1-3 of 3 results  for:

  • Instrument Maker x
  • 17th c./Early to mid-Baroque (1600-1700) x
  • Publisher or Editor x
Clear all

Article

Miriam Miller

(fl 1672–95). English bookseller, music publisher and instrument seller. His shop at the Middle Temple Gate, London, was very near that of John Playford the elder, and they published several volumes in partnership between 1681 and 1684. One of these was Henry Purcell’s Sonnata’s of III Parts (1683), printed from plates engraved by Thomas Cross the younger. In spite of clear evidence of friendship as well as partnership between the Carr and Playford families, Carr began to publish independently in 1687. One volume, Vinculum societatis, printed that year, represents a typographical revolution, being printed from an entirely new fount of type. This fount had round note heads, and was designed to allow the printing of quavers, semiquavers etc. in groups as well as separately. It was not possible to achieve this effect with the older diamond-headed founts used by the Playford printers, and it is noticeable that although Carr continued to publish music for the next seven years, he never did so with Henry Playford, even though Carr had many business partners. One of these partners, Sam Scott, took over the Carr business in ...

Article

Frank Kidson

(d ?London, 1683). English instrument maker, music dealer and publisher. He worked in London ‘at the Sign of the Lute’ in St Paul's Churchyard, where his customers included the diarist Samuel Pepys. References to Hunt are found in Pepys's diary between October 1661, when he converted Pepys's lute to a theorbo with double strings, and ...

Article

Patrizio Barbieri

(b Gunzing, near Lohnsburg am Inn, Germany, Nov 28, 1669, d Mainz, Germany, April 30, 1728). German priest, philosopher, editor of Latin works of Raymond Lull, and inventor of an enharmonic keyboard. While working at the court of Johann Wilhelm, Prince-Elector of the Palatinate, in Düsseldorf, Salzinger invented and built a keyboard (‘Tastatura nova perfecta’) accommodating the division of the octave into 31 equal parts. His enharmonic harpsichord is mentioned by Joseph Paris Feckler, who reports (1713) that a further two had been ordered: one for the Emperor in Augsburg, the other for the Grand Duke of Tuscany, in Florence. Details of this instrument appear in Salzinger’s ‘Revelatio secretorum artis’ (1721), which he published as an introduction to his edition of Lull’s Ars magna et major. This work tells that ‘the Most Serene Elector continuously used this harpsichord for music at court’, and that years earlier the construction of an organ with the same kind of keyboard had begun, only to be halted in ...