ISMN Newsletter 26NEU ISMN Newsletter 21 · Barbra Apolot, ISBN agency, Uganda Alison Bullock,...

g TWENTY-FOURTH INTERNATIONAL g

g ISMN PANEL MEETING g

g VIENNA, AUSTRIA g

g 23 SEPTEMBER 2016 g

g PARTICIPANTS

Antonio Álvarez Cañibano, Centro deDocumentación de Música y Danza,Spain

Barbra Apolot, ISBN agency, UgandaAlison Bullock, Library and Archives

CanadaMarc Camilleri, National Book

Council, MaltaValentina Chitoroagă, National Book

Chamber of MoldovaRenata Cozonac, National Book

Chamber of MoldovaLucya Dhamayanti, National Library of

IndonesiaJoanna Eliades, National Library of

CyprusJamshid Farahani, National Library of

SwedenAiva Gailite, National Library of LatviaBesnik Gashi, Biblioteka Kombëtare

dhe Universitare, KosovaEnkelejda Gashi Shehu, ISBN agency,

AlbaniaEskedar Girum Haile, ISBN agency,

Ethiopia Stella Griffiths, International ISBN

Agency, United KingdomEva Holst, National Library of NorwayHans Huck, Universal Edition, AustriaIrina Ilina, Russian Book ChamberAntonín Je£ábek, National Library of

the Czech Republic

Miguel Jimenez, ISBN agency, SpainBaylan Kabylash, Association of

Publishers, Printers and Booksellersof Kazakhstan

Alenka KaniË, National Library ofSlovenia

Magret Kibido, National Library ofSouth Africa

Wolfram Krajewski, DE-Parcon/Acamar, Germany

Dr. Edward Maepa, National Libraryof South Africa

Kristine Matevosyan, National BookChamber of Armenia

Vida Matijoškaite, National Library ofLithuania

Edona Munishi-Kokollari, BibliotekaKombëtare dhe Universitare, Kosova

Katarzyna Nakonieczna, NationalLibrary of Poland

Galina Perova, Russian Book ChamberAurelia Persinaru, National Library of

RomaniaSimonetta Pillon, Editrice Biblio -

grafica, Italy

Iryna Pogorelovs’ka, Book Chamber ofthe Ukraine

Alan Pope, United KingdomZhanat Seidumanov, Association of


Dr. Bettina von Seyfried, InternationalISMN Agency, Germany

Mihaela Stanciu, National Library ofRomania

Dr. Heinz Stroh, Deutscher Musik -verlegerverband, Germany

Rudina Tahiraj, Biblioteka Kombëtaredhe Universitare, Kosova

Carolin Unger, International ISMNAgency, Germany

Mai Valtna, National Library of EstoniaDr. Hartmut Walravens, Inter natio nal

ISMN Agency, GermanyNick Woods, International ISBN

Agency, United KingdomSaltanat Yelemessova, Association of


NewsletterNovember 2016 ISSN 2414-1976International ISMN Agency Internationale ISMN-Agentur e.V.26

The impressive venue of the ISMN AGM: the ‘Gesellschaft der Musikfreunde Wien’

2 | ISMN Newsletter 26 (2015)

g AGENDA / CONTENTS

g Opening / Welcome address(Heinz Stroh)

g The Austria music market (Hans Huck, Universal Edition)

g Tenth Annual General Meeting ofthe “Internationale ISMN-Agen ture.V.”

g The beginnings of the ISMN (AlanPope)

g Report of the ISMN agency forGermany, Austria and Switzerland(Wolfram Krajewski)

g Progress reports of national /regional ISMN agencies

g Miscellaneous g Ignaz von Seyfried – a Viennese

‘minor master’ and contemporaryof Beethoven (Bettina von Seyfried)

g ISBN Update (Stella Griffiths)

g OPENING

This AGM and Panel meeting inVienna were organised and hosted byDr. Heinz Stroh from the DeutscherMusikverlegerverein DMV (Germanmusic publishers association), in chargeof the ISMN administration inGermany, Austria and Switzerland.Heinz Stroh warmly welcomed the par-ticipants. He mentioned that, a fewyears ago, in 2009 the DMV hadalready hosted an ISMN AGM inBonn, Germany. Bonn was proud to bethe birthplace of Beethoven who laterhad lived in Vienna. So the city was aperfect place to hold this AGM.

g THE AUSTRIAN MUSIC MARKET

Hans HuckHead of Sales, Universal Edition

Good morning everybody – my name isHans Huck and I am the Head of theSales & Publishing Department withinUniversal Edition and herewith respon-sible for production, sales and market-ing of all sheet music on sale (means:ev erything that has a got an ISMN onit).

I am honored to be with you today andhave been asked by the members of theboard of Universal Edition – Dr. Jo -hann Juranek (speaker of the board),Mag. Astrid Koblanck and Mag. StefanRagg – to pass on to you their warmestregards and welcome (I would have tosay ‘Servus’) to Vienna.

The music publisher Universal Edi-tion, which was founded in 1901 in

Vienna as a publisher of classic instruc-tional literature, developed rapidlywithin a few short years following itsestablishment into a future-orientedpublishing house serving many of con-temporary musical life's most creativetalents.

Today, Universal Edition's catalogueencompasses over 32,000 items (mostlyhire material but also including some7.000 titles on sale) and is inseparablylinked with the great composers andmusical developments of the 20th and21st centuries.

It all started when a group of Viennesemusic publishers and music lovers inthe Austro-Hungarian Empire wantedto become independent of imports ofsheet music which came mainly fromLeipzig. With the support of bankersthe „Universal Edition Actiengesell -schaft“ was founded.

Only a few years later new musicincreasingly dominated the publishingpolicy. Hence, an exemplary catalogueof works with contemporary musiccould systematically be built up. Apartfrom that, UE represents in Austria the

publishing houses Schott Music, Uni -versal Music Publishing Ricordi.

The outstanding leader in those earlyyears had been Emil Hertzka, born1869 in Budapest, who had taken overat the helm of the publishing house in1907 (and held this function of a direc-tor till his death in 1932). He was thecatalyst for the most significant turningpoint in the publisher’s history to

Dr. Heinz Stroh welcoming the participants to the meeting

Participants arriving at the meeting

ISMN Newsletter 26 (2016) | 3

become (in his words): “An institutewith a cultural mission”

Composers such as Gustav Mahler,Arnold Schönberg, Alban Berg, AntonWebern, Alexander Zemlinsky, LeošJanáËek, Karol Szymanowski, BélaBartók, Zoltán Kodály, Kurt Weill,Dmitri Schostakowitsch, Hanns Eislerand many others joined UE.

Through the acquisition of shares ofdifferent publishers, works by AntonBruckner, Richard Strauss, Max Regerand Franz von Suppé could be integrat-ed into the catalogue.

The period after the Second WorldWar and the reconstruction of the pub-lishing house is characterised by the va-riety of musical styles of amongst others– Pierre Boulez, Karlheinz Stock -hausen, Olivier Messiaen, GyörgyLigeti, Luciano Berio, Mauricio Kagel,Arvo Pärt, Alfred Schnittke, WolfgangRihm, Morton Feldman, HarrisonBirtwistle, Friedrich Cerha, BeatFurrer, Hans Zender.

It was also Emil Hertzka who orga niz -ed the moving of UE into the mezza -nine floor of the Musikverein buildingin 1914 (the tenancy agreement wassigned on 26 June 1914, just two daysbefore the world changing assassinationof the Austrian Crown Prince FranzFerdinand and his wife Sophie in Sara -jevo and therefore a few weeks beforethe first world war had been declared).

I am sure you will learn more about the‘Musikverein’ this afternoon – so Iwould like to stop here. Nowadays UEis still tenant in the Mezzanine andsome 15 colleagues of mine are situatedhere with their offices upstairs right be-neath the ‘Goldene Saal’. Some 55 col-leagues (including me and my depart-ment) did move some 30 years agofrom different locations throughoutVienna to an office and warehouse fa-cility in the 20th district in the north-western part of Vienna (known as theBrigittenau).

From Music Austria Export:

But as you are not only guests in theMusikverein but in Austria – let me justshare some facts and figures with you.

General Information: Capital cityVienna; Area 83.879 Square kilometers;Population 8.424 millions (as of 2011).

The Republic of Austria is located inCentral Europe and with regard to theactual political situation in a spotlightposition with regard to the very recentand ongoing migration challenge inEurope.

Actually, Austria has a long tradition asan immigration country, traditionallystrongly represented are citizens of theformer crown lands, in the recent pastTurkish citizens and members of theformer Yugoslavia and from Germany(like myself) have become the largestimmigrant groups.

This explains, that in fact ethno andworld music is a relatively strong mar-ket segment in Austria and is also ap-parent with a wide range of correspon-ding music festivals

To the outstanding role of Vienna inclassical music I will cover a bit later.

Art and Music Education in Austria

Austria refers to itself as the musiccountry, especially in its external repre-sentation and tourism advertising.Music is an essential part of the society,it not only entertains, but also affectsthe identity and thus has an importanteducational function. It is a great con-cern of the federal government and thefederal states to create the best possible

conditions for music education inAustria.

Music lessons, usually 1–2 lessons perweek, are offered at all general schools,except vocational schools. In additionto classical music, pop and rock musicis slowly being integrated into teachingpractices.

School music education in Austria isdivided into the following sectors:

- Music education in kindergartensand early learning facilities

- Educational emphasis in regularschools with a special curriculum(about 130 elementary musicschools, 100 secondary musicschools, around 28 high schoolsspecialized in the arts)

- Music academies and master classes

- Music schools (more specifically)and conservatories

Six Austrian universities specialize inthe teaching of arts, three of them inmusic and drama with some 10.000 stu-dents enrolled in these universities.

With 2,717 enrolled students, theUniversity of Music and PerformingArts in Vienna was the largest of the artuniversities in Austria, followed by theUniversity of Music and PerformingArts in Graz (1,812) and theMozarteum in Salzburg (1,550).

Hans Huck speaking about the Austrian music market


At these three universities the share offoreigners was above the average of41.9% – a figure that speaks for thegood international reputation ofAustrian art universities.

The number of Austrian public musicschools (not counting private offers),supported by the federal states and mu-nicipalities, is currently roughly at1,910, which include approximately430 main educational institutions and1,480 other teaching locations. At theselocations currently around 200,000 en-rolled students are taught by about7,000 teachers. This corresponds to adensity of approximately 102 musicstudents of 1,000 of the populationaged 5 to 24.

Over 200,000 lesson units at the musicschools were allocated to the followingsingle instruments/subjects: 25,000 forpiano, 22,000 for each guitar and musi-cal education, 50,000 cumulated on theclassic instruments, brass instruments,clarinet, saxophone, flute and percus-sion. Offers from the genre of folk mu-sic absorbed approximately 10,000hours, jazz, pop and rock accumulatedapproximately 20,000 hours. Popularmusic education is primarily offered byprivate institutions, see for example theViennese Popakademie, a music schoolfounded in 2013 with a focus on popu-lar music education. Music businessand culture management courses havebeen booming for several years,although the overall focus of musicaland artistic training still lies on artisticquality. Besides cultural managementcourses at universities and colleges, e.g.at the Danube University Krems or the

University of Music and PerformingArts Vienna, a variety of private institu-tions offer relevant training courses, in-cluding the Deutsche Pop, Ebam or theInstitut für Kulturkonzepte.

But let me now come back to classicaland contemporary classical music

Classical and Contemporary Music

As you probably well know:

In the 18th and 19th century, Viennawas one of the centers of Europeanmusic thanks to Haydn, Mozart andBeethoven. The structural remains ofthe past centuries still impact us to thisday, since many of the big theater and

opera houses of the country were builtin this time.

In the second third of the 19th Century,a very popular form of entertainmentmusic evolved in Vienna and is stillpopular to this day – early pop musicso to speak – the Viennese Waltz. Itsmain representatives are the membersof the Strauss dynasty.

A lot of decisive impulses also sprungfrom Vienna in the transition periodfrom the Late Romantic to theModernity of the 20th Century. Aroundand after the turn of the century,Austria's musical life was defined bycomposers such as Gustav Mahler (di-rector of the Vienna State Opera from1897 to 1907), Alexander vonZemlinsky and Franz Schmidt. Themusic of the Modern Age was signifi-cantly influenced by the composers ofthe new (and second) Viennese School,

most notably Arnold Schönberg, AntonWebern and Alban Berg.

And there you may imagine the impor-tant role of Universal Edition as theirpublishing house.

The best-known and economicallymost relevant events of the Viennesehigh culture are still the Opera Ball(with a value of around EUR 7.5million per year) and the New Year'sConcert of the Vienna Philharmonic,which takes place each year in themorning of the 1st of January at the tra-ditional Viennese Musikverein and isbroadcast on TV in over 80 countries –this impacts the image of Austria for atleast 38% of Chinese tourists.

And to finally come to end (and withrespect to your schedule not keep ontalking on the Theater an der Wien, theSchloss Grafenegg festival, the ViennaSymphonic Orchestra, the LowerAustrian Tonkünstler Orchestra, theevent Wien Modern, contemporarycomposers like Friedrich Cerha, BeatFurrer, Georg Friedrich Haas,Johannes Maria Staud, Olga Neuwirthand many others) I say thank you foryour attention and wish you a pleasantand exciting conference day in theMusikverein and a relaxing stay at theHeurige tonight. It will be my pleasureto meet you also there – perhaps forfurther questions.

Helpful links:http://www.musikatlas.at/#!/http://www.musicexport.at/http://musiksalon.universaledition.com/en/home

g TENTH ANNUAL GEN ER AL

MEETING OF THE “INTER NA TIO NALE

ISMN-AGENTUR E.V.”

Chair Person: Dr. Hartmut WalravensRapporteur: Carolin Unger

Participants: Mr. Antonio ÁlvarezCañibano (Spain), Ms. Alison Bullock(Canada), Mr. Marc Camilleri (Malta),Ms. Valentina Chitoroagă (Moldova), Ms.Renata Cozonac (Moldova), Ms. LucyaDhamayanti (Indonesia), Ms. Joanna

Heinz Stroh and Hans Huck (right)


Eliades (Cyprus), Mr. Jamshid Farahani(Sweden), Ms. Aiva Gailite (Latvia), Mr.Besnik Gashi (Kosova), Ms. Eva Holst(Norway), Ms. Irina Ilina (Russia), Mr.Antonín Je£ábek (Czech Republic), Ms.Bayan Kabylash (Kazakhstan), Ms. AlenkaKaniË (Slovenia), Ms. Magret Kibido(South Africa), Mr. Wolfram Krajewski(Germany), Dr. Edward Maepa (SouthAfrica), Ms. Kristine Matevosyan(Armenia), Ms. Vida Matijoškaite(Lithuania), Ms. Edona Munishi-Kokollari (Kosova), Ms. KatarzynaNakonieczna (Poland), Ms. Galina Perova(Russia), Ms. Aurelia Persinaru(Romania), Ms. Simonetta Pillon (Italy),Ms. Iryna Pogorelovs’ka (Ukraine), Mr.Zhanat Seidumanov (Kazakhstan), Dr.Bettina von Seyfried (International ISMNAgency), Ms. Mihaela Stanciu (Romania),Dr. Heinz Stroh (Germany), Ms. RudinaTahiraj (Kosova), Ms. Carolin Unger(International ISMN Agency), Ms. MaiValtna (Estonia), Dr. Hartmut Walravens(Chairman of the Board, Germany), Ms.Saltanat Yelemessova (Kazakhstan)

26 members of the association entitled tovote attended the assembly.

Observers attending the meeting asguests:Ms. Barbra Apolot (ISBN agency,Uganda), Ms. Enkelejda Gashi Shehu (ISBN agency, Albania), Ms. EskedarGirum Haile (ISBN agency, Ethiopia),Ms. Stella Griffiths (International ISBNAgency), Mr. Hans Huck (UniversalEdition, Austria), Mr. Miguel Jimenez (ISBN agency, Spain), Mr. Alan Pope(United Kingdom), Mr. Nick Woods(Inter national ISBN Agency)

AGM AGENDA

1. Adoption of the Minutes of theAnnual General Meeting inKuta, Bali, Indonesia 2015

2. Reports of the Board:- Report of the Chairman- Report of the Treasurer

3. Report of the Cash Audit4. Exoneration of the Board5. Resolution on membership fees

for 20176. Adoption of the budget for

2017

At 10:00, the Chairman opened theAGM. All members had been invitedaccording to the statutes.

TOP 1: ADOPTION OF THE MINUTES OF

THE ANNUAL GENERAL MEETING IN

KUTA, BALI, INDONESIA, 2015

The minutes had been circulated intime. No additions or corrections weremade, so the minutes were adoptedunanimously.

TOP 2: REPORT OF THE BOARD

• Report of the Chairman

Annual General Meetings

Last year's AGM was perfectly organ-ized by the Indonesian ISMN agencybelonging to the National Library. Thevenue was the island of Bali. The meet-ing was once again aligned with that ofthe International ISBN Agency. We allhad had a most enjoyable and efficientmeeting, were treated with overwhelm-ing hospitality and had gained many in-sights in the Indonesian musicsituation.

This 2016 AGM in Vienna, Austria,was again aligned with the ISBN Panelmeeting. This was of mutual benefit,saving organizational efforts and alsotravel costs. The Chairman thanked ourkind hosts – the German music pub -

lishers association which was res pon -sible for ISMN in Germany, Aus triaand Switzerland – for their hospitality.

He announced that the 2017 AGMwould take place on Wednesday, 13September in Ottawa, Canada, by kindinvitation of the Canadian ISBN andISMN agencies. Canada was one of theearly supporters of ISMN, it served al-so as “starter” for the whole continent.

Membership

Currently we had 58 member agencies,the latest members were PYI Zone inMyanmar and the National Library ofMontenegro. Both also ran the local ISBN agencies. We were very happy tohave them as members now.

Interest in ISMN membership had re-cently been shown by Albania, Algeria,Botswana, Rwanda, South Pacific.

The Spanish ISMN agency intended tohand over its tasks to anotherinstitution. Negotiations wereunderway.

From China we got the message thatthey would soon send us an applicationletter to start membership.

After the Netherlands had quit theirmembership a year ago due to heavybudget cuts in the country, Donemuswas still functioning as agent but wasno member anymore. We were tryingto find a new agent.

From left to right: Bettina von Seyfried, Hartmut Walravens, Carolin Unger


Recently, we were informed that wewould lose a major supporter as theBerlin State Library suffered budgetcuts. About ten years ago the Inter -national ISMN Agency had had toleave the premises in the State Libraryowing to major construction work. TheState Library had been kind enough tosupport us with EUR 5000 per year as amember.

ISMN Standard revision

In 2009, ISMN had been the first stan-dard to follow the new ISO pattern forstandards and contracts. The ballot re-garding the systematic revision of theISMN Standard left the issue open,with no majority for either action. The

International ISMN Agency had givena statement to the SC9 secretariat (re-sponsible for standard numbering) thatthere was no urgent need for a revision.Smaller adjustments would be made inthe User’s Manual which would beavailable online. There would be an of-ficial resolution at the TC46 SC9 meet-ing in Pretoria 2017. In a few years thestandard would automatically come upfor revision again.

Publications

The latest issue of the ISMNNewsletter – available on the website –provided information on the 2015AGM. It was published as a PDF onthe IA website.

The ISMN Users' Manual had beenslightly updated in February 2016 andwas available as a PDF on our websiteas well.

Meetings

During the last 12 months theInternational ISMN Agency had beenrepresented at the Frankfurt Music Fairand the ISO TC46 meeting inWellington, New Zealand.

• Report of the Treasurer

At the time of compiling the financialreport in early 2016, we can informyou:

1. Open fees

For 2011 one member had not paid yet,for 2013 one member had not paid yet,three countries had not provided themoney for 2014 and six countries hadnot yet paid for 2015.

These open fees for the years 2011 till2015 amounted to 2,250 Euros missingin our budget.

2. Conferences

Last year's AGM in Kuta, Bali,Indonesia, was attended by only twomembers of the International ISMNAgency which means that we had muchless expenses than planned in ourbudget (three people). Since the cater-ing had been sponsored by theNational Library of Indonesia, the ex-penses had been on a reasonable levelwith 5,097 Euros.

Additional travel costs for the partici-pation at different conferences by thechairman as mentioned in his report ofthe Board amounted to 2,041 Euros.

3. Cash audit

Since we have a third cash auditor, whofortunately lives in Berlin, we again hadno travel costs for the annual checkingof our bookkeeping.

4. Promotional activities

We spent 1,105 Euros on promotionalactivities (translations). We spent no

money on printing since ourpublications are now available on ourwebsite only. We paid 231 Euros fordigital equipment, i.e. web hosting andanti-virus programmes.

We joined the Linked ContentCoalition for an annual fee of 500Euros.

5. Office

Our main expenses are as always thesalary of our manager: 29,330 Eurosand the expenses for our little office:5,000 Euros.

6. Balance

For 2015 we had an income of 52,844Euros and expenditures of 45,112Euros.

That means, we had a plus-income of7,732 Euros in 2015. Very importantinformation to you: This surplus willprove to be very important since, as theState Library in Berlin will no longersupport us.

Our conclusion for the year 2015: wewere able to save more money than ex-pected. Therefore we are financiallywell prepared for the forthcomingAGMs.

Bettina von Seyfried

TOP 3: REPORT OF THE CASH AUDIT

Wolfram Krajewski, one of the cash au-ditors, explained that the audit wasdone to check the bookkeeping of theInternational ISMN Agency in order tofind out whether everything was in or-der and transparent. An official docu-ment in German was necessary for this.The auditors had looked through thebooks and had seen that everythinglooked fine, they had not foundanything missing.

A copy of the complete report on thatprocedure (in German) would be pro-vided on request.

Therefore the auditors wouldrecommend to exonerate the Board.

Bettina von Seyfried giving theTreasurer’s report

TOP 4: EXONERATION OF THE BOARD

Wolfram Krajewski proposed to exon-erate the Board. There were no votesagainst and two abstentions from theparticipating members of the Board.The Board was exonerated.

TOP 5: RESOLUTION ON MEMBERSHIP FEES

FOR 2017

There were no changes in comparisonto the membership fees for 2015 whichhad been agreed by vote at the AGM2014. There were no votes against andno abstentions. So the membership feesfor 2017 were unanimously adopted.

TOP 6: ADOPTION OF THE BUDGET FOR

2017

Carolin Unger, Executive Director, re-ported: As the Board had already men-tioned, unfortunately the State Libraryin Berlin could no longer support us.So the expected income in 2017 wouldbe reduced to 47,200 Euros.

The expenditures were mostly similarto the ones in former years; so therewere not many changes.

Of course the 2017 AGM which wouldtake place in Ottawa would evoke high-er expenses. Nevertheless, we were notin direct danger because we currentlyhad a surplus. That was partly due tothe fact that the Board had decided notto print the new edition of the Users'Manual but to publish the up-to-dateversion on our website only. Also: ex-cept for one, the Board had not attend-ed other conferences than our AGM, infar away countries. And last but notleast – like last year on the kind invita-tion of the National Library ofIndonesia – again at this AGM we werelucky enough to have a very generoushost who kindly invited us to all extracosts such as room, lunch, afternoontour and dinner, for which he deservedour warmest gratitude.

Besides the usual items such as salary,rent, insurances etc. which did notchange much the 2017 ISO TC 46meeting in Pretoria, South Africa

would be an additional factor. Otheradditional travel costs might eventuallyinvolve participation at the Balkan re-gional ISBN meeting as well as our vicechairman's travels to Board meetings.

Since last year we offered our informa-tion material in Spanish translation. Soat the moment we did not plan anymore promotional activities.

We might end up with a minus ofabout 2,000 Euros but we would ratherexpect us to have a well balanced budget in the end.

The Chairman formally closed theAGM at 11:45 h.

g THE BEGINNINGS OF THE ISMN

Alan Pope

Alan Pope, formerly in charge of themusic department at Blackwell'sOxford, UK, reported on the early be-ginnings of the ISMN, in his role aseyewitness and one of the „godfathers“of the system.

In the 1980s there was much dissatis-faction with the process of orderingmusic from publishers for the trade aswell as for libraries. and therefore Alanand his IAML colleagues MalcolmJones and Malcolm Lewis came up

with the „at the same time foolish andbrave“ idea of a specific numberingsystem for notated music, which wasmodeled on the ISBN but was clearlydistinguished by an initial M.

While IAML reacted positivelyWhitaker’s (the bibliographic centre ofthe booktrade in the UK) was not inter-ested – they had no experience withmusic. There Alan and his colleaguesgot in touch with the International ISBN Agency in Berlin. The proposalwas adopted as the ISBN standard ex-cluded music, and there was no otherinternational standard identifier to fillthe gap. ISO TC46 SC9 suggested theISMN as a new work item.

There was one major hurdle toovercome: In North America musicpublishers had been thinking about astandard number for music but theypreferred a more „intelligent“ numberwhich would indicate bibliographiclinks, e.g. between a score and the indi-vidual parts. This was not favoured bythe British side, however, because moreand more computers were being usedin the trade, and therefore a „dumb“number was considered easier andfaster to create and to process. At amemorable meeting of the ISO work-

ing group in 1990 there seemed to belittle progress: both sides insisted ontheir designs. On the second day of themeeting the prospects looked gloomybut then Arnold Broido, then president(?) of the International Music Pub -


Alan Pope telling about the first steps towards the ISMN


lishers Association came in and beamedat the audience. „I still think theAmerican proposal makes more sense“,he said, „but when I thought the matterover last night I came to the conclusionthat we had better opt for a computer-friendly solution.“ Thus the ice wasbroken and by the end of 1992 thepublished ISMN standard was on thetable ....

g REPORT OF THE ISMN AGENCY

FOR GERMANY, AUSTRIA AND

SWITZERLAND

Wolfram Krajewski

Ladies and gentleman, dear ISMN col-leagues,

it is a great pleasure to have the ISMNannual general meeting in this wonder-ful city which is of such greatimportance for music. At the sametime, it is very nice to meet many of youagain and a good opportunity to meetnew colleagues and those who areinterested in the ISMN.

Dr. Stroh of the DMV (German MusicPublishers Association) as therepresentative for the German-speak-ing countries and Mr. Huck of theUniversal Edition, Vienna already wel-comed you. When it comes to the prac-tical application of the ISMN, thatmeans when a publisher requires infor-mation on the ISMN and wants to ob-tain an ISMN contingent, we are incharge as we operate the ISMN agency

for the German-speaking countries onbehalf of the DMV. To be precise it isthe company ACAMAR I represent to-day. ACAMAR is specialized in editori-al work and services, in particular inthe environment of performed andprinted music. Thus, the allocation ofISMN is in good hands with us.Now I want to present to you ourISMN progress report in more detailand inform you about the backgroundand details of our work for the ISMN. Iwould have preferred to use a comput-er for this purpose, but unfortunately Icannot do so, due to the tight scheduleof this meeting, and I regret this.Nevertheless, we have prepared somewritten information that we will give toyou later on.

Let me begin with a brief look at thefigures in our report: At the moment,approx. 700 ISMN ranges have beenallocated in the German-speakingcountries (Austria, Germany,Switzerland). Of course, not all of thosenumber ranges are still in use; some ofthe publishers might no longer exist orwere sold. However, the number of al-locations throughout the 5 last years,more than 200, indicates that there is

still a need of ISMN allocations, for ex-ample for newly established publishersor publishing houses that used all theirISMNs and therefore need new ISMN.So, in the German-speaking countries,there is a good interest shown in theISMN and we consider the ISMN to befirmly established in the supply chainof notated music. In this respect Iwould like to thank Alan Pope for hisreport about the beginnings of the

ISMN which was highly interesting. So,it is well recognised that it has been along process to win today’s degree ofacceptance for the ISMN.

An important reason for the acceptancein our working sphere is the IDNV(“Internationale Datenbank für Notenund Verlagsartikel” – InternationalDatabase for Printed Music andMusical Products) which is used inmore and more countries. It is a systemfor information and communication inprofessional context (B2B), thus in par-ticular for sheet music publishers,retailers as well as for libraries andarchives. The ISMN as a central identi-fier and above all as a tool for the prac-tical handling including printedbarcodes is vital for the IDNV system.Thus, we recommend all publishers useISMN alongside the IDNV and printISMN on their editions.

For the allocation of ISMN, Acamaruses a software tool called “ISMNManager” that we developed someyears ago for this purpose. Thesoftware allows to allocate ISMNranges easily and reliably and at thesame time, for example, to register theregistrant’s contact details. After work-ing successfully with the ISMNManager in-house, I presented it at aprevious ISMN annual generalmeeting, I think it was in Lisbon. Therewas a lively interest and the wish ofsome of the national ISMN agencies tobe able to work with this tool as well.We have therefore considered how anapplication for the national ISMNagencies would be made possible – as itis one thing to use a tool for usinternally, it is another to develop it in away that allows using it within anetwork of national ISMN agencies.

In cooperation with Carolin Unger wedefined the requirements for a use ofthe ISMN Manager and ensured, forexample a compatibility with the regis-trant data which already exists at theInternational ISMN Agency and whiche.g. are used for publication on theInternational ISMN agency’s website.All this required some work and so theISMN Managers completion took moretime than we had expected. Anotherfactor was a big project on which wefocused our efforts throughout the last

Wolfram Krajewski reporting about new technical developments


years – and as this project also has todo with sheet music, I would like to re-fer briefly to it:

With the new IDNV 3.0 a newapproach for digital sales becomes real-ity. We developed it with the help ofthe sector project NNND which wassupported by EU funds and which theDMV and we initiated, designed andengineered. Some of you might remem-ber the information I gave you at someof the former ISMN annual generalmeetings, for example in Washington.The project was successfully concludedlast year and the result is: AODP(Automatic Ordering and DeliveryProtocol).

AODP is a new technical protocol withaccompanying related technologies andprocedures. This technology is neededin order to reliably carry out decentralbusiness transactions for the sale of dig-ital editions. The bottom line is that atotally new way for digital sale becomesreality, namely a decentral approach:Each publisher stores their digital edi-tions always in their own "digital ware-house". A retailer now only needs themeta data for customer information inhis shop or online shop. When it comesto a sale – that is the customer wants topurchase certain digital editions fromthe retailer – the technical transactionis processed fully automated with thehelp of AODP. In a nutshell, the pub-lisher’s digital warehouse delivers adownload link that the retailer thenpasses on to his customer. Hence, theproduct is loaded directly from thepublisher’s stock of which the customeris not aware as the retailer remains hisbusiness partner.

This new AODP procedure offers eco-nomic advantages compared to the ap-proaches currently used in the digitalsales business. Important publisherstherefore have committed themselvesto use AODP and many retailers arevery interested, too. It is good to knowthat also a small or specialised retailerhas the possibility to enter the digitalsales business with AODP. That way,there are good conditions for a positivemarket development for digital sheetmusic. A first practical test of AODPwith the new IDNV 3.0 is currentlyrunning. Moreover, AODP can be ap-

plied to further products and on thebasis of the sheet music sector’s experi-ences, we will find partners for AODPin further sectors and industries.

But back to ISMN. Meanwhile ourwork on the ISMN Manager has beenlargely completed and it will soon bepossible to apply the software. The sys-tem contains a data exchange and allinformation sent will be processed byCarolin Unger as a central ”coordinat-ing point”. By using the ISMNManager for your agency you will ob-tain an excellent tool for the daily workof the ISMN allocation. Moreover, youhave an insight into the current statusof allocations and registrants and main-tain a (data) exchange with your inter-national colleagues.

A further task that I brought with mefrom mypresentationin Lisbon hasbeen solved,too. It wasthe task ofdefiningwhich articlestands forwhich ISMN,hence a reg-istry of arti-cle meta-data. As anewly creat-ed database

would be too laborious, we consideredthe IDNV a suitable solution for thistask. With the renewed IDNV 3.0 weare now ready and you can register en-tries for ISMN publications in the IDNV as “Info Partner”. To this end,we needed to make some preparationsas the IDNV is actually a B2B databasethat requires up-to-date information onprices, availability etc. Yet, if the regis-tration is made by an “Info Partner“,this information is not necessary thatmeans the article meta-data will be suf-ficient. The ISMN-Manager and theIDNV 3.0 are now compatible allowingthe exchange of the registrants’ infor-mation that means this has not to bedone manually. In addition, for you asan ISMN agency, using the IDNV is in-teresting as you gain insight into the da-ta pool and are able to check whichpublications are registered in theIDNV system. So, we believe the com-bination of ISMN-Manager and IDNV3.0 is an interesting solution.

We would like to invite you to learnmore about these new and interestingpossibilities and to apply them for yourdaily business. As I mentioned before,some minor tasks have to be solvedfirst, but as soon as we are done,Carolin Unger will inform you aboutthe start. Maybe this way an even closerongoing cooperation and communica-tion between the national ISMN agen-cies can arise and further develop. We would be pleased if you join thisnetwork!

Thank you very much for yourattention. I wish you a successful andnice day today in Vienna!

AODP leaflet, frontpage

Irina Ilina and Wolfram Krajewski


Alan Pope commented that whatWolfram Krajewski had said was ofgreat importance. Modern commercialmanagement of companies was gearedto making as much profit as possible.But music was still a different world. Inmusic there were millions of titles,many even for the same piece of music,for different instruments, differentarrangements. And also music was suchan international language. He could notread a book in Romanian but he couldread a Romanian score. It was absolute-ly important to be able to access asmuch music around the world as possi-ble.

g PROGRESS REPORTS OF OTHER

NATIONAL / REGIONAL ISMNAGENCIES

Most of the participants had sent theirprogress reports in time which hadbeen distributed before. So at the meet-ing mainly recent news or statementswere added.

Czech Republic

Antonín Je£ábek summarized from hiswritten report that the agency had notseen any striking developments. About100 music publishers participated inthe system. During last year, about 300items of editions of notated music hadbeen published.

Cyprus

Joanna Eliades said that 27 publishersregistered, so far. The agency had noknowledge whether all of these werestill active or not. ISMN was mandato-ry in the country. The data were includ-ed in the national bibliography and thelibrary catalogue.

Ukraine

Iryna Pogorelovs’ka commented thatduring the last year, the agency had is-sued 17 publisher identifiers. In 2016,till August, 207 publications of notatedmusic had been numbered. ISMN ismandatory in Ukraine.

Poland

Katarzyna Nakonieczna reported thatthe tax problems were solved now.

ISMN was not mandatory. The agencyhad been active in information activi-ties. They hoped that due to that thenumber of participating publisherswould increase. Currently the agencyworked in the traditional way but theywere preparing an ISMN website. Theyworked on the Polish edition of theISMN Users' Manual.

Lithuania

Vida Matijoškaite referred to her writ-ten report and summarized that therewere about 100 ISMNs per year, mostlyfrom small publishers since there wereno big ones in the country.

Sweden

Jamshid Farahani added to his writtenprogress report that the agency faced a

Antonín Je£ábek, Alison Bullock, Katarzyna Nakonieczna, Alenka KaniË, Wolfram Krajewski


stable amount of publishers but theISMN business was relatively small.

Malta

Marc Camilleri mentioned that theagency was relatively new, they had on-ly joined last year. He was here mainlyto learn and understand more aboutthe ISMN. The country did not have alarge number of items of notated mu-sic. There were not many commercialpublications.

Romania

Aurelia Persinaru related that the agen-cy was operational since 2014. It waspart of the department responsible alsofor ISBN and ISSN. The number wasallocated free of charge. The use ofISMN was mandatory. So far, 40 pub-lishers had registered and 400 itemnumbers had been assigned. The agen-cy was active in building a good visibili-ty, e.g. by creating a new section forISMN on the library's website.

It was a major and important highlightto learn that the government hadaccepted to reduce the VAT tax to 5 %for notated music as it had been forbooks already.

Norway

Eva Holst reported that they only had ahandful of new publishers each year.The work amount with ISMN wasrather small. The agency had to facethe problem that many publishers usedISBNs instead of ISMNs for their mu-sic publications. They noticed this due

to the fact that the agency belonged tothe department for legal deposit.

Slovenia

Alenka KaniË stated that the agencyoperated in the National and UniversityLibrary of Slovenia. Last year, no newpublishers were registered. CIP andISMN were assigned at the same time,they were both connected to thenational bibliography.

The agency organized a seminar formusic publishers and for producers of

sound recordings.The major goal wasto inform themabout the impor -tance of legal depositand how to use theright identifier.

The translation ofthe ISMN Users'Manual was now fi-nal; it included allamendments of theoriginal English ver-sion.

Spain

Miguel Jimenez from the Spanish ISBNagency (situated with the book publish-ers association) spoke for Antonio Ál-varez Cañibano from the SpanishISMN agency which belonged to theMinistry of Culture. Mr. Álvarez wasthe head of the department but did notdo the daily business. In autumn 2015,

the department had lost an importantstaff member due to which ISMN serv-ice had to be interrupted from October2015 until May 2016. Then theMinistry of Culture allocated money tohave an external company to run theservice. This would only be valid untilNovember. To find a solution for thefuture of the ISMN agency Mr. Álvareztogether with representatives from themusic publishers association hadapproached Mr. Jimenez from the bookpublishers association. Negotiationswere underway but not yet finished.

Italy

Simonetta Pillon told that as of nextyear their database would also includescores. ISMN was not mandatory. Theagency charged a small amount for allo-cation of ISMNs.

Russia

Irina Ilina gave an account of theRussian ISMN agency. It existed since2007 as part of the Russian BookChamber which was the national bibli-ographic centre. It featured the agen-cies for ISMN, ISBN and ISSN. As

they were entitled to legal deposit theycould check the use of the numbersand spot mistakes. All informationcould be found on their website,including bibliographic directories andthe Russian Bibliography. They had 8million documents in their database.The Russian Book Chamber was now apart of the news agency TASS.

From left to right: Carolin Unger, Valentina Chitoroagă, Renata Cozonac, Iryna Pogorelovs’ka,Irina Ilina, Galina Perova, Miguel Jimenez, Kristine Matevosyan, Antonio Álvarez Cañibano

From left ro right: Marc Camilleri, Aurelia Persinaru, Mihaela Stanciu

Moldova

Renata Cozonac regretted that despiteall the efforts of the agency not somuch had been achieved. They had agood law providing for a 0% VAT,there was a good publishing activity.ISMN was now mandatory. Butpublishers nevertheless were still veryslow. For registration publishers had tosend a PDF of the publication. Whenthe agency saw that it consisted ofscores they allocated an ISMN. Theagency used a collective prefix for themusic publishers. They allocated about10 item identifiers per year.

South Africa

Magret Kibido added that the ISMNwas also slow in South Africa. TheNational Library had joined the ISMNsystem in 2011. So far, 20 publishershad registered. In the past year theyhad received 3 items for legal deposit.They offered workshops and trainingsto promote ISBN and ISMN, also bythe help of Dr. Sello Galane. Now theyhoped the best for the future.

Indonesia

Lucya Dhamayanti pointed out that theagency was operating since 2002. Until2014 they had only 192 ISMNs butsince 2014 they started to promote theISMN in music institutions. There were33 institutions in the country. So far,they had gone to 3 of them, with greateffect. Indonesia featured many kindsof traditional music types. Going fromdoor to door at these music institutionsproved to be very successful.

Canada

Alison Bullock reported that the agencymostly had fairly low numbers ofISMN allocations but saw a slightincrease during the last 3 years. Thereeven was a 40 % jump from last year.The contact with ISMN clients hadgone up 300 % from last year. This wasall due to a wider acceptance of theISMN in the music trade. They stillneeded a database for ISMN.

Estonia

Mai Valtna referred to her writtenprogress report and said that the agen-cy had been operating since 2002. Sofar, 142 publishers registered withISMN and about 75 % of music publi-cations were numbered with ISMN.The number was not mandatory. Theagency worked in close cooperation

with the national bibliography and thelegal deposit.

Latvia

Aiva Gailite stated that there was only asmall amount of printed music. In2015, only 9 publishers had been activebut they had assigned 625 itemnumbers.

Kosova

Rudina Tahiraj told that there were 10publishers only in Kosova. The agencywas operating since 2003, in close co-operation with CIP and the acquisitiondepartment. Other than ISBN, ISMNwas not mandatory.

Heinz Stroh from the German musicpublishers association DMV pointed tothe problem that many music publish-ers used ISBN for their publications.He asked what the international agen-cies did to prevent that.

Hartmut Walravens replied that we ofcourse were aware of this for the last 20years. Some publishers could hardly beblamed like e.g. Oxford UniversityPress. As we had heard in Alan Popesreport at this meeting OUP had evenserved as a model for the use of ISBNin the planning phase of the ISMN. Wewere in close cooperation with theInternational ISBN Agency regardingthis. The best strategy was probably foragencies to contact the respective pub-


From left to right: Alison Bullock, Mai Valtna, Aiva Gailite


lishers and inform them about themedium-term of the ISMN. This was adifficult task, of course, because the le-gal deposit departments were notalways in direct contact with the ISBNand ISMN agencies, and not necessari-ly aware of the crucial role of the stan-dard numbers in ordering and distribu-tion. Even when both agencies wererun by the same staff there often wasnot enough time to tackle the problem.

The situation should improve a lotwhen a directory like the IDNV or oth-er would be so large that trade and li-braries could not do without it. Itwould become an automatic successstory similar to ISBN – items withoutstandard numbers are not accepted by

the book-trade any more .... But nowwe were in an intermediary state andbenefits would only be seen to the fullin the medium run.

Alan Pope added that that might be atask for the international federation ofmusic publishers to inform their mem-bers about the benefits, such as linkingwith digital data and easier way oflicensing.

g MISCELLANEOUS

Since ISMN requests from Canadianmusic publishers seemed to be ratherlow Alison Bullock explored what todo about it, e.g. whether agencieswould contact composers. HartmutWalravens said that the music market

was very limited and publishers had tocompete for participation in this smallmarket. It was difficult to predict thegrowth rate or decrease. Good commu-nication and networking wasimportant. But we could not find apatent method or formula.

Katarzyna Nakonieczna said that theycontacted composers directly since sev-eral of them were also publishers.

Hartmut Walravens added that forcomposers agents would require a goodbackground in music but for the staffin ISMN and ISBN agencies more ad-ministrational knowledge was required.Only in very rare cases musicprofessionals did the daily ISMN work.

Wolfram Krajewski stressed the factthat it was very important to informpublishers about the practical benefitsof the ISMN for stock keeping etc.Nowadays the use of barcodes showeda kind of professionalism.

Alison Bullock objected that this couldbe done also by use of the ISBN. Theagency would of course do whateverpossible to improve the situation.

Wolfram Krajewski replied that a scorewas a different product, not a book andshould be treated differently.

Hans Huck related to the importanceof being in contact with composers.Nowadays, in the book world therewere so many self-publishers who didthat on their own. But composers stillasked for publishers and what theycould do for them.

Hartmut Walravens agreed that HansHuck's point was quite commendable.We did not clearly know whom wemight have to contact next. What werethe platforms? What were the optionsfor composers?

Alison Bullock then invited to the nextISMN AGM and Panel meeting whichwould take place in Ottawa, Canada,on Wednesday, 13 June 2017. Therewould be an excursion to the Archiveson Tuesday afternoon. The year 2017would be a year of celebration since itmarked the 150th birthday of the coun-try. She very much hoped to see allthere again!

g IGNAZ RITTER VON SEYFRIED –A VIENNESE 'MINOR MASTER'AND CONTEMPORARY OF

BEETHOVEN

Bettina von Seyfried

The historical period of Viennese clas-sic music was extremely rich in goodcomposers, many of whom having beenin the meantime reclassed as so-calledKleinmeister – minor masters. One ofthese was Ignaz Ritter von Seyfried, anuncle of mine five times removed, whowas a very busy and prolific composerduring that period.

He was born on August 15, 1776 inVienna and died there on August 26,1841. He showed a marked musical tal-ent early in life and consequently dedi-cated his entire life to music. His desirewas to get a proper position as churchmusician, but to his regret this neverhappened; nonetheless he wrote a re-markable amount of religious pieces.

What is special about him is that hewas the first resident composer andopera director of a theater whoretained this position for about thirtyyears at the famous Freihaustheater aufder Wieden, best known throughEmanuel Schikaneder's successfulstage production of Wolfgang AmadeusMozart's The Magic Flute (Die Zau -berflöte). This theater was laterrenamed the Theater an der Wien andstill exists today. This position enabledSeyfried to produce maybe too manypieces which led to the nasty rumour,that he produced too many to really begood. His list of productions includes:20 operas, 13 melodramas (for whichhe was well-known) and 12 adapta-tions (something common in thosedays).

He wrote incidental music for all cate-gories including drama, tragedy, balletand also Singspiele (musical dramas) aswell as arias for singers to complementthe works of other composers. Thewide range of duties as residentcomposer is responsible for whySeyfried topped the list with 1700 per-formances at the Theater an der Wien;followed by Mozart with about 400...during the same period of time.

Eva Holst


As mentioned before, his goal was towrite church music. In his catalogue ofworks I can prove that from 1811 on-wards he wrote at least one major piecefor the church per year. During his life-time he focused more and more on thisbeloved field. He wrote 16 masses, 4requiems, and many more pieces for re-ligious services; altogether 332 compo-sitions.

He had a decent character. Nowadaysone would say he missed out in self-marketing, quite the opposite from hisbrother Joseph who was a writer inVienna in those days well-known fortranslating plays and writing fortheater-journals. However it was Ignazwho survives in many archives inVienna and elsewhere. The Musik -sammlung der ÖsterreichischenNationalbibliothek has in its holdingsmany handwritten operas, church com-positions in print, written copies andautographs. The archive of Gesellschaftder Musikfreunde Wien keeps his mu-sic as well, a fair amount of correspon-dence and, of course, all items of thejournal AMZ-WIEN.

Seyfried is well-known to all scholarswho work on Ludwig van Beethoven,because he published the so-called‘Beethoven Studies’, i.e.: Beethoven’sschool for composition, or simply: ma-terial for teaching purposes – I wouldsay that this question has not quitebeen resolved. He published many an-ecdotes on Beethoven’s personal life.Both activities led to very critical and

nasty comments. Foremost AntonSchindler, Beethoven’s first publisher ofhis famous conversation booklets, didalmost everything he could to deny anypersonal contact between Seyfried andBeethoven. Today it is evident, thatSchindler undertook ‘corrections’ inthese conversation booklets. Beethovenlived at the Theater an der Wien forsome time, while Seyfried was part of

its staff so the last words on this subjecthaven't been spoken. Since there areother sources that provide details as towhat Seyfried had to relate, scientificresearch has proved Seyfried was right.At Beethoven’s funeral Seyfried wasone of the celebrities who carried thepall. Even more important is thatSeyfried was in charge of arranging themusic played on this solemn occasion.

Seyfried faced ill feelings and negativecomments during his entire lifetime,that possibly accounts for why he hard-ly ever signed his articles during his ed-itorship of Allgemeine MusikalischeZeitung mit besonderer Rücksicht aufden Österreichischen Kaiserstaat – themusical journal with specific regard tothe Austrian monarchy, best known asAMZ-Wien.

I checked this journal carefully andcame to the conclusion, that most ofthose unsigned articles cannot havebeen penned by anyone other than him.

Seyfried was a highly recommendedteacher. Famous people such as Eduard

Marxsen, who later in life became theteacher of Johannes Brahms, Carl v.Suppé and even Walther v. Goethewere his pupils. – The latter by adviceof Mendelssohn Bartholdy and CarloImperatori of Milano by recommenda-tion of Simon Mayr.

Seyfried’s own funeral in 1841 becamea public event. He was buried opposite

Ludwig van Beet hovenand Franz Schubert.Only – history took over– his grave was moved. Ihave been told, that itstill exists, but have notyet found it.

Since many of his workswere spread by copies in-to Germany and even asfar as Poland, FatherMieczyslaw Gniady cameto know a well preservedcopy of his ‘b-minormass’ of 1830. In my ef-forts to collect all materi-al on Seyfried – goingback 30 years – led to theknowledge that the auto-graph of this piece is in

the National Library in Vienna. It took2 years of hard work to produce all mu-sical material that allowed it to finallybe performed and recorded. I’m veryhappy that now the first steps are beingtaken to bring Seyfried’s music back tolife. The ‘b minor mass’ composed andfirst performed in honor of Ignaz vonSeyfried’s son Leopold – prior in theBenedictine Abbey of Melk – tookplace on August 15, 1831 on Seyfried’s55th birthday in the Abbey of Melk.

After this talk colleagues from theArchiv der Gesellschaft der Musik -freunde Wien presented two Seyfriedautographs: his last symphony‘Concertante symphonie’ an adaptationof Mozart compositions and ‘Hymnean die Gottheit.’ The audience wasmost impressed by the composer’s ac-curate and expressive handwriting.

Dr. von Seyfried wrote her Ph.D. thesison her relative: Bettina von Seyfried:Ignaz Ritter von Seyfried ; thematisch-bibliographisches Verzeichnis ;Aspekte der Biographie und des Wer -kes. Frankfurt/M.: Lang 1990. 589 p.

Bettina von Seyfried, Valentina Chitoroagă, Hartmut Walravens


g ISBN UPDATE

Stella GriffithsExecutive Director, International ISBNAgency

Following a recent change in the man-agement contract, ISBN staffingresources will increase slightly so thatthere are two full time members ofstaff. It is still Stella and Nick but ISBNhas a little more of their time!

In the last year a regional meeting tookplace for the Balkan group of agenciesand there was also a seminar for SEAsian delegates at the ISBN AGM inIndonesia. Members of the KoreaRepublic agency visited London inApril for some training and there wasalso telephone training with Curaçao.

Guidance on ISBN is now available in21 languages from the ISBN website(www.isbn-international.org) – Maltese,Indonesian, Korean, Armenian and

Ukrainian are themost recent lan-guage additions.

About 80delegates from 50different ISBNAgencies at tend -ed the AGM inVien na this year.We are verygrateful to ourhosts Haupt -verband desÖster reichi schenBuchhandels forall their kind helpand assistance throughout the prepara-tions and also during the meeting.

We have been working with agencieson analysing, and hopefully filling, gapsin the allocation records. This helps usto understand remaining capacity bet-ter and also enables better future rangeplanning.

Work on the revision of the ISBN stan-dard has continued. The workinggroup comprised 41 experts from 14different countries who were in contactmainly by telephone conference andemail. . The final draft of the Standardis now with ISO and so it should bepublished in the next few months. TheUsers’ Manual is also being revised andshould be ready a little later

Addresses of national ISMN agencies are listed on our website. ISMN agencies are requested to kindly inform us if their address and communication data changed.

Internationale ISMN-Agentur e.V., Schlossstr. 50, 12165 Berlin, Germany E-mail: [email protected] URL: http://ismn-international.org

Alenka KaniË, Stella Griffiths

Aiva Gailite wore the perfect outfit for the event

Saying Servus (farewell) to a very communicative meeting:Heinz Stroh, Carolin Unger, Besnik Gashi, Edona Munishi-Kokollari, Rudina Tahiraj, Alan Pope (from left to right)

All photos in this newsletter were taken by participants of the ISMN meeting.

ISMN Newsletter 26NEU ISMN Newsletter 21 · Barbra Apolot, ISBN agency, Uganda Alison Bullock,...

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