You are looking at  1-20 of 327 articles  for:

  • Music Business, Institutions and Organizations x
  • Publishing and Recording Industry x
  • Publisher or Editor x
Clear All

Article

(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 ...

Article

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’, ...

Article

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 ...

Article

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....

Article

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 ...

Article

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...

Article

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 ...

Article

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 (...

Article

Article

Marie Cornaz

(d Brussels, May 4, 1776). Flemish bookseller and music printer. He was the principal music seller in Brussels from 1745 to 1770. As the official printer for the Théâtre de la Monnaie he printed librettos for opéras-comiques and comédies mêlées d'ariettes performed there by composers such as Duni, Monsigny and Philidor, some with a musical supplement. His publications were covered at first by a privilege of impression and sale (1757–66) which applied only to works that had not yet been staged at Brussels, and then by another which allowed Boucherie to print and sell all theatre works. Under this later privilege, he forged Parisian editions (such as Toinon et Toinette by Gossec, with the false address ‘Paris, Veuve Duchesne’) and was involved in the production of two engraved editions of the works of C.-J. van Helmont. Boucherie was the Brussels distributor for Benoit Andrez of Liège, as well as of a large number of essentially Parisian editions of instrumental music, opera librettos and music journals....

Article

Anik Devriès

(d after 1807). French music publisher. He was an écuyer du Roi when he married Marie-Rose-Jeanne Le Menu in February 1775. In January 1778 Boyer’s wife went into partnership with her mother, Madame Le Menu, in their music publishing business under the name of ‘A la Clé d’Or’, in the rue du Roule in Paris. The firm had been founded by Christophe Le Menu in 1758. The partnership of the ‘Dames Lemenu et Boyer’ lasted until 1783. In May of that year, Boyer, who had bought his mother-in-law’s interest in the firm on 21 January 1779, invested in the business himself. He set up shop at 83 rue Neuve des Petits Champs (between May 1783 and December 1784), then in the rue de Richelieu (or rue de la Loi) in the former café de Foy (between January 1785 and August 1796), and after 1785 he used the name ‘A la Clé d’Or’ for his own establishment. The catalogues he issued under his own name feature both new works and works previously published by Madame Le Menu. From a comparison of the Venier and Boyer catalogues, it would seem that Boyer bought the firm of Jean Baptiste Venier in ...

Article

J.H. Alexander

(b Lempster, NH, Feb 14, 1814; d Cleveland, OH, April 8, 1871). American music publisher. He moved to Cleveland in 1834 and with Henry J. Mould opened a music shop, Brainard and Mould, two years later. By 1845 the company was known as S. Brainard and in that year began to publish music; this business (known as S. Brainard & Sons from 1866) became one of the most important in the country. Brainard published popular music, mostly pieces for piano and songs for solo voice with piano accompaniment, but also a few sacred hymns and quartets. Also in 1845 Brainard bought Watson Hall (built 1840, known as Melodeon Hall, 1845–60, and then Brainard’s Hall until 1872), where many musical events took place. Brainard was a flautist who participated in and arranged works for musical organizations in Cleveland. The company opened branches in New York, Louisville and Chicago (where it was eventually based), and in ...

Article

(b Bar-le-Duc; fl Avignon, 1530–35). French type designer. He designed the first music type with round note heads, used in publications by Jean de Channey of works by Carpentras. Briard’s elegant notes are beautifully proportioned and teardrop-shaped, and he did not use ligatures, fig.7).

Printing & publishing of music, §I, 3(ii): Printing from type: Early history...

Article

(fl 1528–55). Music printer. He joined the chapel of Renée of France, Duchess of Ferrara, as a clerk between 1525 and 1528, and probably travelled with her household from Paris to Ferrara in September 1528. A Ferrarese document of 1549 describes him as a priest of the diocese of Clermont and almoner to Renée, and he also served there as clerk of the chapel and surgeon to Renée until 1555 or later. Together with his associates Henrico de Campis and Antonio Hucher, he was one of the first to use the single-impression method of music printing in Italy, a technique introduced to Paris early in 1528 by Attaingnant, which Buglhat may have learnt before leaving France. Campis, possibly related to the Lyonnaise music printer Jannot de Campis (fl 1504–10), is listed on the rolls of the Ferrarese court chapel as a singer from 1534 until 1549...

Article

Jerome Roche

(b ?Pavia; fl 1609–29). Italian music editor and singer. Since he was known as ‘magister et reverendo’ he must have taken orders. He was a bass singer in the choir of Pavia Cathedral from 1609 to 1626. He is of greatest interest as the collector of four noteworthy anthologies of north Italian church music published in Venice (RISM 16214, 1624², 1626³ and 16295); all contain motets except the third, which consists of litanies. The volumes include eight works by Monteverdi, seven of which are found in no other printed sources, and ten unica by Alessandro Grandi (i) and four by Rovetta (his earliest published works). Other prominent north Italians represented are Stefano Bernardi, Banchieri – who dedicated his Gemelli armonici (1622) to Calvi – Ignazio Donati, Ghizzolo, Merula, Orazio Tarditi and Turini. Calvi himself contributed motets to the first two and included pieces by his ...

Article

(b Naples; fl 1645–53). Italian music editor and composer. He was a Franciscan monk and on a title-page of 1653 is called ‘maestro di musica’. He edited a small volume of five-part sacred music (RISM 1645¹), which had gone into a fourth impression by 1650 (1650...

Article

Alexander Weinmann

(fl c1790–1830). Austrian music publisher, nephew of Giovanni Cappi. Through his uncle’s influence he was engaged by the firm Artaria in Vienna in 1793. He was subsequently a partner of the new firm Giovanni Cappi (1801–5), and then of Artaria. On 30 July 1816 he was granted a licence for his own fine art business. His firm’s publications appeared with the plate sign ‘P: C:’; part of the catalogue later passed to the Mechetti firm. On 8 August 1818 he made over his premises to Daniel Sprenger and on 10 December 1818 he combined with Anton Diabelli to form the firm Cappi & Diabelli. On 27 September 1824 Pietro Cappi ended this partnership and, with his cousin Carlo Cappi, established the firm Cappi & Comp. but this only existed until 1 April 1826, when Pietro Cappi made over his deed of partnership to Joseph Czerný, and ceased his activity as a publisher....

Article

David L. Crouse

revised by David W. Music

(b Tennessee, Oct 13, 1792; d Franklin, TN, Oct 18, 1859). American singing-school teacher and tunebook compiler. Nothing is known of his early activities or training, but by 1817 Carden was an established singing-school teacher in the Tennessee area. He taught a singing school in St. Louis, Missouri, in 1820, but probably returned to Tennessee shortly thereafter. In September 1822, Carden advertised a singing school in Nashville; he apparently continued to live in the Nashville area until 1850, when he moved to Williamson County (probably Franklin). His first tunebook, The Missouri Harmony, “published by the compiler” in St. Louis but printed in Cincinnati (1820, 2/1850/R 1975, 1994; modern revision, 2005), was the most popular fasola shape-note tunebook of the South and West until the Civil War, achieving at least 24 editions and reprints through 1857; however, Carden seems to have given up his interest in the book after the first edition, and subsequent issues were apparently the work of the Cincinnati printers. Carden procured shape-note music type and published two more tunebooks himself: ...

Article

Stanley Boorman

[Giangiacomo]

(fl 1597–1616). Italian printer. He appears to have begun printing at Naples in 1597 under contract to the bookseller Orazio Salviani; he later printed for other Neapolitan booksellers such as P.P. Riccio and G.B. Cimmino, and produced two collections of secular music edited by Marcello Magnetta (1613 and 1615). By 1598 he was collaborating in Naples with Antonio Pace, who also published on his own, and together they published madrigals by Dentice (1598) and Macque (1599); they also worked together at Vico Equense, but printed no music there. In 1600, publishing alone, Carlino was appointed stampatore della corte arcivescovale, a title given him on a collection of madrigals by Camillo Lambardi that he printed the same year. Much of his early production was devoted to the music of Montella. From 1607 for three years he was in partnership with Costantino Vitale. Their publications include madrigals by Meo and Dattilo Roccia (...