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Miriam Miller

(d London, 1620). English bookseller and publisher. He was established in London from 1591 and financed several significant musical publications, including John Dowland’s The Third and Last Booke of Songes or Aires, printed by Peter Short in 1603, and Robert Dowland’s A Musicall Banquet, printed by Thomas Snodham in ...


Anthony Newcomb

(b Treviso, c1535; d Ferrara, June 15, 1615). Italian instrumentalist and composer. He came from a family of North Italian musicians that had lived in Treviso since the mid-15th century. His father was the town trumpeter; his uncle and brother were musicians in the courts of Ferrara and Munich respectively. He was one of the three young men brought to the newly founded Accademia degli Elevati in Padua in 1557 as music tutors under Francesco Portinaro. His first published madrigals appeared, together with madrigals by Rore, Portinaro and other members of the group around Rore, in Rore’s fourth book of madrigals for five voices (RISM 1557²³). In 1560 the Accademia degli Elevati was dissolved and Alberti went to work for the Este court at Ferrara. He remained on the salary rolls there, listed among the instrumentalists as ‘Innocentio del Cornetto’, until the dissolution of the court early in ...


Daniel Heartz

revised by Laurent Guillo

(b probably in or nr Douai, c1494; d Paris, late 1551 or 1552). French music printer, publisher, bookseller, punchcutter and typecaster.

By a document notarized 13 January 1513/14 Attaingnant, described as a ‘bookseller, living in Paris’, leased a press to Jean de la Roche, reserving the right to print ecclesiastical pardons and the like, should he receive commissions. He may have gone from Douai to Paris originally with a chorister’s scholarship for the Collège de Dainville, which was subject to the cathedral chapters of Arras and Noyon. This institution leased the part of its buildings on the rue de la Harpe to Philippe Pigouchet ( fl 1490–1514), the printer-engraver famous for his Hours and the master to whom Attaingnant was probably apprenticed. Marriage to one of Pigouchet’s daughters, Claude, made Attaingnant his heir. Another of Pigouchet’s daughters, Germaine, was married to Poncet le Preux (...


Susan Bain

(b Leuven, c1531; d Leuven, Feb 17, 1616). Flemish bookseller and printer. He worked initially at Leuven (1562–72) but by 1574 was settled in Douai, where he had moved to avoid political turmoil; in both towns his sign was the Bible d’Or. At Leuven he printed ‘with the authority of the University’ and at Douai he became University Printer, receiving in 1590 the freehold of his premises. Bogard returned to Leuven in 1586 to re-open the office there, leaving his son Jean (b Leuven, 29 March 1561; d Douai, ?July 1627) to manage the Douai office in his absence. Publication continued at Leuven until 1598; thereafter the firm operated only at Douai. In 1607 Bogard’s wife died, and shortly afterwards he retired to Leuven, marrying again in 1610 and spending his final years there. His son Jean succeeded him as head of the firm in ...


(b Gandía, Valencia province, Oct 28, 1510; d Rome, Sept 30, 1572). Spanish administrator and composer. He came of an illustrious family and served the Emperor Charles V, who appointed him viceroy and captain-general of Catalonia in 1537; he became Duke of Gandía in 1543. In 1546, following the death of his wife, he joined the recently founded Jesuit order and became its general in 1556. He was beatified by Pope Urban VIII in 1624 and canonized by Clement IX in 1671.

A competent musician, he was a forerunner of the great Valencian polyphonic school, whose most famous composer was J.B. Comes. His works include the Misa de Adviento y Cuaresma (ed. J. Climent, Tesoro sacro musical, lvi/1, 1973, suppl.), motets, the psalm Beati immaculati in via, music for a mystery play on the subject of the Resurrection (ed. in Baixauli and Ripollés Pérez), and secular cuatros and ...



(b Waldershof, nr Marktredwitz, Upper Franconia, Oct 28, 1517; d Brand, nr Marktredwitz, Jan 22, 1570). German composer and administrator. He came from an Upper Palatinate family of landed gentry and administrators, traceable back to the early 13th century. He matriculated at the Palatinate University of Heidelberg in 1530 at the age of 12. At about the same time he evidently became a pupil at the electoral choir school where, together with Georg Forster and Caspar Othmayr, he received his musical training under Lorenz Lemlin. After further studies, possibly in law, he entered electoral service under Ludwig V (d 1544). Early in 1545 the Elector Friedrich II appointed him his personal servant and in 1548 installed him as the official in charge of the monastery at Waldsassen, Upper Palatinate (a post formerly held by his father) and as a judge in the district of Liebenstein, where Waldsassen was situated. He must have lost the former position between ...


Manfred Boetzkes

[Bernardo delle Girandole ]

(b Florence, c1531; d Florence, June 6, 1608). Italian architect, stage designer, engineer and painter. He studied with Vasari and in 1574 succeeded him as director of all the elaborate productions staged at the Florentine court; the theatre that he built in 1586 in a hall in the Uffizi became the centre of all such festivities. For the Medicis he designed palaces, villas (including Pratolino, outside Florence), fortresses, canals and harbour installations in Florence and Tuscany.

Buontalenti had worked for the court before his appointment as director, designing costumes and special machines for transformation scenes in intermedi directed by Vasari in 1565 and Lanci in 1569. He gave the new theatre in the Uffizi an advanced system of revolving periaktoi that were a great improvement on the clumsy machinery of his predecessors, enabling the scenery to be changed virtually as often as wanted. The capabilities of the stage were demonstrated by the productions of the comedies ...


Lawrence F. Bernstein

(b ?Ghent, c1500–1510; d Prague, Feb 15, 1561). South Netherlands composer and imperial Kapellmeister. Although several places have been suggested for his place of birth, Ghent now seems the most likely candidate. A letter concerning Canis’s retirement in 1555 (cited below) mentions that he was to join his parents in Ghent, which could suggest that, as the family residence, Ghent might also have been the composer’s place of birth. Moreover, the earliest documentary evidence concerning his career identifies Canis (Cornelius de Hondt) as ‘zangmeester’ and teacher of the choirboys in 1532/33 at the confraternity of Onze-Lieve-Vrouw-op-de-rade at the church of St John in Ghent (see Trio and Haggh). In 1539 or 1540 Canis was engaged as one of 24 collegiate canons at the abbey of St Baaf in the same city (see Bouckaert). His family line is unclear; he may have been a relative of Johann d’Hondt, ...


Claude V. Palisca

(b Rome, c1550; d Rome, March 11, 1602). Italian composer, organist, singing teacher, dancer, choreographer, administrator and diplomat. He was the composer of the first surviving play set entirely to music, the Rappresentatione di Anima, et di Corpo (Rome, 1600), the score of which is the earliest one printed with a figured bass.

Cavalieri was the son of Lavinia della Valle and Tommaso Cavalieri (1512–87), an architect and intimate friend of Michelangelo Buonarotti. His brother, Mario (d 1580), coordinated the Lenten music in the Oratorio del SS Crocifisso in S Marcello, Rome, between 1568 and 1579. He himself also participated in this Oratorio both as an organist and as a coordinator of Lenten music from 1578 until at least 1584 (the account books are missing for 1584–94); during his administration the yearly expenditure on music rose from 51 to 140 scudi....


Marie Louise Göllner

(b Nuremberg, 1524; d Frankfurt an der Oder, Aug 21, 1583). German printer and book dealer. He probably learnt the printing trade in his native city, and he entered the University of Frankfurt an der Oder in 1547. Two years later he took over Nicolaus Wolrab's printing press and within a few years it became one of the main publishing houses in eastern Germany. He soon became official printer for the university and was made a member of the city council in 1570. On 31 October 1577 he requested and was granted the protection of Maximilian II's imperial patent. A subsidiary firm, founded by Eichorn in Stettin in 1568–9, was given to his son-in-law, Andreas Kellner (d 1591) in 1572. The main business was taken over in 1581 by Eichorn's son Andreas (b Frankfurt an der Oder, 17 Sept 1553; d Frankfurt, 21 Nov 1615...


Frank Dobbins

[Dauphin, Dauphiné]

(fl Paris, 1538–66). French printer and bookseller. He was active in Paris as a publisher from 1538 to 1566, dealing specifically with music between 1551 and 1558. From the Hostel d’Albret on Mont St Hilaire he published literary works by François Habert (1549, 1551, 1557, 1560), Michael Beuther (1551), François Rabelais (1552), Marc-Claude de Buttet (1561) and others, using four different marks: a pheasant and dolphin, a winged Mercury, a snake with the motto ‘Ne la mort ne le venin’ and a heron holding a dolphin in its claws. He collaborated with other publishers including Nicolas Buffet (1543), Jérome de Marnef (c1550), Vincent Sertenas (1551), Jean Vincent (1554), Robert Granjon (1550–51) and Guillaume Morlaye (1552–8).

His activity in music began on 23 December 1550 when he signed a ten-year contract with Robert Granjon. The association may have realized around 14 books between ...


Samuel F. Pogue

revised by Frank Dobbins

(fl Lyons, 1550–84). French music printer, bookseller, composer and instrumentalist. In 1551 he prepared the third in a series of four books of music for guitar printed in Paris by Robert Granjon and Michel Fezandat (RISM 1551²²). In the dedication Gorlier wrote apologetically of the four-course guitar and his reasons for composing for an inferior instrument, saying that he wanted to show that it was as capable as larger instruments of reproducing music in two or three parts. Besides being an ‘excellent joueur’ on the guitar, as cited on the title-page, he evidently played the spinet; in a pamphlet (now lost) concerning Loys Bourgeois’ Droict chemin de musique (1550) Bourgeois called him ‘trougnon d’épinette’ (‘garbage of the spinet’) and complained that he had not been educated in classical languages and mathematics like the singer-composers in Lyons, Layolle Roussel and Jambe de Fer.

Gorlier was granted a privilege for printing music on ...


Teresa Chylińska

(b Rothenburg, c?1467; d Kraków, 7 or Oct 8, 1525). Polish publisher and bookseller of German birth. Granted the first royal privilege issued in Poland, he began its earliest publishing business in Kraków in 1494. In 1503 he issued the Missale Wratislaviense in which the music in Gothic notation was printed from movable type in two colours. Possibly on his initiative, the German printer Kasper Hochfeder went to Kraków in 1503 and from 1505 to 1509 served as the firm’s technical manager. Haller’s output of about 250 publications included scientific books, university textbooks, state documents and liturgical books. In the field of music he is principally known for the printing of Bogurodzica (the knights’ hymn), and two treatises by Sebastian z Felsztyna, Modus regulariter accentuandi (1518) and Opusculum musicae compilatum (1517) in addition to the missal.

Przywecka-SameckaDM ‘Haller Jan’, Słownik pracowników książki polskiej...


Allan W. Atlas

(b Noyon, early 16th century; d Rome, 27–31 Dec 1573). French choir director and composer, active in Italy. The earliest known documents concerning his career indicate that he was a chaplain at S Maria Maggiore and the director of its Cappella Liberiana. As such, he may have had the young Palestrina in his charge. On 25 October 1545 Lebel became maestro di cappella at S Luigi dei Francesi, a position that he retained for 16 years until September 1561, when he was succeeded by Annibale Zoilo. His directorship was an extremely successful one; he managed to enlarge the chapel from a group of two adults and two boys in 1548 to one of seven adults and two or three boys in 1552. On leaving S Luigi on 4 September 1561, he joined the papal chapel; so great was his reputation that Pius IV issued a motu proprio waiving the usual entrance examination and in ...


Thomas W. Bridges

revised by Tim Carter

[Georges Marescot, Mareschot ]

(d Florence, April 1602). French bookseller and printer, active in Italy. Resident in Florence from the mid-1550s, on 7 April 1558 he matriculated in the Arte dei medici e speziali and became associated with Lorenzo Torrentino, the ‘stampatore ducale’. By 1563 he was commissioning the Torrentino firm to print books on his behalf, and some time later he acquired the firm’s equipment and stock. His production contains nothing of musical interest until Francesco Bocchi’s Discorso sopra la musica (1580–81). Soon after, he completed Vincenzo Galilei’s epochal Dialogo della musica antica et della moderna (1581/R), and in 1582 he published an anthology of three-part madrigals (RISM 15828), in 1584 a volume of two-part pieces by Vincenzo Galilei, in 1585 a reprint of Arcadelt’s Il primo libro di madrigali a quattro voci, and in 1596/7 Stefano Venturi del Nibbio’s Il terzo libro de madrigali a cinque...


Allan W. Atlas

revised by Eric Jas

( b Cambrai, c 1475; d Cambrai, Sept 21, 1528). South Netherlandish choir director and composer . In 1485 he was an enfant de choeur at Cambrai Cathedral, where he remained as a singer until 10 October 1494. By the middle of the following year, he had become the director of the children’s choir at St Denis, Liège. He returned to Cambrai in 1503 and on 5 April assumed the directorship of the cathedral choir, replacing his former mentor, Denis de Hollain. On 23 April 1507 Pullaer was dismissed for neglect of his duties, but on 17 June 1507 he was appointed choir director at Notre Dame in Paris – a position he assumed on 22 December. In 1509 he received a benefice at St Germain-l’Auxerrois, while in 1514 he took part as a singer in the funeral office for Anne of Brittany. He remained at Notre Dame until 1527, when he returned to Cambrai as a canon of the cathedral. His ...


Clare Iannota Nielsen

(b Lona, c1510; d Venice, ?1576). Italian printer and bookseller. He was active in Venice and worked in the parish of S Giovanni Novo, with a shop on the calle delle Rasse. In 1572 he was elected Prior of the Guild of Booksellers and Printers, succeeding Girolamo Scotto. Working mainly on commission for others, Rampazetto produced at least 190 books in Italian, Latin, Greek or Spanish; literary works, notably reprints, figure prominently in his output.

From 1561 until 1568 he printed music – 31 sets of partbooks, one theory book and a book of laudi spirituali. The last, Serafino Razzi’s voluminous collection (RISM 15636), was sent to Rampazetto by the Florentine publisher Filippo Giunta because Florence had no musical press at the time. Among his other commissions were an anthology of motets (1563³) compiled and edited by the printer Antonio Barrè, and the second book of Vinci’s five-part madrigals (...


David Greer

(b 1567/8; d London, May 5, 1623). English court musician, composer and theatrical manager. In a lawsuit concerning Dowland’s Second Booke of Songs in 1601 he gave his age as 33. He was appointed lutenist at the court of James I in 1603, a position he retained until his death. In February 1613 he was one of the musicians (with John and Robert Dowland and Thomas Ford) in George Chapman’s Middle Temple and Lincoln’s Inn Masque.

Rosseter is best known for A Booke of Ayres, a collection of songs with lute and bass viol accompaniment published in 1601 and dedicated to Sir Thomas Monson, a notable patron of music. The volume contains 21 songs each by Campion and by Rosseter. The view formerly held by literary editors such as Percival Vivian, that the poems in the Rosseter section were by Campion, is no longer generally maintained. Doubt also surrounds the authorship of the address ‘To the Reader’. This is unsigned and one might assume that it was written by Rosseter who had overall responsibility for the publication. However, its tone and language are so similar to Campion’s other writings that it seems likely that it was written by Campion. This preface is in effect a humanistic manifesto, proclaiming the virtues of the simple air and ridiculing the complexities of counterpoint and madrigalian word-painting. Rosseter’s airs, like those of Campion, conform very much to this prescription. They are short, with a minimum of phrase repetition, predominantly homophonic in texture and sparing in detailed text expression. The quality of Rosseter’s invention is high. Particularly characteristic are his use of sequence and light touches of imitation between the melody and bass as seen in ...



(b Buchau [now Bochov], nr Carlsbad [now Karlovy Vary, Czechoslovakia], c probably 1530; d Eger [now Cheb, Czechoslovakia], mid-Feb 1592). Bohemian music editor, poet, printer, bookseller and ?composer. He may have attended the Lateinschule at Eger or the one at Joachimsthal (now Jáchymov). In 1554, according to his own testimony, he was a student at Leipzig. From April 1558 for about a year he was Kantor at the Lateinschule at Eger. In 1561 he applied again for this post but was refused. Between 1559 and 1567 he seems to have travelled about a good deal – he is known to have visited Budweis (now Ceské Budějovice), whose choir he praised highly, Ossegg, Prague and Nuremberg – and he also had several private pupils. Title-pages of his prints indicate that from at least 1567 until 1569 he was again living at Eger. In 1569–70 he probably stayed for some time at Nuremberg. From ...