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This looks like a fine can of worms.

From what I gather the Hulme catalog (the work of a dedicated amateur) is riddled with small identification issues, and it seems like there might be some red flags here. The first record picked a peculiar place to stop quoting, since the last sentence is: “Nos. 1 and 5 are taken from The Unforgettable Year 1919, Opus 89.” So far so good. The entry for op. 45 only identifies a waltz (but which of several?) as being included in “op. 50a”, leaving 5 of 8 movements unaccounted for.

However, the entry for op. 89 says “Nos. 1 (Prelude) and 5 (Demonstration) of the Maxim Trilogy Suite, Opus 50a, relate to this film score and quote the Russian revolutionary marches ‘Behold, Friends, on we march!’ and ‘Varshavyanka.’” “Relate to” is so much looser a claim that I raise a skeptical eyebrow.

Depending on which publisher you believe, the suite is either taken from op. 41, 45, and 50 (which I also doubt, based on the movement titles) or op. 45 and 89. I don’t have any combination of score and recording that would allow comparison of the relevant parts—and the sources for op. 50 and 89 seem to be scattered—but the works list in MGG claims parts of all four were included in the suite.

Keith Knop
Head, Music Cataloging
Main Library, University of Georgia
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From: Program for Cooperative Cataloging <[log in to unmask]> On Behalf Of Holden, Christopher
Sent: Tuesday, January 14, 2020 12:41 PM
To: [log in to unmask]
Subject: Re: [PCCLIST] LCCN no 99070765--relationship between preferred/variant titles

[External Sender]
Hi Seth,

The suite known as the “Maxim trilogy” (op. 50a) is assembled from selections of  n  85072644 (op. 89) and n  84105421 (op. 45). I believe the identical 400 field in both no 99070235 and no 99070765 is to indicate to the cataloger that op. 50a does not exist as its own individual work, but instead is a compilation of selections from other works, and should be represented by two access points:

‡a Shostakovich, Dmitriĭ Dmitrievich, ‡d 1906-1975. ‡t Nezabyvaemyĭ 1919 god. ‡k Selections
‡a Shostakovich, Dmitriĭ Dmitrievich, ‡d 1906-1975. ‡t Vozvrashcheniie Maksima. ‡k Selections

These records were created in AACR2, over 20 years ago. I haven’t heavily researched these Shostakovich pieces, but RDA 6.14.2.8 might now allow a different approach. More research may also have to be done to determine how op. 89a relates to these entities.

Opinions are my own,
Chris Holden
====
Chris Holden
Cataloger
Music Division, Library of Congress
202-707-7874
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From: Program for Cooperative Cataloging <[log in to unmask]<mailto:[log in to unmask]>> On Behalf Of Huber, Seth
Sent: Tuesday, January 14, 2020 12:07 PM
To: [log in to unmask]<mailto:[log in to unmask]>
Subject: [PCCLIST] LCCN no 99070765--relationship between preferred/variant titles

I came across LCCN no 99070765 this morning while doing some music cataloging, and the record doesn’t seem to make sense. I’m not sure that the relationship between the preferred title and the variant title is what it appears to be, and the work described by no 99070235 confuses matters further to me. There actually is a suite from the film The memorable year 1919 (Nezabyvaemyĭ 1919 god) described in Malcom MacDonald’s Shostakovich catalog as op. 89a, assembled by Lev Atomyvan; the work list in New Grove corroborates this. The 2nd ed. of the Hulme catalog, which I cannot consult, is cited in both authority records as saying op. 89 was drawn upon for the Maxim suite numbered op. 50a, though I could find no indication of this in Grove or MacDonald. I’m still pretty new to NACO work and haven’t received training in creating music name-title entries, but am I wrong to think that these two authority records may not be describing things accurately?

Seth Huber
Technical Services Librarian/Head of Cataloging
University of Missouri—Columbia
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