13.00: Opening: Ivan Duxnyč and Angelika Moths
13.30: Christoph Wolff: The Archive of the Berlin Sing-Academy 18 Years later: An Interim Balance.
14.00: Jurij Jasinovskyj: (Keynote)
14.30: Vasyl’ Kmet’: (Keynote)
15.00: Ljubov Kyjanovs’ka: (Keynote)
15.30 Coffee break
|In the schadow: Lost documents – hypotheses and legends||Traces of Eastern European composers in Western Collections|
Structural features of sacred monody in the context of
liturgical functionality (on the material of five line
The Research Library of the Herder Institute and its Music Collection
Rediscovered Music Manuscripts from East Central Europe on the
Marburg Castle Hill
Accepting Death through Laude:
Lack of Music for the Bolognese Gallows during the Early
The Aleksander Kulisiewicz Collection at the United States Holocaust
Ontology of the non-existent? Towards a data model for
missing or lost musical sources with regard to Anton
Webern’s George Lieder op. 3 & 4.
The Universal Exhibition in Paris 1900. Autographs of Polish
18.00: Festive ceremony for Christoph Wolff with reception
|Completing the picture: Newly found sources pertaining to
the work and life of famous, lesser known or unknown
composers (Part One)
Situating the Fasch Manuscript among the Early Collection of
Blank spots in Boris Kudryk’s artistic biography.
Performing Christian Gottfried Krause: the Quartet for Oboe,
Violin, Bassoon and Continuo (1765) from the archive of the
Alois Nanke: Composer and founder of the professional music
education in Western Ukraine.
|10.00||Francisco Javier Lupiañez Ruiz:
New Discoveries of Vivaldi in Dresden: Trio Sonata RV 820,
Sonata RV 205/2 and a new Vivaldian Cadenza in an
Palaeography of the Ukrainian Irmologians of the 17th and 18th
10.30 Coffee break
|11.00||Thomas Fritzsch (not present):
Johann Christian Bach:
Quartets for Abel, the celebrated viol-di-gamba player.
Unknown pages of the life of Jakiv Jacynevyč
(Reconstruction of the biography of the Ukrainian composer with
“On the Polish Parnassus” – Bach’s pupil Johann Philipp
Kirnberger in Poland.
Serhij Bortkevyč. Opus 57 (restoration of the composer’s idea)
Bach research in Ukraine.
Invocation à la Lumière.
Pioneers of the modern viola da gamba tradition in the Russian
Empire and the USSR.
|Completing the picture (Part Two)||
Musical sources in Eastern Europe before and after the „Iron
The last Metastasian Semiramide recovered.
|Asim Kelmendi (German):
The situation of musical compositions before and after the cold war
in the southeastern Europe especially in Kosovo as the newest
country in Europe.
An uncrossable Rubicon: Liszt’s Sardanapale revisited.
|Natalja Kobryn (Ukrainian):
Ukrainian Musical Culture in Galicia: archival documents and
Mandyczewski Treasures in a Ukrainian Library.
|Lilija Nazar-Ševčuk (Ukrainian):
Vasyl’ Barvins’kyi and Borys Kudryk The fate of the musical archives
from penitentiaries and concentration camps of Galician composers
and political prisoners of the Soviet regime.
15.30 Coffee break
Władysław Żeleński (1837–1921) – a Rediscovered Composer
and His Opera Goplana.
Myroslava Novakovyč (Ukrainian):
The Austrian composer Alois Nanke and his role in reforming Greek-
A. Grechaninov’s Forgotten Music for A. Ostrovsky’s Spring
Fairy Tale “Snegurochka” [“Snow Maiden”].
|Ol’ha Zosim (Ukrainian):
Ukrainian sacred baroque songs in manuscript collections from the
17th to 19th centuries in foreign libraries.
Rachmaninoff’s Early Manuscript and subsequent versions of
the Second Piano Sonata.
|Olena Cybul’s’ka (Ukrainian):
Collection of rare gramophone records from the musical department
of the Vernadsky National Library of Ukraine.
Optional: Evening Programme (opera or philharmonic hall)
|Work in progress: Reports on recent research on musical
sources or on documents that merit study.
An anonymous music collection in the music library of the
Paganini Conservatory in Genoa.
Medieval European responsory from the cover of Theology Studies.
Musical collections (private and institutional) in the funds of
The L’viv National Vasyl’ Stefanyk Scientific Library of
Ukraine: problems of working out, reconstruction and
Polish traces in the lute tablature by Emanuel Wurstisen.
|10.00||Jurij Medvedyk (Ukrainian):
The sources and evolution of the Ukrainian liturgical
collection "Bohohlasnyk" (18th century).
Lute Tablature UKR-LVu 1400/I as a Lessons Book of Humanist
Scholars: intertextual and intercultural analysis of the manuscript.
10.30 Coffee Break
|11.00||Svitlana Vavryš (Ukrainian):
The Krasičynski's Sheet Music collection.
The unexpected manuscript Processionale from 1638 in the Elbląg
|11.30||Ljudmyla Rudenko (Ukrainian):
The choir music library of the Kiev Theological Academy.
What is the difference between 'passio' and 'tragicomoedia', and what
stems from it? The passion repertoire of the Jasna Góra Monastery.
|12.00||Larysa Ivčenko (Ukrainian):
The musical collection of Count Alexej Rozumovskij.
|Andrzej Edward Godek:
Canto fratto in eighteenth-century berardines manuscripts: a study on
lost and rediscovered sources to plainchant and polyphonic
14.00-15.30 „Round table”, Opera Studio (Music Academy) (German)
chaired by Ljubov Kyjanovs’ka with contributions by
Christoph Wolff: The “Répertoire Internationale des Sources Musicales” (RISM) as a community project for making inaccessible sources available.
Otto Biba: Private music collections in Central Europe in the early 19th century. Selected examples of their history and destiny.
Helmut Loos: The survey of sources as basis of scientific musical historiography. Musical writings of the 19th century from the perspective of source
16.00–18.00 „Symposium in the Symposium“, National Library
chaired by Vasyl’ Kmet’ with contributions by librarians and archivists.
20.00 Concert, Big Hall (Music Academy)
9.00–12.00 Final discussion, conclusions, further plans. Ethnographical Museum
chaired by Christoph Wolff, Ljubov Kyjanovs’ka, Vasyl’ Kmet’ and Angelika Moths