performed the Eastman premiere of the Po\u00e8me de l\u2019Extase \u00a0<\/em>in 1935, conducted by Howard Hanson. As for the Concerto, opus 20, there has been only one Eastman School performance to date.\u00a0 The third movement (Allegro moderato) was performed in a graduation recital with orchestra on March 27th<\/sup>, 1936; the Rochester Civic Orchestra was conducted by Howard Hanson, with undergraduate Kathryn Kettering, from the class of Sandor Vas, at the piano.[11]<\/a><\/sup> \u00a0Perhaps the 21st<\/sup> century will see some new local interest; with the accessibility of the digitized score, any interested pianist with access to a printer can acquire the score.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column css_animation=”none” width=”1\/3″ css=”.vc_custom_1789586857170{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-4 vc_col-sm-inherit”][vc_single_image onclick=”link_image” image=”23641″ img_size=”medium” alignment=”center”][vc_column_text]\u25ba Concert program for the Second Graduation Recital with Orchestra of the 1935-36 academic year, March 27th, 1936. The third movement of the Scriabin Concerto, opus 20 opened the concert. <\/span>[\/vc_column_text][\/vc_column][vc_column css_animation=”none” width=”1\/3″ css=”.vc_custom_1789586301826{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-4 vc_col-sm-inherit”][vc_single_image onclick=”link_image” image=”23642″ img_size=”medium” alignment=”center”][vc_column_text]\u25ba One of two instantaneous discs on which the March 27, 1936 performance of the Scriabin was captured, 12\u201d diameter and 78rpm playing speed; three sides were necessary to capture the movement. Eastman Audio Archive, call no. 211.1 : 211.3. <\/span>[\/vc_column_text][\/vc_column][vc_column css_animation=”none” width=”1\/3″ css=”.vc_custom_1789586320924{padding-top: 10px !important;padding-right: 10px !important;padding-bottom: 10px !important;padding-left: 10px !important;background-color: #FFFFFF !important;}” offset=”vc_col-xl-inherit vc_col-lg-inherit vc_col-md-4 vc_col-sm-inherit”][vc_single_image onclick=”link_image” image=”23643″ img_size=”medium” alignment=”center”][vc_column_text]\u25ba Kathryn Kettering, pianist, senior photo in the 1936 Eastman School yearbook. Her public performance with orchestra signified that she graduated in the performer\u2019s stream in her class, rather than the teacher\u2019s stream.
\n. <\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_column_text css=”.vc_custom_1789587049642{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;border-bottom-style: solid !important;}”]<\/a><\/p>\n

After the Sibley Music Library was joined to the Eastman School of Music —<\/p>\n

a union on which ESM founder George Eastman and SML founder Hiram Watson Sibley shook hands in person\u2014the most immediate changes were the Library\u2019s relocation to a dedicated space on the ESM\u2019s ground floor, the appointment of a full-time head librarian, and a profound and deep change in the library\u2019s acquisitions program. The necessary funds were provided by the Eastman School and by Mr. Sibley himself, but supporting collegiate education in music performance, music history and music theory, and music education (which we now call music teaching and learning) required an enlightened, deliberate, and judicious approach to book selection and collection development.\u00a0 The Scriabin score under consideration here was one such acquisition that aligned with the goals of the post-1921 Sibley Music Library.\u00a0 That the 1924 purchase was followed by other, later editions of the same manifestation of the Concerto, opus 20 was a logical development as the Library has continued to grow.\u00a0 Further, digitization and networked access to the Belaieff score were another logical development as the Library has continued to adopt new technologies in fulfilling its mission to the Eastman School, to the University, and to patrons both local and remote.\u00a0 One score\u2014one purchase \u2013one essential part, among many, of the story of the Sibley Music Library.[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” gap=”20″ equal_height=”yes” css=”.vc_custom_1731093341024{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1729000374562{padding-bottom: 20px !important;}”][vc_separator color=”black”][vc_column_text css=”.vc_custom_1789587225312{margin-bottom: 0px !important;border-bottom-width: 0px !important;padding-bottom: 0px !important;border-bottom-style: solid !important;}”][1]<\/a> \u00a0Rachmaninoff performed the Concerto in his own memorial series honoring Scriabin in 1915, and also in 1916 during the nationally observed one-year anniversary of Scriabin\u2019s death.\u00a0 The Alexander Scriabin Companion: History, Performance, and Lore <\/em>(Rowman & Littlefield, 2017), p. 80.<\/span><\/p>\n

[2]<\/a>\u00a0 These include live performances featuring soloists Daniil Trifonov, Mikhail Pletnev, and Bertrand Chamayoux, among others.<\/span><\/p>\n

[3]<\/a>\u00a0 Written by scholar-collector Richard Beattie Davis, the book was published by G-Clef Music (2009).\u00a0 It constitutes an invaluable history of Belaieff, as well as providing a treat for the eye.\u00a0 A copy is upstairs at the Ruth T. Watanabe Special Collections.<\/span><\/p>\n

[4]<\/a>\u00a0\u00a0 A substantive account of the Sibley Music Library\u2019s early decades is found in Mary Wallace Davidson\u2019s article \u201cThe Research Collections of the Sibley Music Library of the Eastman School of Music, University of Rochester\u201d in The Library Quarterly, <\/em>\u00a0vol. 64, no. 2 (April 1994).\u00a0 In the later 1920s an additional responsibility was added to the Sibley Music Library\u2019s mission after Howard Hanson founded the Eastman School\u2019s Graduate Department.\u00a0 Head Librarian Barbara Duncan took seriously the mandate to collect suitable holdings for graduate research.<\/span><\/p>\n

[5]<\/a>\u00a0 Vendors such as stationers sold blank Accession Books, printed specifically for library use.<\/span><\/p>\n

[6]<\/a>\u00a0 Perusal of the archived Librarian\u2019s correspondence might well reveal the vendor and the price, but I haven\u2019t taken the time. Further, the Sibley Music Library maintains the practice of guttering\u2014that is, recording in pencil certain data elements in the gutter of a new acquisition.\u00a0 Specifically, three data elements: the date of accessioning, the source of the item (i.e. dealer\u2019s name or donor\u2019s name), and the price rendered (if applicable) in the given currency.\u00a0 That information is added in pencil in the gutter on the first odd-numbered page after the title page.\u00a0 The information that was guttered on the Scriabin score in 1924 is no longer present, the score\u2019s markings haven\u2019t been scrubbed in advance of the score\u2019s digitization.<\/span><\/p>\n

[7]<\/a> One card for the main entry (i.e. access by composer), and possibly also one or more cards for subject access, but that\u2019s more detail than is truly necessary here.<\/span><\/p>\n

[8]<\/a> The card catalogue was formally pronounced closed\u2014that is, no further cards to be added\u2014after the completion of retrospective conversion, that being the multi-year process whereby the content of the card catalogue was made machine-readable in the form of an online catalogue.<\/span><\/p>\n

[9]<\/a> Transliterated, the name is Gosudarstvennoe Muzykal\u2019noe Izdatel\u2019stvo, or State Music Publishing House.\u00a0 In colloquial Russian, the name is often shortened to \u041c\u0443\u0437\u0433\u0438\u0437, or \u201cMuzgiz\u201d.<\/span><\/p>\n

[10]<\/a> The digitization of the score fell neatly into the SML\u2019s overall digitization program.\u00a0 The SML launched its digitization in 2005, a process greatly assisted by a substantive NEH grant in 2008-2012.\u00a0 Since then, digitization has continued under three separate streams: the Brittle Books program, maintained out of the SML\u2019s Conservation unit, and in the Ruth T. Watanabe Special Collections, the \u201cAll the Chamber Music in the World\u201d project and the on-going stream of public domain requests.<\/span><\/p>\n

[11]<\/a>\u00a0 Ms. Kettering, B.Mus. 1936, was born in Kansas in 1915, and died in California in 2002.\u00a0 In a noontime student recital on December 6, 1935, she performed Scriabin\u2019s Four Preludes, opus 37. \u00a0Her 1936 performance with the Rochester Civic Orchestra was captured on 12\u201d instantaneous discs and was later re-formatted and saved on a preservation tape.\u00a0 A digital copy was created in 2026.<\/span>[\/vc_column_text][\/vc_column][\/vc_row][vc_row full_width=”stretch_row” css=”.vc_custom_1658327150379{background-color: #f4f4f4 !important;}”][vc_column css=”.vc_custom_1726852979961{padding-top: 20px !important;padding-bottom: 20px !important;}”][vc_empty_space]\n\n\n<\/svg>[\/vc_column][\/vc_row][vc_row css=”.vc_custom_1631195300893{margin-top: 40px !important;}”][vc_column][vc_basic_grid item=”17490″ post_type=”post” max_items=”4″ element_width=”3″ grid_id=”vc_gid:1789590644314-3ba202eb-8ced-8″ taxonomies=”18″][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

On September 14th, 1924, the M. P. Belaieff edition of the piano reduction score of A. N. Scriabin\u2019s Concerto for Piano and Orchestra, opus 20, was formally accessioned in the Sibley Music Library<\/p>\n","protected":false},"author":276,"featured_media":23592,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[18],"tags":[17],"coauthors":[3],"class_list":["post-23591","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-this-week-at-eastman","tag-september"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/23591","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/users\/276"}],"replies":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/comments?post=23591"}],"version-history":[{"count":10,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/23591\/revisions"}],"predecessor-version":[{"id":23652,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/posts\/23591\/revisions\/23652"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media\/23592"}],"wp:attachment":[{"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/media?parent=23591"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/categories?post=23591"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/tags?post=23591"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/www.esm.rochester.edu\/sibley\/wp-json\/wp\/v2\/coauthors?post=23591"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}