Zinfonia 2017 Review

Zinfonia most performed titles in 2017

  1. Arturo Márquez Danzon No. 2 (Peermusic Classical) attach
  2. Leonard Bernstein West Side Story. Symphonic Dances (Boosey & Hawkes) attach
  3. Modest Mussorgsky Pictures at an Exhibition; arr. [Ravel] (Boosey & Hawkes) attach
  4. Carl Orff Carmina Burana (Schott Music) attach
  5. Leonard Bernstein Candide. Overture (Boosey & Hawkes) attach
  6. Aaron Copland Appalachian Spring. Suite [Orch. Version] (Boosey & Hawkes) attach
  7. Aaron Copland Appalachian Spring. Suite [Chamber Version] (Boosey & Hawkes) attach
  8. George Gershwin Rhapsody in Blue (Gershwin Music) attach
  9. Leonard Bernstein Chichester Psalms [Full Version] (Boosey & Hawkes) attach
  10. Samuel Barber Concerto for Violin and Orchestra (G. Schirmer) attach
  11. Joaquín Rodrigo Concierto de Aranjuez (Schott / Ediciones Joaquín Rodrigo) attach
  12. Ottorino Respighi Pini di Roma (Casa Ricordi) attach
  13. Igor Stravinsky Pulcinella. Suite (Boosey & Hawkes) attach
  14. Leonard Bernstein On The Town. 3 Dance Episodes (Boosey & Hawkes) attach
  15. Benjamin Britten The Young Person’s Guide to the Orchestra (Boosey & Hawkes) attach
  16. Aaron Copland Lincoln Portrait (Boosey & Hawkes) attach
  17. Leonard Bernstein Serenade (Boosey & Hawkes) attach
  18. Sergey Rachmaninov Symphonic Dances [Full Orchestra]  (Boosey & Hawkes) attach
  19. Benjamin Britten Four Sea Interludes (Boosey & Hawkes) attach
  20. Francis Poulenc Gloria (Salabert) attach

Zinfonia most performed composers in 2017

Ralph Vaughan Williams (Wikipedia)

  1. Leonard Bernstein attach
  2. Aaron Copland attach
  3. George Gershwin attach
  4. Benjamin Britten attach
  5. Igor Stravinsky attach
  6. Dmitri Shostakovich attach
  7. John Rutter attach
  8. Ralph Vaughan Williams attach
  9. Richard Strauss attach
  10. Samuel Barber attach
  11. Sergey Prokofiev attach
  12. Karl Jenkins attach
  13. Maurice Ravel attach
  14. Sergey Rachmaninov attach
  15. Arturo Márquez attach
  16. Mack Wilberg attach
  17. Béla Bartók attach
  18. Ottorino Respighi attach
  19. Francis Poulenc attach
  20. Carl Orff attach

Zinfonia Composers who died in 2017

Halim Abdul Messieh El-Dabh (Wikipedia)

  • Paul Angerer (30.viii.1933 — 15.xi.2017) attach
  • Luis Bacalov (30.viii.1933 — 15.xi.2017) attach
  • Xavier Benguerel (9.ii.1931 — 10.viii.2017) attach
  • Daniel Brewbaker (01951 — 14.v.2017) attach
  • Klaus-Peter Bruchmann (16.x.1932 — 21.viii.2017) attach
  • Jacques Charpentier (18.x.1933 — 15.vi.2017) attach
  • Halim El-Dabh (4.iii.1921 — 2.ix.2017) attach
  • Jan Holdstock (01940 — 11.v.2017) attach
  • Klaus Huber (30.xi.1924 — 2.x.2017) attach
  • Wilhelm Killmayer (21.viii.1927 — 20.viii.2017) attach
  • Ingvar Lidholm (24.ii.1921 — 17.x.2017) attach
  • Malcolm Lipkin (2.v.1932 — 2.vi.2017) attach
  • David Maslanka (30.viii.1943 — 6.viii.2017) attach
  • William Mayer (18.xi.1925 — 17.xi.2017) attach
  • María Luisa Ozaita (20.v.1939 — 5.iv.2017) attach
  • Peteris Plakidis (4.iii.1947 — 8.viii.2017) attach
  • Georges Prêtre (14.viii.1924 — 4.i.2017) attach
  • Folke Rabe (28.x.1935 — 25.ix.2017) attach
  • Eric Salzmann (8.ix.1933 — 13.xi.2017) attach
  • Vladimir Shainsky (12.xii.1925 — 25.xii.2017) attach
  • Dudley Simpson (4.x.1922 — 4.xi.2017) attach
  • Stanislaw Skrowaczewski (3.x.1923 — 21.ii.2017) attach
  • Veljo Tormis (7.viii.1930 — 21.i.2017) attach
  • Gilles Tremblay (6.ix.1932 — 27.vii.2017) attach
  • Jean-Jacques Werner (20.i.1935 — 22.x.2017) attach
  • Zhu Jian’er (18.x.1922 — 15.viii.2017) attach
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2B or not 2B

Now that the nkoda  project is into the building phase, the massive task of creating a digital library like no other has well and truly begun.

I had hoped to be more regular with my musings here about the process, but with the sheer number of meetings with publishers, performers, administrators and others in this industry, not to mention the ongoing discussions with my nkoda colleagues on the platform, there is simply not enough hours in the day.  I will though try and share some of the more interesting things I discover from time to time.

Clean or Dirty?

A key feature of the nkoda platform is the state-of-the-art annotation tools which work best with clean copy with all post-printing marks removed.  There has been quite a lot of work here to create tools and processes to help publishers get the best results from whatever digital master they have, and so every page in nkoda will often look cleaner and more beautiful than the original.

As any orchestral librarian will tell you the last thing they want to receive from a publisher is a set of parts which is completely clean.  They want a set with consistent markings from previous performances (preferably from their OWN performances).   They also need a facility to be able to quickly and easily customise the markings because you can bet that a good percentage of the string bowings will have to be reversed (thank goodness that a bow can only travel in two directions!).

The nkoda platform makes this very easy going forward with functionality for librarians to be able to manage, archive and distribute their annotations.

But as our parts will be initially pristine, publishers may want to consider making available parts with optional markings/errata from reputable sources, at least for the most important parts of their catalogues.   This is more than just providing a service, it may also be a factor in the decision what edition to use.

Before we leave annotations for the day,  another use for this service is for scholarly editions, where publisher-supplied layers of errata, fingerings or articulations could be turned on and off at the discretion of the performer – something that would be very powerful.

Expect to hear more about annotations from nkoda in the future, because we believe they are every bit as important as the notes themselves.

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nkoda starts now

My appointment as Director of Music for the nkoda digital sheet music streaming service was announced today (click here to view the press release) and this marks a really amazing new opportunity for me to participate in this new age of music publishing.

There are many reasons why I believe that the nkoda model will succeed, but it is clear that when we achieve our goals, it will be a win for both publishers and consumers.

Publishers will be able to work with a platform built for them, which can host all of their content efficiently and securely and generate income whenever it is used.

For consumers of music, the barriers of geography, availability and price are gone, and the dream of universal access will finally be a reality.

Exciting times indeed!

Here at hlmsw.com, I will chronicling this journey.  Over the next few months I will aim to keep you informed about our progress as well as sharing tips to get the most out of your nkoda participation.  So if you have not already, bookmark this space.

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Changes are coming!

Sorry for the lack of posts in recent times…a broken website combined with a severe lack of time has made it difficult to post anything substantial.

But stay tuned!   There will be an exciting announcement later this week that will be of interest to all Zinfonia and HLMSW publishers, and will also mean changes to this blog as well.

More soon….


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Making UICs FLY!

The changeover to the UIC has many advantages for HLMSW users and their customers but there is a compromise in speed.

The old HLMSW system for managing stock was very efficient because the entire stock record was saved in a single slot in the database.  So to display a transaction with the old system, would take a minimum of 6 information requests to the database to extract the information to display.  That same task with a UIC could take more than 50 requests because each stock item is saved in its own slot.

It gets even more complicated when you consider that almost EVERY transaction in HLMSW also has its own stock lines which must be saved, and so for publishers with long HLMSW histories, the UIC databases can easily grow to millions of lines, all of which have to be trawled through to display results (it still amazes me how fast this process actually is).

But every request to display and save a UIC item does take a little longer than a non-UIC item, and this is something that we constantly seek to improve.

In the most recent release of HLMSW (, we have adopted some advanced database techniques to make a huge impact the efficiency of this operation.  Firstly we have created a routine that archives all of the older transactional information which is unlikely to change and placed it into an archival table and we have also created some special indexes which makes access of this information lightning fast.  It is important to note, that you will not see any difference with archived transaction UICs, they will be displayed as normal (albeit a few milliseconds slower than the live data) and if you edit them, they will return to the live list automatically.  The only way you can tell items which have been archived is that they will have a little lock symbol displayed on the UIC button:

Archiving your UICs

The routine to archive and index your UICs is not performed automatically.  It should be part of your regular maintenance plan to run this routine, but please note it can only be done when there are no other users in HLMSW, and depending on the size of your UIC tables, it can take a long time to complete (especially the first time it is run).

To access this feature, click on the UIC button in the Maintenance tab of the Configuration Editor:

then select the Archive/Index UIC Transactions button

and you will be presented with this screen

Click OK and you will find your HLMSW experience will be greatly improved.

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Daniels’ Legacy

Peter Grimshaw and David Daniels at the 2017 Annual MOLA Conference in San Diego

At the recent MOLA annual conference in San Diego, I had the unique honour to be seated next to David (Dave) Daniels.  This is a name that any orchestral librarian will know well because his publications are an essential reference in any music library, and have been for almost the last half century.

So famous is he, that the most popular (and in my view the best) way we “concatenate” descriptive orchestrations from this:

2 Flutes 2 Oboes 2 Clarinets 2 Bassoons 2 Horns 2 Trumpets  Percussion Strings
2 2 2 2 – 2 2 0 0 – perc – strings

is called the “Daniels” format.

Daniels has personally inspected more than 10,000 scores to make sure the information in his publications is accurate and so it is perhaps not so surprising that his presence at MOLA was to announce his retirement.    Not that his legacy will be forgotten.  The work will continue under the guidance of David Oertel and David Alexander Rahbee with a 6th edition to be be published sometime in the next few years, and the online resource at https://daniels-orchestral.com will continue to be expanded and updated.

Enjoy your retirement Dave, you certainly have earned it!


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BTMI in the USA

Peter Grimshaw will be attending the Major Orchestra Librarians’ Association 35th Annual Conference hosted by San Diego Symphony in May.  During the conference, he will be presenting session to help users get the most out of Zinfonia, and he will be participating in presentations by Lorenzo Brewer, founder and creator of nkoda who will be introducing the platform to the attendees.

In the following week, Peter Grimshaw will be travelling on to New York for further meetings with HLMSW and Zinfonia users.

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A Polish First

PWM Edition recently completed the massive project to convert the instrumentation of their entire rental catalogue into the Universal Instrumentation Code format, and is the first publisher to do so.

The real power of the UIC (particularly in searching) can only be demonstrated when there is a large body of work with a UIC and so as more publishers commit to the platform, so does the possibilities for its use (about 4% of titles on Zinfonia have UICs).  The UIC is now available in 5 languages (English, French, German, Italian and Polish) and we are currently extending the ability to easily display UIC information styles familiar with librarians around the world.

Check it out: https://www.zinfonia.com/zShowWork.aspx?publisher=PWM+Edition

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BTMI and nkoda at Frankfurt

The BTMI team will be attending the Frankfurt Musikmesse again this year (April 5-8, 2017), but this time our presence will be complimented by the team from nkoda.

For the uninitiated, nkoda is bringing to market a digital sheet music streaming service which will give access to complete catalogues of major publishers, much of which has never been available from a legitimate source in digital format before. Not only that, they have some pretty amazing tech that can transform scanned PDFs into a form that will make them suitable for any resolution digital device. (If you want to read more about this, click here to see a message I sent to my emREADER mail list subscribers last year).

BTMI and nkoda are working closely together to make sure that the transition from print to digital is a smooth ride for both publisher and consumer.

Coming to Frankfurt?  Contact us to arrange to an appointment because we would love to see you and provide you with a personal brief of all of the exciting developments.


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Automated Performance Exports

Version 8 of HLMSW introduced a number of new features, with one most requested being an easier/better way to share HLMSW performance data with external systems like website performance calendars and for collection societies.  While you can create lists with browses and forms, it is no easy task to produce a list with JUST performances arranged by date.  So we created a Performance Export routine available for HLMSW Administrators using the button here:

As good as this is, I was asked a number of times how it may be possible to automate the creation of these export files, and to this end we have bundled a new utility with the imaginative name HLMSW Performance Export with the most recent version of the Configuration editor which does just that.

The design of program is very simple:

You can select various options to save details to a file or as an email which can be executed directly from the command line in batch files or as a scheduled task.  The above options are represented by the command:

“D:\HLMSW\HLMSW Config\PerfExport\HLMSWPerfExport.exe” /Einfo@btmi.com.au /CAU,NZ /LC /PL

Not that you need to know this,.  Just click on the Command Line box to get the text you need to insert into your batch file or scheduled task.

Selecting performances in the past would be the normal practice for the collection societies, and future performances are what promotion departments and calendar feeds need.  One important feature of this list is that whenever it is generated, the performances are checked to make sure that any changes to the performance details are included in the exports.

It is even possible to change what information is exported, but that will probably require a little assistance from us.

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