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Albert Dunning

(b Varel, c1669; d Aachen, July 1746). Dutch music publisher and organist of German origin. It is possible that he was given instruction in music by his father, himself an organist. In December 1719, at which time he was musician to the Prince of Nassau, he applied, unsuccessfully, for the post of organist at the Nieuwe Lutherse Kerk in Amsterdam; in 1724 he became organist of the Oude Lutherse Kerk there. The Nieuwe Lutherse Kerk post became vacant again in 1725; Witvogel's request to be transferred there was granted in 1726, and he held that post until his death. On 21 May 1731 he received a government privilege for printing two collections of psalms and spiritual songs which he had compiled for use in the Protestant church. In this way he began his activity as publisher, eventually bringing out at least 93 publications. At his death his firm was taken over by Jan Covens, who later also bought the publications of Roger & Le Cène....

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Miriam Miller

(b c1455; d London, 1534). English printer, of French origin . He was Caxton’s assistant at Westminster, London, about 1480, and in 1495 he published an edition of Ranluf Higden’s Polycronicon, the first book published in England to include musical notes. Wynkyn’s reputation as an influential music printer rested for many years on the theory that he printed the ...

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Wornum  

Peter Ward Jones

[Wornham]

English family of music publishers and piano makers . Robert Wornum (i) (b ?Berkshire, 1742; d London, 1815) was established in Glasshouse Street, London (c1772–7), and then at 42 Wigmore Street (c1777–1815). He published many small books of dances and airs for the flute or violin, and was also a maker of violins and cellos. His son Robert Wornum (ii) (b London, bap. 19 Nov 1780; d London, 29 Sept 1852) went into partnership with George Wilkinson in a piano business in Oxford Street from 1810 to about 1813. Following his father’s death in 1815 Robert (ii) continued the family business making pianos, moving in 1832 to Store Street, Bedford Square. He played an important role in developing small upright pianos which were acceptable as articles of drawing-room furniture. Wornum invented the diagonally and vertically strung low upright pianos in 1811...

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William C. Smith

revised by Peter Ward Jones

English music sellers, printers and publishers , established in London. As Wright & Wilkinson, or Wright & Co., they succeeded Elizabeth Randall and advertised themselves as ‘Successors to Mr. Walsh’, whose business had passed to her through her husband William Randall. From February 1785 to 1803 the firm was known by the name of H. Wright, standing for Hermond or Harman Wright. It is chiefly notable for the reissue of many of Handel's works from the Walsh plates, and for the first publication in full score of a number of his oratorios, including ...

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Frank Kidson

revised by William C. Smith and Peter Ward Jones

(fl London, 1709–35). English music publisher . He was established in London by 1709, and occasionally employed the engraver Thomas Cross. He also claimed to be a musical instrument maker, and died or retired about 1735. His son Daniel Wright had a business at different premises from 1730 to about 1735, for a while using a sign which his father had briefly used before him. He probably gave up trading about 1740, and John Johnson may have founded his business on that of the Wrights, as he issued some works from their plates. From about 1730 to 1735 the names of both Wrights appear on some imprints.

Hawkins summed up the character of the elder Wright as a man ‘who never printed anything that he did not steal’. While the Wrights were perhaps the most notorious musical pirates of their time, copying numerous publications, especially those of John Walsh, such copying was not illegal. Their publications were copied in turn. They also issued works under the same titles as those of Walsh or very similar ones, including a ...

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Harry Eskew

(b Cambridge, MA, March 31, 1770; d Philadelphia, Jan 23, 1858). American music publisher . Although he established a general bookstore and publishing house in Harrisburg, Pennsylvania, and was responsible for issuing the city’s newspaper, Wyeth also published much sacred music. His Repository of Sacred Music, Part Second (Harrisburg, 1813, 2/1820/R) was the first shape-note collection to contain a sizable number of folk hymns, and greatly influenced later collections. His earlier Repository of Sacred Music (Harrisburg, 1810/R) reached six editions by 1834. He also published three German tunebooks, Joseph Doll’s Der leichter Unterricht (Harrisburg, 1810), Isaac Gerhart and J.F. Eyer’s Choral-harmonie (Harrisburg, 1818) and Johannes Rothbaust’s Die Franklin Harmonie (Harrisburg, 1821). See also Shape-note hymnody, and Spiritual, §I.

DAB (C.W. Garrison) I. Lowens: ‘John Wyeth’s Repository of Sacred Music, Part Second (1813): a Northern Precursor of Southern Folk-Hymnody’, ...

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Hans Radke

revised by Peter Király

(b Zürich, ?1517–27; d before 1572). Swiss wood-cutter and printer . Son of Heinrich Wyssenbach, a shopkeeper, he was a wood-cutter in the employ of the Zürich printer Christoph Froschauer the elder from 1544. Around 1548 Wyssenbach set up his own press. In October 1551 he went into business with the printer Andreas Gessner the younger, but the partnership was dissolved by the end of 1553. Apparently he again worked as a wood-cutter and printer for Gessner from around 1557 to 1559.

Wyssenbach took the pieces in his Tabulaturbuch uff die Lutten (Zürich, 1550/R, 2/1663 as Ein schön Tabulaturbuch) from Francesco Canova da Milano and Borrono’s Intabulatura di lauto, libro secondo (Venice, 1546). He transcribed them from Italian into German lute tablature, as he pointed out in the title and in the preface, in which he also mentioned the signs for Mortanten, but, according to his explanation, the execution of these ornaments needed oral instruction. He omitted the fantasias and included only two of Janequin’s songs in arrangements by Francesco. However, he adopted exactly the same order as that of the original for Borrono’s eight dance suites. One piece in Peter Fabritius’s lute manuscript (...

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Yazoo  

Thane Tierney

Record company. It was formally established in New York City by Nick Perls in 1967, although the label’s first five albums were issued on the Belzona Records label; initially, the company concentrated on topic-specific overview compilations taken from blues and jazz 78s (such as The Georgia Blues, 1927–1933 and Guitar Wizards, 1926–1935), but the company also gained recognition for its single-artist compilations. Among the many performers they featured were the likes of Reverend Gary Davis, Mississippi John Hurt, Blind Willie McTell, and Joe Venuti.

In 1970 Perls set up a sister label, Blue Goose, which featured contemporary recordings of both blues and “old-timey” music; chief among the label’s contributors was the cartoonist R. Crumb, who, along with his band (the Cheap Suit Serenaders), cut three albums and a single for the label. Other artists included Jo Ann Kelly, Son House, and Rory Block.

Just prior to his death in ...

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Peter Ward Jones

(b ?London, c1672; d London, c1732). English music printer, publisher and instrument maker . The researches of Dawe, together with those of Ashbee, have helped clarify the identification of members of this family. Young's father was also John, but since he was still alive in 1693, he was evidently not, as earlier surmised, the John Young who was appointed musician-in-ordinary to the king as a viol player on 23 May 1673 and who had died by 1680 (according to the Lord Chamberlain's records). Young junior was apprenticed to the music seller and publisher John Clarke, and was established on his own by 1695. His publications included A Choice Collection of Ayres for the Harpsichord or Spinett by Blow and others (1700), William Gorton's A Choice Collection of New Ayres, Compos'd and Contriv'd for Two Bass-Viols (1701), The Flute-Master Compleat Improv'd (1706), the fifth and sixth editions of Christopher Simpson's ...

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Zanibon  

Mariangela Donà

Italian firm of publishers . It was founded at Padua in 1908 by Guglielmo Zanibon (b Padua, 5 Oct 1878; d Padua, 21 April 1966). After studying music in his native city he moved to New York, where in 1903 he founded the periodical The Mandolin. He played the double bass with various touring companies until Cleofonte Campanini appointed him general secretary and librarian to the orchestra of the Manhattan Opera House. Back in Padua in 1908, he associated himself with Alessandro Parisotti and managed a small music publishing house, of which he then took sole control, calling it ‘Edizioni Zanibon’. He worked with many well-known musicians, among them Marco Enrico Bossi and Dallapiccola. His large output included sacred music, instrumental and polyphonic works and Italian music of the 17th and 18th centuries. At his death the management of the house passed to his adopted son Guglielmo Travaglia Zanibon (...

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Stanley Boorman

[Zanetti]

Italian family of printers . They were active in the 16th and 17th centuries and three of them printed music in Rome. An early member of the family, Bartholomeo de Zanetti da Bressa, printed Pier Maria Bonini’s treatise Acutissime observationes at Florence in 1520. His name gives the only indication of the probable origin of the family. The first music printer in the family was Luigi Zannetti, who worked at Rome between 1602 and 1606 and printed mostly sacred music by Agostino Agazzari, Antonio Cifra and their contemporaries. Bartolomeo, probably his son, appears to have taken over at once, for he began to produce music in 1607. Between 1618 and 1621 he was printing at Orvieto, where he produced two music books, but he later returned to Rome. His output was much larger than his father’s and included music by most contemporary Roman composers and sacred music by other Italians. He published a series of anthologies of sacred works edited by Fabio Constantini (RISM ...

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M.K. Duggan

(b Parma, c1450; d Milan, 1510). Italian printer . He was the first printer in Milan, from 1471. His Missale romanum of 1474, the first dated printed missal, and its successor, the first Missale ambrosianum (1475), contain no printed music; scribes filled in the notation, in the latter book with a two-line red and yellow staff. Zarotto later printed the music of Ambrosian plainchant in the missal (...

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Mariangela Donà

(fl late 18th century). Italian printer and publisher . He was in business with his sons under the name ‘Antonio Zatta e figli Librai e Stampatori veneti’, with premises in Venice ‘al traghetto di S Barnaba’; theirs was the largest engraving works in the city, their activity dating back to about 1750. The output included philosophical texts, novels, daily papers, illustrated books and 47 volumes of Carlo Goldoni’s comedies (1788). Music printing and editing began in 1783 through the Calcografia Filarmonica which was active until 1788. From 1786 the firm began printing, on its own press from engraved plates, a weekly piece of instrumental music for sale by subscription; in the following years this initiative expanded to include trios, duos, quartets, symphonies or sonatas for various instruments, and even vocal pieces, issued on a monthly basis. In the letters circulated to ‘professori e dilettanti di musica’, inviting them to become subscribers, the firm explained the preponderance of instrumental music by the fact that Italy ‘abounds without doubt more in professional and amateur players than in singers’. Instrumental works by Corelli, Bertoni, Boccherini, Capuzzi, Andreozzi, Cirri, Cambini, Pichl, Fodor, Stabinger, Grazioli, Haydn, Mozart and Salieri, and vocal pieces (arias by Cimarosa, Guglielmi, Paisiello, Anfossi, Naumann, Gazzaniga, Borghi, Traetta and Piccinni) were printed and published. Many of Zatta’s editions were reprints from German or Viennese publications, especially of Hoffmeister’s, a publisher with whom Zatta had connections. Zatta also published didactic methods (Pfeiffer, ...

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Edward Garden

(b Sternberg, Sept 22, 1851; d Berlin, April 25, 1922). German music publisher and woodwind and brass instrument manufacturer . He had factories in St Petersburg (1876), Moscow (1882) and Riga (1903). The headquarters of the publishing firm was established in Leipzig in 1886, with the actual printing being carried out by Breitkopf & Härtel. Zimmermann became friendly with Balakirev in 1899 and thereafter published all the works of that composer. It may be that it was Zimmermann’s exhortations that encouraged the prolificness of the final decade of Balakirev’s life. He also published the majority of the compositions of Balakirev’s protégé Sergey Lyapunov. Other composers’ music published by him include Medtner, Josef Hofmann, Tausig, A.S. Taneyev and Reinecke. He suffered financial hardship during World War I, but, although he resumed the publication of music by Russian composers in 1919, he was unable to reopen his former Russian factories and shops. In ...