Bibliomania; or Book-Madness

October 23, 2010

What wild desires, what restless torments seize
The hapless man. who feels the book-disease….
—John Ferriar, The Bibliomania

bibliomania, n. A rage for collecting and possessing books.
Oxford English Dictionary

I’ve always been crazy about books — what DPer isn’t? — but I am decidedly not a bibliomaniac. A bibliomaniac isn’t a voracious reader; a bibliomaniac is a voracious collector, an obsessive-compulsive accumulator of books as objects, often without regard to content. The term “bibliomania” was popularized in 1809 by Dr. John Ferriar, a Manchester physician whose satiric poem, The Bibliomania, poked fun at book-hoarders who lived only to haunt book-auctions and spend their entire fortunes expanding their libraries beyond all reason. The poem was dedicated to English collector Richard Heber, who filled eight houses with his collection of over 150,000 books.

The Book Fool

The Book Fool

Inspired by Dr. Ferriar’s witty verse, Thomas Frognall Dibdin (1776-1847), bibliographer of the second Earl Spencer’s magnificent library, made his own playful study of the subject, also dedicated to Heber. Bibliomania; or Book-Madness was first published in 1809 and considerably expanded in 1811. Many editions followed, even after Dibdin’s death. The Project Gutenberg edition was created from a modern reprint of an 1876 edition that was itself a republication of Dibdin’s 1842 revised edition.

The popularity of Bibliomania did not lie in its text, which takes the form of a dialogue among several personable characters, dominated by Lysander (the voice of Dibdin), who expounds on the history of book-collecting mania through the ages. The true value of Bibliomania is, instead, in its extensive footnotes — far longer than the main text — which are filled with fascinating anecdotes about real-life bibliomaniacs, along with comprehensive catalogues of their collections and the prices the books fetched at auction after their owners’ deaths. There are chatty accounts, too, of the lives of noteworthy (and often eccentric) librarians and bibliographers.

Here, for example, we find John Leland, Henry VIII’s “antiquary and library-keeper,” who collected such a large number of manuscripts from the dissolution of the monasteries that he became deranged trying to catalogue them. We find also Antonio Magliabechi, the illiterate Florentine street urchin who rose to become the librarian for the Medici. Here are Thomas Bodley’s letters to the chancellors of Oxford University, proposing to build and stock a new library for his alma mater. And here is a Shakespeare First Folio of 1623, in the collection of one Martin Folkes, Esq., sold in 1756 for just 3l. 3s. — a paltry sum even then for such a priceless volume. In a discussion of Archbishop Cranmer’s English Bible, one can even find an itemized account of how much it cost to burn Cranmer at the stake (a little over 11 shillings).

Bibliomania is a rich and entertaining pageant of books and book-collectors, famous and obscure. DPers will be especially interested to find, in the catalogues, many books that they have worked on. Just be careful: It may not take much to turn a bibliophile into a bibliomaniac.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.


Principles of Orchestration, by Nikolay Rimsky-Korsakov

October 6, 2010

In 1905, Nikolay Rimsky-Korsakov (1844-1908) was a prominent Russian composer and a professor at the St. Petersburg Conservatory. When the 1905 Russian Revolution brought student demonstrations to the Conservatory, Rimsky-Korsakov was assigned to a committee charged with quelling the unrest. Instead, he sided with the students, declaring that they had the right to demonstrate. As a result, he was fired, and performances of his works were banned. But such was his reputation as a composer that the ban received national press attention, and a national outcry ensued. The ban was soon lifted, and Rimsky-Korsakov got his professorship back. He retired the following year, and died in 1908, before he could complete his masterpiece of musicology, Principles of Orchestration.

Rimsky-Korsakov is probably best known today for his magical Scheherazade suite, but his output included 15 operas and numerous other orchestral works. Incredibly, Rimsky-Korsakov had relatively little formal training in music. While preparing for a career in the Imperial Russian Navy, he took piano lessons, which he disliked, but his teacher recognized Rimsky-Korsakov’s musical talent and urged him to learn composition. Rimsky-Korsakov was entranced. By the time he was 27, he was a professor of composition and orchestration at the Conservatory — a part-time job, as he was still on active duty with the navy.

Rimsky-Korsakov’s years of teaching and practicing orchestral composition — as well as his membership in “The Five” (with fellow composers Moussorgsky, Borodin, Balakirev, and Cui) — gave him a keen sense of the power of orchestration. He became a master of color, texture, and mood, even though he knew little about music theory. He continued to teach himself as he went along, and ultimately his experience as a teacher made him, as he put it, the Conservatory’s best pupil. His desire to share what he had learned led him to begin writing Principles of Orchestration in 1873.

At his death 35 years later, it was still incomplete. At times, his attention was focused on composition, health problems, and family tragedies, and he laid the draft aside. Other times, he had crises of confidence, believing that the subject was too massive for him to treat successfully. Luckily, he left copious drafts and notes, and his protégé and son-in-law, Maximilian Steinberg, was able to cobble them together into an invaluable treatise, first published in English in 1922, that remains an essential reference for composers and orchestrators.

The main text in Volume I is relatively brief — just 152 pages in the English translation, with demonstrative music snippets throughout — but Volume II contains over 300 orchestral examples drawn from a wide variety of Rimsky-Korsakov’s works. These beautifully demonstrate his fundamental belief that “good orchestration means proper handling of parts.” He advocated simplicity in scoring for individual instruments, which, when artfully combined, would result in “brilliance and imaginative quality in orchestral tone coloring.”

The version of Principles of Orchestration that we produced at DP tries to bring that quality to life with mp3 sound files linked to the orchestral examples. These were transcribed by hand with music notation software that employs actual instrument sounds. While no computer-produced sound can ever replace the warmth of actual human performance, it is hoped that these sound files will give the reader at least a glimpse into Rimsky-Korsakov’s own brilliance and imagination.

This post was contributed by Linda Cantoni, a Distributed Proofreaders volunteer.