RILM’s founder, Barry S. Brook, spent the summer of 1965 pursuing research in Brussels, Paris, and Vienna; midway he attended the IAML congress in Dijon, held on 1 through 6 July. Among the 14 letters that he sent to his wife Claire back in New York City, the letter of 8 July 1965, which he wrote immediately after his return to Paris, describes his participation in the Dijon congress and his social activities around it. The letter reveals the young Brook, who was still unaccustomed to the attention he received from his older colleagues. Every dinner and every conversation was making an impression on him.
On Saturday 3 July he was particularly busy. At a round table at 11 am he explained his idea about notating music using the ordinary typewriter, known as the Plaine and Easy Code. After lunch he was the principal presenter in a round table from 2 to 5 pm titled Utilisation of data processing techniques in musical documentation. Here he made public for the first time his idea about founding an international bibliography of music literature, which he was already calling RILM. Brook’s emphasis in the session was on the possibilities of using computers for the control of music documentation, and he showed a film about IBM called Once upon a punched card (1964; the film may be viewed at the bottom of this post). In an earlier letter, from 2 July, Brook described how he and Françoise Lesure loaded up the back seat of their car with a carton of IBM brochures in three languages that he obviously distributed in the session.
Finally, on Sunday, 4 July, he presented a paper in the session on tempo in 17th- and 18th-century music, organized by the Société française de Musicologie and presided by Mme la comtese de Chambure, who would be a his key partner in founding the Répertoire International d’Iconographie Musicale (RIdIM) a few years later. This may have been his first meeting with Mme Chambure, since in this otherwise very detailed letter, full of names of people with whom he was working and dining, her name was not mentioned.
His paper was Le Tempo dans l’exécution de la musique instrumentale à la fin du XVIIIe siècle. Other presenters in the session was Mme de Chambure, Denise Launay, Charlese Cudworth, André Verchaly, and Claudie Marcel-Dubois.
A fragment of the letter concerning his engagements during the conference:
The congress, which was originally supposed to be more relaxation and wine gobbling than work and business meetings. turned out to be mad whirl. Many meetings—too many—and the “relaxed” part too filled with official receptions, dull speeches by [Député-]Maire [of Dijon, Chanoine Félix Kir], etc. and guided tours of museums and churches (separated by buses) that each lasted too many hours and too many miles. The food at the Cité Universitaire was cheap but dull and could be eaten only after a long wait in line. Despite all this, the congress itself has been a pleasant affair, which I enjoyed because of the people, the concerts, and small amount of wheeling and dealing, the spotlight which was on me more than anticipated since everyone kept referring to my big speech in later meetings.
Also we would drive into town for meals, even breakfast when the line was too long and that was the pleasantest of all—“we” included François [Lesure], Fritz Noske, Paule Guiomar, Nanna Schiødt from Denmark, Rita Benton, Nanie and Fredric [Bridgman], etc. Fredric has a big international job in Geneva where he lives; he & Nannie get together every weekend whether in Geneva or Paris; he took us out to dinner in a wonderful restaurant in the country 15 km outside Dijon on the way to Beaune, chez Jeanette (François, Nanna S., and me). Paule had to return to Paris to start her vacation with Michel so she couldn’t come). Also had breakfast with André Jurres of Holland who succeeds Fédorov as président [of IAML] & spent time with [John Howard] Davies of the BBC, who is good friend of Herman, [Enrich] Straram of French Radio, Sven Lunn of Denmark, spoke to [Friedrich] Blume at some length about R.I.L.M.
Now to the speeches, which as usual were down to the wire. Despite the complete lack of cooperation from Simone Wallon in charge of arrangements (projections etc.) everything was led smoothly with François [Lesure] & Paule’s [Guiomar] help. The first one on the code was changed by François at my request to 11 am instead of 9 on Saturday so as not to conflict with a round table & a RISM meeting starting then. I demonstrated the code and recent improvements with the aid of slides (made for Dallas) distributing French + German translations (Xeroxed by Elvood’s friend). The interest was very high & it was the best attended business meeting of the congress since other meetings stopped in time for those who wished to attend it.
The Round Table on Automation in Music Documentation was, according to François, the hit of the Congress. (I had missed the 1st while preparing for Code mtg, no.s 3 & 4 were very dull). I spoke for 1 ¼ hours, showed a 10 min IBM film, then followed by a German ([Walter] Reckziegel), Dane (Nanna Schiødt in English) and a Swiss ([Raymond] Maylan in French). It went very well. The Tempo meeting in a cold Abbey [de Fontenay] during a guided tour after a large winery lunch was ill conceived from the beginning and was not a success as a whole. Six speakers! 4 French who mainly spoke too fast and too low to be heard, [Charles] Cudworth who spoke charmingly as usual in English and me who spoke extempore—from careful notes—in French and did very well.
After all the intense work & preparation there was much relief and less letdown than anticipated. As indicated, the after round tables were not good, except for Vincent Duckles who was excellent and except that I was constantly being greeted or asked questions.
The letter continues by informing Claire about his research in Paris, his daily activities, the invitation to Vincent Duckles to use their New York apartment on the way through New York, and asking her to send him $150 to Vienna by special delivery.