On 13–14 September 2025, members of the Tartinians in Europe project took part in the MerMEId Workshop held at the Conservatory of Trieste, organized in collaboration with the Centro di documentazione e studi tartiniani “Bruno e Michèle Polli” directed by Professor Giulio D’Angelo. The event brought together researchers, editors, and developers from across Europe to discuss recent developments in digital cataloguing and to exchange experiences on the online documentation of musical works.
For the Tartinians in Europe team — composed of researchers from the Universities of Graz, Augsburg, and the Schola Cantorum Basiliensis — the Trieste meeting represented a meaningful opportunity to reconnect and to discuss topics directly related to Giuseppe Tartini and the broader digital ecosystem surrounding his work. The workshop created a productive setting for dialogue and collaboration with institutions such as the Universities of Oxford, Vienna, Bergen, and Mainz, fostering an exchange of practices and perspectives in the field of digital musicology.
The opening session on Saturday morning featured a series of presentations on thematic catalogues of major European composers — including Tartini, Elgar, Delius, Telemann, Schubert, Bruckner, Mahler, and Grieg — highlighting the variety of methodologies used in structuring, maintaining, and updating such databases. These contributions offered a comparative framework through which participants could reflect on the specific challenges of representing complex musical traditions in digital form.
In the afternoon, the focus shifted to the future of MerMEId itself. The team from the Universities of Mainz and Paderborn — Kristina Richts, Carlo Licciulli, and Peter Stadler — introduced the latest developments of the system, demonstrating new functionalities designed to enhance flexibility, interoperability, and XML export. Their presentation combined technical insight with practical demonstration, illustrating how the updated editor can support both established and newly emerging catalogues.
The second day was entirely dedicated to hands-on experimentation, as participants were invited to test the MerMEId editor under the guidance of the Mainz and Paderborn teams. This practical approach allowed for an open exchange of experiences and ideas, encouraging discussion on how to adapt digital cataloguing tools to the evolving needs of musicological research.
Beyond its technical achievements, the Trieste workshop played a significant role in reinforcing the network of collaboration that underpins Tartinians in Europe. Through lively discussions and direct interaction, researchers were able to identify new intersections between projects and to outline future possibilities for cooperation. The meeting thus underscored how shared digital infrastructures can not only preserve but also expand access to the cultural heritage associated with figures like Giuseppe Tartini.
The event concluded with a renewed sense of connection among institutions, united by a common commitment to advancing open, sustainable, and collaborative models for digital music research in Europe.