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Article

D.J. Blaikley

revised by William C. Smith and Peter Ward Jones

separate music side of the business was started in 1816 under the control of the founder's son, Thomas (ii) ( 1794/5–1871 ). They began as importers of foreign music, but soon became the English publishers of composers such as Hummel, Mercadante and Rossini, and later of important operas by Bellini, Donizetti and Verdi. The House of Lords' decision in 1854 , which deprived English publishers of many of their foreign copyrights, severely affected the firm. Among the earliest publications of T. Boosey & Co. was an English translation of Forkel's life of Bach ( 1820

Article

W.H. Husk

revised by Margaret Cranmer, Peter Ward Jones and Kenneth R. Snell

Clara Schumann. Thomas Chappell also organized the later seasons of Dickens’s public readings from 1866 to 1870 . In the 1870s the firm’s association with Gilbert and Sullivan began. In addition to publishing nearly all their operas, Thomas Chappell financed the Comedy Opera Company, which performed the works before D’Oyly Carte took over the operas in 1877 . Thomas Chappell was also one of the original directors of the RCM, and a governor of the Royal Albert Hall. The firm’s fortunes declined temporarily at the end of the 19th century, and in 1894 William Boosey

Article

Frank Kidson

revised by William C. Smith and Peter Ward Jones

and vast quantities of popular dance and vocal music continued to be issued up to the 1860s. As instrument makers, the firm was known especially for wind instruments (James Wood was a skilled woodwind maker) and for pianos, of which all types were made, except apparently full concert grands. String instruments bearing the firm's name all appear to have been bought in and were commonly of French or German origin. After the demise of the publishing business, Joseph Emery bought the name and goodwill, and Thomas D'Almaine & Co. continued to exist as piano (and for some

Article

Erard  

Ann Griffiths and Richard Macnutt

and 1805 the firm published full scores of eight operas, including Spontini’s Milton and Julie , and others by Boieldieu, Dalayrac and Plantade. These were followed in 1807 and 1809 by Spontini’s La vestale and Fernand Cortez , the firm’s most important publications; thereafter their output seems to have diminished greatly. They concentrated on instrumental music, making only occasional operatic excursions, for example Spontini’s Olimpie , a revised edition of Fernand Cortez and Hérold’s L’illusion . All the firm’s publications were engraved.

Article

Lloyd P. Farrar

During the next four decades the firm published nearly 200 new titles a year; except for a small group of sacred songs issued by Pepper Publishing Co. in 1901–4 , these were all orchestral and band works intended for civic, commercial and school ensembles. Many compositions and arrangements appeared in journals – Quickstep , Brass and Reed Band , Ballroom , Theatre and Dance and Opera House . The J.W. Pepper Piano Music Magazine was begun in 1900 , and a separate 20th-century series was also established. Among the composers whose works were published by Pepper