Introduction
MOLA is the Major Orchestra Librarians' Association, founded in 1983.
The primary objective of MOLA is to help
improve communication among orchestra librarians. The Association's other objectives
include: assisting librarians in providing better service to their orchestras, presenting a unified
voice in publisher relations, and providing support and information to the administrations
of performing arts organizations.
The first MOLA meeting was held in Philadelphia in 1983, when 25 librarians from
the United States and Canada met for a day to discuss issues of mutual interest. Today
MOLA is an international organization with a membership of over two hundred libraries,
including libraries from symphony orchestras, opera and ballet companies, music academies,
and professional bands and ensembles. Membership includes musical organizations
in North America,
Europe, the Middle East, Asia, South America, Africa, and Australia.
Means of Communication
Members keep in contact with each other in various ways. An annual
conference is hosted by a member orchestra and features presentations,
workshops, round table discussions, networking opportunities, and numerous other
valuable resources.
The quarterly
newsletter, Marcato, addresses many issues of common interest such as feature
stories, errata lists, and updates from the special committees within MOLA.
Computer technology has made it possible for member-librarians to be in contact daily, or hourly, through MOLA's online Discussion Forum. A website has also been developed to provide ongoing resources and a
comprehensive look at what MOLA has to offer: http://www.mola-inc.org/.
These forums provide information and support to an ever-expanding group of
library professionals. This communication between members is perhaps the most
important contribution MOLA makes to the performing arts field.
An example of this cooperation is the sharing of music errata
lists. Even the most traditional and often-performed works, such as Beethoven symphonies,
can have errors in the scores and parts. Through the use of errata lists, a
librarian can proofread and correct errors without comparing each part to the
score.
Communication with Publishers
Another benefit of MOLA has been the creation of a unified voice in making the concerns
of the orchestra librarian known to music publishers. MOLA periodically invites
representatives from music publishers to its annual conferences in order to
address
the publication and condition of printed orchestral materials. This
collaborative effort has led to the formation of the MOLA/Publisher Committee.
MOLA has also published a brochure entitled "Music Preparation Guidelines
for Orchestral Music".
Other Areas of Interest
Other areas of interest to MOLA librarians include copyright law and performing rights
issues, the use of public domain works, selecting editions, cataloging, touring,
computerized databases, conductors' and soloists' music, archiving and
preservation, budgeting, library operations, and specialized library
equipment, such as photocopiers, paper and binding machines.
Being an Orchestra Librarian
There are currently no degree programs for orchestral librarians. However, orchestra
librarians need to have a broad range of training. They may acquire the necessary working
knowledge either through apprentice/internship situations or on-the-job training. Most
orchestra librarians begin their musical training as performers.
In the past, librarians were often members of the orchestra
or retired from the ranks of the orchestra into the library. Today musicians are
choosing the profession as a first
career. While some librarians are still players in their orchestras, it is most
common for the library
position to be full-time at the major orchestra level.
When surveyed about what they consider to be the most important
part of their job, orchestra librarians responded, "To have the right music in the right
place at the right time." When asked how they view their role in the orchestra, they
replied, "As musicians!"
Association with Music Service Organizations
MOLA is represented on the MLA (Music Library
Association) / MPA (Music Publishers' Association) / MOLA Joint Committee. In
addition, MOLA has cultivated relationships with other music service
organizations. These include the International Association of Music Librarians,
the American Symphony Orchestra League, the American Federation of Musicians,
the International Conference of Symphony and Opera Musicians, and Regional
Orchestra Players' Association.
What is MOLA ?
1993 edition
Clinton F. Nieweg, Philadelphia Orchestra •
David Bartolotta, San Francisco Ballet •
Peter Conover, Houston Symphony •
Gary Corrin, Toronto Symphony • Marcia Farabee, National Symphony • John
Grande, Metropolitan Opera • Robert M. Grossman, Philadelphia Orchestra •
Paul Gunther, Minnesota Orchestra • James Kortz, St. Paul Chamber Orchesra •
Mary C. Plaine, Baltimore Symphony • Rosemary Summers, Metropolitan Opera •
Lawrence Tarlow, New York Philharmonic
• John Van Winkle, San Francisco Symphony
Revised in 2001
John Campbell, San Francisco Symphony •
Russ Girsberger, New England Conservatory • Margo Hodgson, National Arts
Centre Orchestra • Carol Lasley, Florida Philharmonic • Cathy Miller, The
U.S. Army Field Band • Patrick Zwick, Utah Symphony