Tag Archives: 19th century

RILM acquires and relaunches the Hofmeister XIX database

01 December 2025

New York, NY / London, UK – RILM (Répertoire International de Littérature Musicale), a global organization dedicated to documenting and making accessible the world’s musical knowledge across all traditions, is proud to announce that it has acquired the Hofmeister XIX database from Royal Holloway, University of London, and King’s College London. This valuable resource is now hosted at hofmeister.rilm.org, continuing its mission under RILM’s stewardship to support musicological inquiry.

The Hofmeister XIX database provides comprehensive, searchable access to over 330,000 bibliographic records from the Hofmeister Monatsberichte, published between 1829 and 1900. These records represent a vital primary source for the study of music publishing, repertoire, and taste in the 19th century, and include bibliographic records for music scores, music-related books, periodicals, portraits, and other ephemera.

The database was created and developed at Royal Holloway and King’s College London (Department of Digital Humanities) by a team headed by Nicholas Cook (Director) and Liz Robinson (Project Manager), with support from the UK’s Arts and Humanities Research Council. Since 2007 the project has served music librarians, scholars, and others worldwide through an open-access model. RILM now assumes ownership with a firm commitment to preserving open access to the database, its quality, and its scholarly integrity. RILM will continue to credit the founding institutions prominently on the site and maintain the platform according to the high standards long associated with Hofmeister XIX.

“RILM is honored to take over this invaluable resource,” said Dr. Tina Frühauf, Executive Director of RILM. “As a UNESCO-accredited NGO under the 2003 and 2005 Conventions, we are committed to safeguarding intangible cultural heritage and promoting cultural diversity. Acquiring Hofmeister XIX aligns with this mission by preserving and disseminating a vital record of 19th-century musical life and publishing. We look forward to ensuring its continued accessibility for scholars and the public worldwide.”

Dr. Nicholas Cook, a former professor at Royal Holloway, commented: “At a time when digital resources in academia often struggle to keep up with the pace of technical innovation, RILM’s acquisition of Hofmeister XIX is the best possible guarantee of its long-term survival.”

Royal Holloway’s Director of Research and Innovation, Sue Starbuck, noted: “We are thrilled that Hofmeister XIX will thrive under RILM’s custodianship. Their infrastructure, global reach, and deep commitment to musicology ensure a strong future for this resource.”

Dr. Arianna Ciula, Director of the King’s Digital Lab, commented: “With the support of the Faculty of Arts and Humanities leadership at King’s College London, King’s Digital Lab has made every effort to sustain digital resources of value to the research community. The migration of this important resource to its new home is a great example of what trustworthy collaboration and a holistic archiving and sustainability programme can achieve.”

As of today, the original site can be accessed through the new URL https://hofmeister.rilm.org, marking a seamless transition for the academic community and general public.

For more information, please contact:

  • RILM
    Dr. Tina Frühauf
    Executive Director
    info@rilm.org
  • Royal Holloway, University of London
    Sue Starbuck
    Director of Research and Innovation
    Sue.Starbuck@rhul.ac.uk
  • King’s College London
    Dr. Arianna Ciula
    Director, King’s Digital Lab
    kdl-info@kcl.ac.uk

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Filed under Musicology, Resources, RILM, RILM news

The emergence of string quartet ensembles

As the string quartet established its place as a distinct chamber music genre, it gained a reputation as the most demanding form of instrumental music and eventually transitioned from aristocratic and bourgeois salons to public concerts. This shift required performers to adapt, transforming the music making experience from casual, intimate gatherings of like-minded individuals to more formal recitals, creating a new dynamic between performers and audience. While private quartets continued to exist alongside public performances, such practices have not been extensively documented.

Around 1800, Vienna saw a notable number of regular quartet gatherings, held in both prominent and less prominent homes, such as those of Emanuel Aloys Förster and Nikolaus Zmeskall von Domanovecz. Similar activities during the late 18th and early 19th centuries were sporadically documented across various courtly, aristocratic, and bourgeois salons throughout the German-speaking region, as well as in (primarily Austrian) monasteries and charitable foundations. These quartet performances were also featured in regular quartet entertainment or as part of larger mixed programs in both large and small towns.

A drawing of the Müller quartet (1832).

While little is known about the exact musical standards of these private, semi-public, and public performances, it is likely that they were of high quality, as the performers were typically musically trained connoisseurs or professional musicians. These gatherings likely provided the foundation for developments that would dominate the 19th century: the concerts of traveling virtuosos who, from city to city, sought new partners for semi-public performances in private homes or public concerts, the concert tours of permanent ensembles, and the establishment of such ensembles in aristocratic or upper-class households.

This according to this month’s featured article on the string quartet ensemble in MGG Online.

Below is a 1934 performance Mozart’s string quartet no. 21 in D major by the Kolisch Quartet.

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Filed under Classic era, Performers, Romantic era