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Article

Richard Macnutt

oblong format, evenly distributed between vocal pieces (mainly full scores and orchestral parts of single numbers from operas performed in Venice) and instrumental works (ballet, dance, chamber music and opera overtures). Anfossi, Boccherini, Naumann, Paisiello and Marescalchi himself were the composers of more than half of this output. In his Venice publications Marescalchi worked closely with Alessandri & Scattaglia, who were probably responsible for all his music engraving as well as being named on most of the title-pages as his selling agents, at their premises on the

Article

Alexander Weinmann

y Mozart (Hoffmeister’s personal friend) are all represented (Mozart by several first editions between K 478 and 577, including the ‘Hoffmeister’ Quartet K 499). Hoffmeister’s connection with Kühnel, who had more flair for business, renewed his interest in publishing and prompted serious attempts to produce complete editions of the works of Bach, Haydn and Mozart. As a composer, Hoffmeister was extraordinarily prolific. Many of his Viennese works were also popular in foreign cities: by 1803 his most successful opera, Der Königssohn aus Ithaka (Vienna, 1795

Article

when Chopin's Waltz op.42 made its first appearance in print, as no.68, in June 1840 . Pacini was a friend to all Italian musicians and had especially close links with Rossini and Paganini. For the latter he sometimes acted as concert agent, and he accompanied him on his first journey to England in April 1831 . All Pacini's publications were engraved; his series of plate numbers are generally unreliable for dating purposes. Works all opéras comiques Isabelle et Gertrude (1, C.S. Favart), ?Nîmes, ?1801 (Paris, ?1806) Point d'adversaire (1, J.M. Pain),

Article

John W. Wagner

until 1811 , his longest period of residence at one address being from 1801 to 1810 at 59 Maiden Lane. From 1792 until the end of March 1808 , he was conductor of the orchestra at the Park Street Theatre, where his duties included arranging and composing music for many ballad operas and other musical productions. He also operated his own ‘musical repository’, where he gave lessons and sold musical instruments and music composed by himself and others. Although his musical activities in Boston began as early as 1805 , the family did not move there until 1811