61-80 of 327 results  for:

  • Publishing and Recording Industry x
  • Publisher or Editor x
Clear all


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 ...


Thomasin La May

(b Strasbourg, Jan 26, 1821; d Paris, Nov 11, 1895). French music publisher. He first studied piano with J. Leybach in Strasbourg until sent at the age of 15 by his father to Paris to make a living. He worked at various commercial jobs and then left a banking position to enter the Paris Conservatoire. He was already a fine pianist, and gave lessons to pay for his studies. Flaxland was never considered an outstanding pupil of the Conservatoire, although he composed several small piano pieces and songs and developed musical skills which helped him as a music publisher and editor. He married London-born Fanny d’Eresby on 12 January 1847, and shortly afterwards they pooled their savings and bought a small shop at 4 place de la Madeleine, where they sold sheet music. The enterprise flourished and as their resources grew the shop became a musical and social centre in Paris, recognized for its publication of vocal anthologies. Particularly in the 1860s, Flaxland’s was known for the distinguished circle of writers, musicians and wealthy patrons who convened there daily....


Etienne Darbellay

(b Ballenstedt, Nov 24, 1838; d Pully, nr Lausanne, Oct 13, 1918). Swiss music publisher of German birth. As a resident of St Gallen he formed a quintet under the name of La Chapelle de Saint-Gall, in which he played the double bass. With this group he moved to Lausanne, where he helped to found the Orchestre de la Ville et de Beau-Rivage. In 1865 he started a small music business. He bought the firm of Delavaux in 1877, and later the music firm of Hoffmann. He subsequently sold his business and his house to the four sons of his first marriage, who then founded the firm of Foetisch Frères and in 1905 made it into a joint-stock company. Two grandsons left the company in 1947 to start the business which in 1949 became the publishing house of M.P. Foetisch (to be distinguished from Foetisch Frères S.A., which no longer contains any representative of the Foetisch family)....


Lennart Reimers

revised by Jon Stroop

(b Hellerup, Copenhagen, Aug 11, 1919; d Aug 31, 2000). Danish music antiquarian, writer on music and publisher. He founded the publishing firm known by his name in 1953 when he purchased the Knud Larsen Musikforlag (founded 1906), and added to this an antiquarian business. He studied at the University of Copenhagen (1944–6) and the Royal Danish Conservatory (1948). From 1957 to 1977 he was in charge of the distribution of the publications of the Samfund til Udgivelse af Dansk Musik, active since 1871.

Fog is regarded as the most important Scandinavian music antiquarian. Through the distribution of the Samfund editions the firm represents much 19th- and 20th-century Danish music, including works by J.A.P. Schulz, Niels Gade, Carl Nielsen, Knudåge Riisager and Ib Nørholm. As a writer and musicologist he presented valuable contributions in the field of Danish music history. Fog was co-editor of the ...


Hans-Martin Plesske

(b Lützen, nr Leipzig, May 18, 1833; d Leipzig, Oct 10, 1880). German music publisher. He opened a book and music shop in Leipzig in 1862. The company achieved international fame principally through the commission work undertaken by C.F.W. Siegel; Forberg’s major activity was as a commissioning agent for well-known foreign music publishers. The founder’s son Robert Max Forberg (1860–1920) became a partner in 1885 and the sole proprietor after 1888. In 1908 the company’s catalogue carried over 6000 titles, which covered a wide range of musical taste. Both Forbergs contributed to the spread of Tchaikovsky’s works in Germany; as the assign of the Jürgenson publishing firm, Robert Forberg’s company helped the dissemination of many works by well-known Russian composers. Other composers promoted by the firm include Kienzl, Smetana, Richard Strauss, d’Albert, Hausegger and Reger. After suffering severe war damage in 1943, the firm moved to Bonn (...


David Johnson

revised by Kenneth Elliott

(d Aberdeen, Nov 1675). Scottish music publisher. He was a stationer at Aberdeen, where he began publishing in 1656. In 1662 he and his son John (b Aberdeen; d Aberdeen, late 1704 or Jan 1705) were appointed official printers to the town and university by Aberdeen town council. They immediately ventured into music printing, presumably with town council backing; their first musical publication was Songs and Fancies: to Thre, Foure, or Five Partes, both Apt for Voices and Viols (1662, 2/1666, 3/1682), which was Scotland’s first secular printed music book. Its presentation and contents now appear old-fashioned, resembling London madrigal partbooks around 1600; it is prefaced by a short ‘Exposition of the Gamme’, lifted almost word for word from Morley’s A Plaine and Easie Introduction of 1597. The three editions vary slightly in content; altogether they contain 77 different songs, of which there are 23 by Dowland and his English contemporaries, six other English anonymous partsongs, ten ballad tunes, six Italian songs by Gastoldi with English texts, seven ‘new English-Ayres’ from recent Playford publications and, most importantly, 25 Scottish items, 16 from the 16th century. Curiously, only the cantus partbook was ever issued; it seems likely that Forbes was printing with sales to burgh music schools in mind (the Aberdeen music school is mentioned on the title-page). As music-school pupils mostly had unbroken voices, a preponderance of cantus copies would be required; other voice parts were perhaps supplied by Forbes in manuscript to individual order. The ...



(b Mergentheim [now Bad Mergentheim]; d Nuremberg, May 7, 1556). German printer. It has been suggested that his father was Fritz Enderlin (Lenckner, 154), and he was certainly mentioned in an imperial document in 1515 as ‘Iheronimussen Enderlin, formbsneider zu Nurnberg’. However, he used the latinization ‘Andre’ almost exclusively by 1504 and until the early 1520s, after which he replaced his family name with a designation of his principal profession, ‘Formschneider’. (‘Grapheus’ is found only in three colophons presumably written by Hans Ott.)

Formschneider, resident in Nuremberg by 1515 and receiving citizenship in 1523, was Albrecht Dürer’s principal woodcutter from 1515 to 1528 and the official die sinker of Nuremberg from 1535 to 1542. Although only a part-time printer, between 1525 and 1555 he printed at least one edition in each of all but three years. He did not have a shop for sales, and it appears that most of his printing was commissioned. One of the most gifted block and type cutters of the German Renaissance, he cut the many illustrations and diagrams in, among others, Dürer’s treatises and Hans Gerle’s lutebooks, and cut and cast the founts, including only the second single-impression music typeface in Germany and the famous Neudörfer-designed ...



Margaret Cranmer

English firm of publishers and music and instrument dealers. The brothers Henry Forsyth (d July 1885) and James Forsyth (b 1833; d Manchester, Jan 2, 1907) were the third generation of Forsyths to work for Broadwood; they started their own business in Manchester in 1857, selling, hiring, tuning and repairing pianos. They published music from 1858, but this activity became important only in 1873, when they produced the first numbers of Charles Hallé’s Practical Pianoforte School and opened a London publishing house at Oxford Circus. Their list grew to include works by Stephen Heller (a friend of Hallé), Berlioz, Stanford and Delius. The firm also shared significantly in the management of leading concerts in Manchester, in particular the Hallé concerts. In 1901 the firm became a limited company; it now sells pianos, orchestral and school instruments, sheet music by all publishers and records. James’s son Algernon Forsyth (...


William C. Smith

revised by Peter Ward Jones

(fl c1736–40). French music engraver and printer, active in England. Though his musical activities in London were apparently short-lived (according to Hawkins he was also a watchmaker), he is renowned for the excellence of his engraving, particularly in his superb edition of Domenico Scarlatti’s Essercizi per gravicembalo (1739), with notes and staves of a larger size than usual (see illustration). Other fine engravings by Fortier include Porpora’s Sinfonie da camera … opra II (1736), De Fesch’s XII sonate, VI per il violino e basso per l’organo … e VI a duoi violoncelli … opera ottava (1736), a song by Farinelli, Ossequioso ringraziamento (c1737), Giuseppe Sammartini’s VI concerti grossi … opra II (1738) and Guerini’s Sonate a violino con viola da gamba ó cembalo (c1740).

HawkinsH Humphries-SmithMP R. Kirkpatrick: Domenico Scarlatti (Princeton, 1953, 4/1983)...


Frank Dobbins

(fl Paris, 1690–1719/20). French music dealer and publisher. It is not known whether he was related to earlier publishers with the same family name, none of whom was apparently involved in music printing. Like other 18th-century music dealers, Henri Foucault was associated with the corporation of haberdashers and jewellers rather than that of the booksellers. He was originally a paper seller, with a shop ‘A la règle d’or’, rue St Honoré, but seems to have branched out from this trade by 28 June 1690, when a condemnation issued by the Conseil d’Etat accused him – in association with the engraver Henri de Baussen – of contravening Christophe Ballard’s royal privilege by publishing ‘divers airs de musique’. Two years later Foucault’s name appears on the title-page of Marais’s Pièces en trio pour les flûtes, violons et dessus de viole, in association with Hurel, Bonneüil and the composer, but he is still designated simply as ‘marchand papetier’. However by ...


Peter Ward Jones


(b Lövånger, Swedish Lapland, 1720; d ?Stockholm, 1782). Swedish printer and publisheractive in London. After studies at Uppsala University and some years of clerical work he became a general book printer. About 1760 he developed his own version of Breitkopf’s improvements in printing music from movable type, using a system of 166 characters. He applied for a patent in 1763, and in the following year was granted a privilege for music printing in Sweden for 25 years. Lacking economic support, however, he left Sweden in 1767 and in November of that year arrived in London, where he began to issue music in his new type. After submitting his first work, an edition of Uttini’s Six Sonatas op.1, to the Society for the Encouragement of Arts, Manufactures and Commerce, he obtained a resolution from that body that his method of printing was superior and much cheaper than any that had been in use in Great Britain; he later printed this resolution as a preface to his edition of Sarti’s Three Sonatas....


H. Edmund Poole

revised by Stanley Boorman

[le jeune]

(b Paris, Sept 15, 1712; d Paris, Oct 8, 1768). French typographer. The son of a typefounder, he was cutting punches and casting type by 1736, and in 1739 was registered in this craft with the printing section of the Chambre Syndicale of Paris. He issued his first specimen book, Modèles des caractères de l’imprimerie, in 1742. It was a tremendous achievement, showing (among other material) 4600 letters that he had cut in a wide range of styles with their sizes correlated in a logical and mathematical way. This system, quite new in typefounding, he had evolved in 1737, and he showed it in his Modèles as ‘Table des proportions des differens caractères de l’imprimerie’.

Fournier’s power of analysis and prodigious technical skill were clearly demonstrated in the six types that he devised for the printing of music. Two were for plainchant, one was for ‘Hugenot music’. Three were for songs and instrumental music. The first of this group was designed for double impression, with the staff lines printed first and the notes and other signs overprinted in a second pass through the press (...


Richard Macnutt

(b 1782; d June 9, 1838). French music publisher. He studied the violin at the Paris Conservatoire and from 1816 to 1838 played the viola in the Opéra orchestra. In August 1811 he purchased the engraved plates, manuscripts and business of Magasin de Musique (ii), establishing himself in their premises at 76 rue de Richelieu. Shortly afterwards (by November 1812) he moved to 8 place des Victoires, and in April 1838 to 22 boulevard Montmartre. On 17 November 1839 Richault announced that he had purchased ‘all the engraved plates constituting the music business of the late M. Frey’.

Frey's prime achievement was to publish orchestral scores of Mozart's seven major operas. Only two had previously appeared in France: Die Zauberflöte, published by Sieber père in a strange adaptation entitled Les mystères d'Isis, and Figaro, published by Magasin de Musique (ii); Frey engraved a correct edition of the former and reissued the latter as part of his series, which attracted more than 250 subscribers. He also reprinted 32 of Grétry's operas from the original plates, but this series had a mere 19 subscribers. He published full scores of operas by Rodolphe Kreutzer, Le Sueur and Méhul as well as instrumental and vocal music and a number of instrumental methods; the latter included two of his own authorship, for violin and for tambour de basque. All his publications were engraved....


Kornel Michałowski

(b Kraków, Aug 7, 1811; d Warsaw, July 20, 1873). Polish bookseller and music publisher. He worked in the bookshop run, by his father, Jan Jerzy Fryderyk Friedlein, in Kraków, then from 1834 with E. Günther in Leszno. In 1839 he entered into partnership with F. Spiess’s Warsaw firm, which he bought in 1848 and managed from 1851 under his own name. Friedlein’s became one of the leading bookshops in Warsaw, being well stocked and providing a lending service. Soon after 1840 he also began to publish music, maintaining a high musical standard in the compositions he issued. His printing works were technically advanced: he was the first Warsaw publisher to number his plates, and he was also the first to print Moniuszko’s works. In about 1860 Friedlein was in financial difficulties and sold some of his editions to the firm newly established by Gebethner and Wolff, both of whom had been his pupils. After the January Insurrection (...


Theodor Wohnhaas

German firm of music publishers. Adolph Fürstner (b Berlin, April 3, 1833; d Bad Nauheim, June 6, 1908) probably received part of his training as a publisher in France. Later he worked as head clerk with Bote & Bock, and in 1868 he founded his own music publishing house in Berlin, publishing mainly works by French composers. Within four years he was in a position to buy the Dresden publishing firm of C.F. Meser, thus acquiring publication rights of Wagner’s Rienzi, Der fliegende Holländer and Tannhäuser. Apart from some of Liszt’s compositions he published works by Cornelius, Massenet, Glinka and in 1889 Richard Strauss, with whom he later signed a publishing contract for some years. Both Salome and Elektra were published by Fürstner, but the latter was handled after Adolph Fürstner’s death by his son and successor Otto Fürstner (b Berlin, 17 Oct 1886; d London, 18 June 1958...


Darlene Graves and Michael Graves

[William J. ]

(b Alexandria, IN, March 28, 1936). American gospel songwriter, performer, producer, and publisher. He grew up on a small farm in Indiana and graduated from Anderson College with a major in English and a minor in music. He went on to receive a master’s degree in guidance and counseling and met his future wife and song-producing partner, Gloria Sickal, while both were teaching high school. Gaither started singing gospel music as a child and in 1956 formed the Bill Gaither Trio with his brother Danny and his sister Mary Ann. He started his own publishing company in 1959. He continued to perform and compose while a teacher at Alexandria High School and in 1961 formed the Gaither Music Company to publish his works. After their marriage in 1962, Gaither and his wife wrote their first major song, “He touched me,” which was a significant hit by 1963. He re-formed the Bill Gaither Trio with Gloria and Danny, and in ...


Stanley Boorman

(fl early 17th century). Italian music printer. In partnership with Lucrezio Nucci, he was active in Naples when it was a centre for music printing: the firms of Carlino & Pace and Sottile were also flourishing at the time. The bookseller P.P. Riccio financed a number of Gargano and Nucci's early publications including Teatro de madrigali (RISM 160916) edited by Scipione Riccio. Between then and 1618 the firm published nearly 20 musical editions, mostly of secular music by local composers such as Camillo and Francesco Lambardi, Maiello, Montella and Montesardo. The most important publication was Cerone's treatise El melopeo y maestro (1613).

Lucrezio Nucci published a few musical works on his own during 1616 and 1617. His 1616 edition of Alessandro Di Costanzo's first book of madrigals is remarkable for its colophon, which refers to an earlier edition in the following terms: ‘Naples, Giovanni Battista Sottile, ...


Susan Bain

(fl Rotterdam, mid-17th century). Dutch musician and publisher. He may be related to Géry Ghersem, maître de chapelle to Philip II in Spain at the beginning of the 17th century. Archives at Rotterdam show that Geertsom rented a house there from 1665 to 1669; his publications of 1656–7 give his address as ‘Rotterdam, in de Meulesteegh’. Four music collections, published between 1656 and 1661, are known. The composers represented are all Italian, including many active in Rome: Abbatini, Carissimi, Stefano Fabri (ii), Gratiani, Marcorelli (= Marco Aurelli) and Tarditi. The volume Scelta di motetti, for example, contains (with one exception) motets by composers who held positions at various churches in Rome. Geertsom appears to have had business connections with the firm of Phalèse family in Antwerp. Not only does his music type bear a distinct resemblance to that of Phalèse, but also ‘Mr Jan Gersem’ is listed in a ...



Rudolf Lück

German firm of music publishers. Its founder Hans Gerig (b Freiburg, July 16, 1910; d Cologne, March 15, 1978) took the doctorate in 1935 and represented the German authors’ association at the Bureau International de l’Edition Mécanique in Paris, where he was also manager of Editions Continental. In 1946 he founded the Bühnen- und Musikverlag Hans Gerig in Cologne. The Gerig group gradually expanded to 36 separate publishing houses, including Sidemton, Mondial, Rialto, Excelsior and Volk, covering a wide range of music publishing activities. Increasing internationalization led to an emphasis on dance and entertainment music, of which the Gerig group is one of the leading German publishers; chamber music and stage works are also published. An educational branch was started in 1955 with the publication of the Neue Reihe, a series of over 100 titles comprising works for choir and orchestra and chamber music. In 1956 Die Garbe...


Walter Gerstenberg

(b Frankenhausen, March 26, 1758; d Hildesheim, Dec 7, 1841). German music publisher and composer. From 1778 to 1786 he attended the Gymnasium Andreanum in Hildesheim as a singer, and then studied law in Leipzig until 1788. On 26 March 1792 he opened a music and book shop in St Petersburg after spending a short period as a private tutor in Kiev; in 1793 he made his schoolfriend Friedrich August Dittmar a partner in the business, which had come to the fore with many musical and literary publications. He opened his own music engraving works in 1795, and in 1796 went to Gotha, where he founded a branch of the St Petersburg firm, but moved to Hildesheim in the same year. Connections with the parent firm in St Petersburg steadily weakened, and Dittmar carried on the business alone under many different trade names until 1808. Between 1792 and ...