Why sing from an edition when you could sing from a source? What makes a good edition? Thanks to Early Music Sources for explaining why editions matter in this fantastic video!
P.S. One exception: if there were neumes, sing from neumes. Otherwise I'm all for using a good edition!
Want to program a piece but can't find a good score? Be sure to check out the work of my colleague Gareth Thomas!
Want to clean up an edition without actually converting it to modern notation? Early Music Sources has developed a font to make it all possible! Check it out here!
Ever wonder what BWV stands for or where those numbers came from?
The Bach-Werke-Verzeichnis (BWV; lit. Bach works catalogue; German: [̍ˈbax ˈvɛrkɛ fɛrˈtsaɪçnɪs]) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV2a, was published in 1998.
BWV numbers were assigned to 1,126 compositions in the 20th century, and more have been added to the catalogue in the 21st century. The Anhang (Anh.; Annex) of the BWV lists over 200 lost, doubtful and spurious compositions.
The first edition of the Bach-Werke-Verzeichnis was published in 1950. It allocated a unique number to every known composition by Bach. Wolfgang Schmieder, the editor of that catalogue, grouped the compositions by genre, largely following the 19th-century Bach Gesellschaft (BG) edition for the collation (e.g. BG cantata number = BWV number of the cantata):[1]
The Bach-Werke-Verzeichnis ( BWV; lit. Bach works catalogue; German: [̍ˈbax ˈvɛrkɛ fɛrˈtsaɪçnɪs]) is a catalogue of compositions by Johann Sebastian Bach. It was first published in 1950, edited by Wolfgang Schmieder. The catalogue's second edition appeared in 1990. An abbreviated version of that second edition, known as BWV 2a, was published in 1998.
If you’ve been wondering when Petrucci would come into the story of music printing, today’s the day!
Teaser for next week: How much do you really know about Gregorio Allegri?
Ottaviano Petrucci (born in Fossombrone on 18 June 1466 – died on 7 May 1539 in Venice) was an Italian printer. His Harmonice Musices Odhecaton, a collection of chansons printed in 1501, is commonly misidentified as the first book of sheet music printed from movable type. Actually that distinction belongs to the Roman printer Ulrich Han's Missale Romanum of 1476.[1] Nevertheless, Petrucci's later work was extraordinary for the complexity of his white mensural notation and the smallness of his font, and he did in fact print the first book of polyphony using movable type.[2] He also published numerous works by the most highly regarded composers of the Renaissance, including Josquin des Prez and Antoine Brumel.
He was born in Fossombrone (Pesaro), and probably was educated at Urbino. Around 1490 he went to Venice to learn the art of printing, and in 1498 he petitioned the Doge for the exclusive right to print music for the next 20 years. The right was very probably granted, since no examples of printed music from other Venetian printers are known before 1520. In 1501 he produced his first book of music, 96 chansons, as the Harmonice musices odhecaton A (sometimes referred to as "the Odhecaton"), which is the earliest known example of printed polyphonic music. In the following years he continued to refine his technique, producing new editions and reprints every few months until 1509, when his activity was interrupted by the war of the League of Cambrai against Venice; he departed the city for Fossombrone, where he resumed his activities as a printer.
Fossombrone being within the papal states, Petrucci applied for a patent with the Pope for the exclusive right to print music, which was granted for several years; however the Pope rescinded the patent when Petrucci failed to produce keyboard music, granting it instead to one of Petrucci's competitors at Rome. In 1516 papal troops ransacked Fossombrone, and Petrucci printed nothing for three years: most likely his equipment was destroyed. The competitor who took Petrucci's printing privilege away from him in Rome, Andrea Antico, also took over his printing business in Venice in 1520. During the 1520s Petrucci seems to have made his living managing a paper mill.
Ottaviano Petrucci (born in Fossombrone on 18 June 1466 - died on 7 May 1539 in Venice) was an Italian printer. His Harmonice Musices Odhecaton , a collection of chansons printed in 1501, is commonly misidentified as the first book of sheet music printed from movable type.
Did last week’s Early Music Monday post about music printing catch your attention? Check out this awesome resource on all the different printing methods used for music over the centuries!
Of all the things we know about Henry VIII, did you know he developed the concept of copyright? And that Byrd and Tallis had a monopoly on printing/publishing polyphonic music? Check out this article for more!
Music publishing is the business of creating, producing and distributing printed musical scores, parts, and books in various types of music notation, while ensuring that the composer, songwriter and other creators receive credit and royalties or other payment (where applicable). This article outlines the early history of the industry.
Music publishing did not begin on a large scale until the mid-15th century, when mechanical techniques for printing music were first developed. The earliest example, a set of liturgical chants, dates from about 1465, shortly after the Gutenberg Bible. Prior to this time, music had to be copied out by hand. This was a very labor-intensive and time-consuming process, so it was first undertaken only by monks and priests seeking to preserve sacred music for the church. The few collections of secular music that are extant were commissioned and owned by wealthy noblemen. Examples include the Squarcialupi Codex of Italian Trecento music and the Chantilly Codex of French Ars subtilior music. Hand copying persisted long after the invention of printing and music was widely disseminated in manuscript form well into the 18th century, both in personal copying and scribal publication.
The father of modern music printing was Ottaviano Petrucci, a printer and publisher who was able to secure a twenty-year monopoly on printed music in Venice during the 16th century. His first collection was entitled Harmonice Musices Odhecaton and contained 96 polyphonic compositions, mostly by Josquin des Prez and Heinrich Isaac. He flourished by focusing on Flemish works, rather than Italian, as they were very popular throughout Europe during the Renaissance. His printing shop used the triple-impression method, in which a sheet of paper was pressed three times. The first impression was the staff lines, the second the words, and the third the notes. This method produced very clean results, though it was time-consuming and expensive.
Music publishing is the business of creating, producing and distributing printed musical scores, parts, and books in various types of music notation, while ensuring that the composer, songwriter and other creators receive credit and royalties or other payment (where applicable). This article outlines the early history of the industry.