PREFACEAuthor(s): Pamela ThompsonSource: Fontes Artis Musicae, Vol. 53, No. 3, Russia (July-September 2006), p. 109Published by: International Association of Music Libraries, Archives, and Documentation Centres(IAML)Stable URL: http://www.jstor.org/stable/23510728 .

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PREFACE

I owe the Russian colleagues who contributed to this volume two enormous debts: first, for welcoming me to their institutions, taking time to show me their extraordinary libraries and dumb-founding me with peerless hospitality, but, second, for showing the most unwarranted patience in waiting for this vol ume to appear in translation.

I should confess that the idea for this special issue on Russian music li braries was, many years ago, mine. It followed visits to St. Petersburg and Moscow to speak at excellent conferences. The notion that I might put it into another language was also mine, but in retrospect was foolhardy in the ex

treme, my Russian being extremely rusty and my time being everlastingly lim ited by other responsibilities. In these circumstances, and if this volume is not to be delayed for even more years, I can only apologise both to the contribu tors and to readers of this journal, who may find some of the information now out of date. It deserves updating. I would like to suggest that contributors who have new or updated information on their collections send this material to the Editor of Fontes forthwith and offer their revisions for publication, although I hesitate to burden the Editor further, having already embarrassed a whole series of Fontes editors by my failure to submit copy when promised. My apolo gies must go to them too.

Despite these protestations of guilt, I have greatly enjoyed revisiting these collections and recalling the papers given at the conferences. Both the St. Petersburg and Moscow Conservatoires have organised regular series of conferences over the years, held since 1997, with Russian speakers and col

leagues from other countries. In St. Petersburg, the concentration has been on music in Russian archives, while in Moscow the emphasis has been on Russian music in collections elsewhere around the world. Many of the papers from those conferences are presented here. I very much hope that music library col

leagues around the world will derive similar pleasure and surprise on reading of the overwhelming size, scope and value of the collections these libraries

contain and will find in this issue of Fontes some small inspiration to explore their collections further.

Pamela Thompson Royal College of Music

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