Update 2023-11-30-gertraut-haberkamp-in-memoriam.md

_posts/en/2023-11/2023-11-30-gertraut-haberkamp-in-memoriam.md

@@ -18,7 +18,7 @@ Her frequent presence in the music reading room of the Bavarian State Library du
 
 From the 1970s, as the staff grew, Gertraut Haberkamp proved able to concentrate more and more on the hands-on management of the Munich office, and especially on the southern German holdings partly kept at important libraries, the descriptions of which came mostly to be published in the book series _Kataloge Bayerischer Musiksammlungen_. The most extensive collections included those of the Bischöfliche Zentralbibliothek, the Fürst-Thurn-und-Taxis-Hofbibliothek Regensburg, the Fürstlich Oettingen-Wallerstein’sche Bibliothek, the libraries of the Königliche Hofkapelle and the Elector Maria Anna in Munich, the Fürstlich Hohenlohe-Langenburg’sche Schloßbibliothek, as well as the archives of the Benediktinerabtei Ottobeuren and the Dommusik Passau.
 
-{% include image file="/images/news/2023-11/Haberkamp-1974-Foto-privat.jpg" %}\
+{% include image file="/images/news/2023-11/Haberkamp_1974_Foto_privat-1.jpg" %}\
 _Gertraut Haberkamp, 1974_
 
 Nevertheless, Haberkamp’s expertise with cataloging sources and her commitment to RISM (which she consistently pronounced in German as R-I-S-M) was only one side of her work. Standing “in the service of musical sources” (to quote the title of the Festschrift dedicated to her on her 65th birthday) was for Haberkamp not simply a pragmatic work program, but a mission to be fulfilled through a lifetime of scholarly work. In addition to reviews and essays on a range of topics, it was above all three large-scale projects that kept her busy for decades also in her spare time, and prompted her to visit countless libraries in major European cities. After turning down the honorable but unrealistic commission to compile the new Köchel Catalog, in 1986 she published a richly illustrated monograph on the first editions of works by Mozart – one of her favorite composers. What seems to us today to be a matter of course when dealing with printed music – namely, that every copy must be examined via autopsy to establish whether it is really identical to another – was comprehensively demonstrated for the first time in this volume. As another milestone, from 1992 to 2016 Haberkamp published in the journal Mozart-Studien 21 lists of historical advertisements and reviews of printed editions from diverse newspapers and magazines. And, restless even after retirement, she came to the aid of her former mentor and lifelong friend Kurt Dorfmüller by taking over his work on the revised catalog of Beethoven’s compositions, a new edition of which – based also on her seminal contributions – was published in 2014.