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Lloyd P. Farrar

During the next four decades the firm published nearly 200 new titles a year; except for a small group of sacred songs issued by Pepper Publishing Co. in 1901–4 , these were all orchestral and band works intended for civic, commercial and school ensembles. Many compositions and arrangements appeared in journals – Quickstep , Brass and Reed Band , Ballroom , Theatre and Dance and Opera House . The J.W. Pepper Piano Music Magazine was begun in 1900 , and a separate 20th-century series was also established. Among the composers whose works were published by Pepper


D.J. Blaikley, William C. Smith and Peter Ward Jones

separate music side of the business was started in 1816 under the control of the founder's son, Thomas (ii) ( 1794/5–1871 ). They began as importers of foreign music, but soon became the English publishers of composers such as Hummel, Mercadante and Rossini, and later of important operas by Bellini, Donizetti and Verdi. The House of Lords' decision in 1854 , which deprived English publishers of many of their foreign copyrights, severely affected the firm. Among the earliest publications of T. Boosey & Co. was an English translation of Forkel's life of Bach ( 1820


W.H. Husk, Margaret Cranmer, Peter Ward Jones and Kenneth R. Snell

Clara Schumann. Thomas Chappell also organized the later seasons of Dickens’s public readings from 1866 to 1870 . In the 1870s the firm’s association with Gilbert and Sullivan began. In addition to publishing nearly all their operas, Thomas Chappell financed the Comedy Opera Company, which performed the works before D’Oyly Carte took over the operas in 1877 . Thomas Chappell was also one of the original directors of the RCM, and a governor of the Royal Albert Hall. The firm’s fortunes declined temporarily at the end of the 19th century, and in 1894 William Boosey


Frank Kidson, William C. Smith and Peter Ward Jones

and vast quantities of popular dance and vocal music continued to be issued up to the 1860s. As instrument makers, the firm was known especially for wind instruments (James Wood was a skilled woodwind maker) and for pianos, of which all types were made, except apparently full concert grands. String instruments bearing the firm's name all appear to have been bought in and were commonly of French or German origin. After the demise of the publishing business, Joseph Emery bought the name and goodwill, and Thomas D'Almaine & Co. continued to exist as piano (and for some