The Venetian privilege and music-printing in the sixteenth century

Agee, Richard J.

doi:10.1017/s0261127900000036

Cited by 31 publications

(1 citation statement)

References 9 publications

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“…Hence the appearance on them of beautiful wood engravings, while the titles, often very long, praised the quality of the compositions and their usefulness, as well as the fame of the composers. The guarantee of high quality of the repertoire contained therein was supposed to be provided by the phrase "cum gratia et privilegio", 22 although today in the majority of cases we are unable to establish who granted the privilege and whether it did exist in reality. The titles also often claimed that the volume contained newly composed, newly published or corrected works.…”

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confidence: 99%

The mystery of Sacrae cantiones (Nürnberg 1597): remarks on Jacob Handl and 16th-century printing practice / Uganka zbirke Sacrae cantiones (Nürnberg 1597): pojasnila o Jacobusu Handlu in tiskarski praksi v 16. stoletju

Gancarczyk¹

2015

De Musica Disserenda

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Izvleček: Zbirka skladb Jacobusa Handla -Gallusa z naslovom Sacrae cantiones se je ohranila samo v enem izvodu, in to v Gdansku in Varšavi. To ni bila nova izdaja, temveč le ponatis četrtega zvezka skladateljevega monumentalnega dela Opus musicum, tiskanega v Pragi leta 1590, s spremenjeno naslovnico. Avtor razprave navaja razloge, ki kažejo na to, da je delo Sacrae cantiones nastalo na pobudo Georga Handla, skladateljevega brata in tiskarja, ki je na ta način upal povečati možnosti prodaje preostalih izvodov zbirke Opus musicum, ki so po skladateljevi smrti ostali še neprodani. Ključne besede: Jacobus Handl -Gallus, glasbeno tiskarstvo, Georg Handl.Abstract: A copy of Sacrae cantiones, a collec tion of compositions by Jacob Handl -Gallus published in 1597 in Nuremberg, is preserved as a unicum in Gdańsk and in Warsaw. Howev er, this is not a new edition but merely a copy of the fourth volume of the composer's Opus musicum, printed in Prague in 1590, with a changed title-page. The author presents arguments to show that the Sacrae cantiones were created on the initiative of Georg Handl, the composer's brother and printer, who in this way hoped to increase the chance of selling the rest of the ex amples of the Opus musicum that remained in stock after Jacob's death.

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confidence: 99%

The mystery of Sacrae cantiones (Nürnberg 1597): remarks on Jacob Handl and 16th-century printing practice / Uganka zbirke Sacrae cantiones (Nürnberg 1597): pojasnila o Jacobusu Handlu in tiskarski praksi v 16. stoletju

Gancarczyk¹

2015

De Musica Disserenda

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Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni

Carter

1990

Early Music History

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A number of scholars have begun to explore the activities of music-printers in sixteenth-century Italy. The first music-print produced by movable type was issued by Ottaviano Petrucci in 1501, and by the 1540s improvements in printing techniques, and particularly the introduction of single-impression printing, had set music-printing on a firm commercial footing, first and foremost in Venice, the centre of the printing trade on the peninsula. The two chief Venetian music-printers in the mid-century, Antonio Gardano and Girolamo Scotto, headed commercial enterprises the organisation of which merits close study by economic historians. But the activities of these and other music-printers must also be examined for their effect on contemporary musical culture. Through their editorial policies and commercial strategies, printers such as Gardano and Scotto had an undeniable influence on the composition and dissemination of music in this period, creating and defining a market or markets for their wares which increasingly directed the activities of contemporary composers.

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Costanzo Festa'sGradus ad Parnassum

Agee

1996

Early Music History

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In September of 1536, the papal singer and composer Costanzo Festa wrote a letter to his Florentine patron Filippo Strozzi. Festa, having heard about a music printer in Venice, hoped to contact him there through one of Strozzi's agents. He continued:Have him [the printer] understand that if he wants my works, that is, the hymns [and] the Magnificats, I do not want less than one hundred fifty scudi and, if he wants the basse, two hundred in all. If he wants to print them, he can place the hymns and Magnificats in a large book [choirbook format] like that of the fifteen Masses [Antico's Quindecim missarum, RISM 1516], so that all choirs would be able to make use of them. The basse are good for learning to sing in counterpoint, to compose and to play all instruments.

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The Venetian privilege and music-printing in the sixteenth century

Cited by 31 publications

References 9 publications

The mystery of Sacrae cantiones (Nürnberg 1597): remarks on Jacob Handl and 16th-century printing practice / Uganka zbirke Sacrae cantiones (Nürnberg 1597): pojasnila o Jacobusu Handlu in tiskarski praksi v 16. stoletju

The mystery of Sacrae cantiones (Nürnberg 1597): remarks on Jacob Handl and 16th-century printing practice / Uganka zbirke Sacrae cantiones (Nürnberg 1597): pojasnila o Jacobusu Handlu in tiskarski praksi v 16. stoletju

Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni

Costanzo Festa'sGradus ad Parnassum

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