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(b Meadow, TN, Oct 24, 1867; d Birmingham, England, Oct 13, 1920). American revivalist and publisher. He attended Maryville College, Tennessee, and the Moody Bible Institute, Chicago; in 1893 he assisted Moody in his revival at the World’s Colombian Exposition in Chicago. From 1908 he toured with J. Wilbur Champman through the USA, Great Britain, Australia and missionary areas of East Asia. He was noted for his skill in inspiring a congregation to sing enthusiastically and in conducting large choirs. He published a number of revival songbooks and owned the copyrights of several popular gospel hymns, such as Charles H. Gabriel’s ...

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Miriam Miller

(d 1634). English music printer. He printed a few musical works between 1610 and 1615, only his initials ‘E.A.’ appearing on certain imprints. He printed Thomas Ravenscroft’s A Briefe Discourse (1614) and John Amner’s Sacred Hymnes of 3, 4, 5 and 6 parts for Voyces and Vyols (1615). His address was ‘neere Christ-Church’ in London. His name appears among a list of printers granted printing monopolies by James I and his successors as ‘Edw. Alday, to print sett songs et al’, but he apparently made little use of any such privilege.

Humphries-SmithMP E. Arber, ed.: A Transcript of the Registers of the Company of Stationers of London, 1554–1640, 1–4 (London, 1875–7/R); v (Birmingham, 1894/R) R.B. McKerrow: ‘Edward Allde as a Typical Trade Printer’, The Library, 4th ser., 10 (1929–30), 121–62 J. Morehen: ‘A Neglected East Anglian Madrigalian Collection of the Elizabethan Period’, ...

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Thomas W. Bridges

(fl Venice, 1572–1621). Italian printer. In February 1572 he witnessed a codicil to the will of Girolamo Scotto, in which he is described as a printer, not a bookseller, suggesting that he may have worked in Scotto’s shop in Venice at the time. After a brief attempt in printing music on his own in 1579, he resumed as a partner of Giacomo Vincenti, with whom he printed, between 1583 and 1586, about 80 books. A few were reprints of popular volumes by Arcadelt, Lassus, Marenzio, Palestrina, and Bernardino Lupacchino and Gioan Maria Tasso, but most were first editions of works by some 33 composers, of whom the best known are Asola, Bassano, Caimo, Gioseffo Guami, Marenzio, Stivori and Virchi, as well as anthologies. For their printer’s mark Vincenti & Amadino used a woodcut of a pine-cone, with the motto ‘Aeque bonum atque tutum’. When they began to print separately (from ...

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Article

[Roggerio]

(b Castelnuovo di Garfagnana; fl 1612). Italian music editor and composer. He edited Responsoria Hebdomadae Sanctae, psalmi, Benedictus, et Miserere, una cum missa ac vesperis Sabbati Sancti, for eight voices and continuo (Venice, 1612²). It includes pieces by 20 composers, among them Croce and Viadana, and two are anonymous; Argilliano himself, with 11 pieces, is the best-represented composer....

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Thomas W. Bridges

revised by Maureen Buja

(b Langres; fl Rome, 1551–72). French printer. He was a singer in the Cappella Giulia intermittently from March 1552 until at least the end of 1554, and was also active as a composer: in 1552 his Madrigali a quattro voci were printed in Rome by Valerio and Luigi Dorico.

In 1555 he began to print music, publishing a series of collections entitled ‘delle muse’, Vicentino’s L’antica musica ridotta alla moderna pratica (1555; in 1551 Barrè had been a witness at the famous debate between Vicentino and Lusitano in Rome) and a few volumes devoted to single composers. His first publication, Il primo libro delle muse a cinque (1555), set a high standard, with canzone settings by Barrè himself, Berchem, Vincenzo Ruffo and Arcadelt, including Arcadelt’s superb setting of Petrarch’s Chiare, fresch’e dolci acque. Barrè’s Primo libro delle muse a quattro voci (1555) includes his own setting of four stanzas from Ariosto’s ...

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Donald W. Krummel

[Berg, Joachim; Montanus]

(b Lübeck, c1540; d Dresden, 1597). German printer. After apprenticeship with Jakob Lucius in Rostock and Johann Eichorn in Frankfurt an der Oder, he moved to Dresden, working at first with Matthäus Stökel. His music printing began in 1570 with vocal collections by Matthaeus Le Maistre and Antonio Scandello, followed by several Lutheran hymnals. After his death the press was continued by his widow and heirs, including his son Gimel II (fl 1610–37, made Hofbruckdrucker in 1616), then Gimel III (fl 1640–43), Christian and Melchior (fl 1643–88), Melchior’s son Immanuel (fl 1688–93) and eventually Melchior’s son-in-law, Johannes Riedel (fl 1688–1716). Their most ambitious and best-executed printing coincides with their finest music. Editions of Heinrich Schütz began to appear in 1618, including the Psalmen Davids (1619) and the second and third parts of the Symphoniae sacrae...

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John H. Baron

(b Bennington, VT, 1826; d New Orleans, Oct 28, 1888). American music publisher. He worked as a music teacher in Huntsville, Alabama (1845–52), and Jackson, Louisiana (1852–5). In 1858 he joined E.D. Patton’s music shop in Vicksburg, Mississippi, which he bought out the following year with his younger brother Henry (1831–1909). They moved to New Orleans in 1860, where they operated publishing firms and music shops jointly, separately and often with others. From 1861 to 1866 Henry also ran a shop in Augusta, Georgia. Armand was imprisoned briefly in 1862 by the Union Army for his espousal of the Southern cause; he issued more Confederate music than any other publisher in New Orleans, including one of the earliest editions of Dixie (1861), and The Bonnie Blue Flag (1861) and Maryland! My Maryland! (1862). He frequently arranged or composed music under the pseudonym A. Noir. Blackmar was in San Francisco between ...

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Donald W. Krummel

(b England, 1775; d Philadelphia, Feb 20, 1871). American music engraver and publisher. He emigrated to the USA before 1793 and in 1794 began teaching the flute and clarinet. In 1802 he acquired the piano manufactory of John I. Hawkins in Philadelphia, and soon after began to publish and to operate a circulating music library. His production included many American compositions (c1808) and political songs (c1813); an early piracy of Thomas Moore’s Irish Melodies (1808–c1825); a serial, Musical Miscellany (from 1815); and the first American edition of Messiah (c1830), along with other major vocal works by Handel. Most numerous among his output, however, were songs of the Philadelphia theatre, based on London publications. Blake also issued typeset opera librettos and engraved tunebooks. He remained active throughout the 1830s, in later years issuing minstrel music and excerpts from Italian opera. At the height of his career (...

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