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British Music Publishers, Printers and Engravers

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British Music Publishers, Printers and Engravers Digitized by the Internet Archive in 2012 with funding from National Library of Scotland http://www.archive.org/details/britishmusicpublOOkids / /v> cj iCo - 8% BRITISH MUSIC PUBLISHERS, PRINTERS, and ENGRAVERS. X BRITISH MUSIC PUBLISHERS, PRINTERS and ENGRAVERS: London, Provincial, Scottish, and Irish. FROM QUEEN ELIZABETH'S REIGN TO GEORGE THE FOURTH'S, WITH SELECT BIBLIOGRAPHICAL LISTS OF MUSICAL WORKS PRINTED AND PUBLISHED WITHIN THAT PERIOD. BY FRANK KIDSON, Author of "Traditional Tunes," etc. I - London : W. E. HILL & SONS, 140, New Bond Street, W, To My Friend THOMAS WILLIAM TAPHOUSE, of 'Oxford, I Dedicate this Volume, As a Slight Token of Esteem. Preface. As a pioneer work, the present volume must claim a little indulgence. Excepting a few scattered notices here and there, nothing dealing with the subject of the following pages has yet appeared, and facts bearing on it are scanty and scattered in many places. The lists of publications are not put forth as containing all that my material would furnish, but are merely selections culled to show types of a publisher's issue ; to fix a date, or give a variation of imprint. The names attached here and there are those of the owners of the particular copies I have consulted and do not imply that such works may not be in the British Museum or else- where. Much of the bibliographical matter comes from my own library, while my friend, Mr. T. W. Taphouse, of Oxford, has freely (as he has ever done) thrown open to me his large and valuable store of rare and unique volumes. The British Museum has, of course, also furnished much, and I have to thank Mr. W. Barclay Squire there, for much helpful courtesy and for the trouble he has taken in many ways. I must also thank Mr. Arthur F. Hill, Mr. Alfred Moffat, and Mr. J. E. Matthew, of London, Mr. John Glen, of Edin- burgh, Dr. Culwick, and Mr. E. R. Mc Dix, of Dublin, and others who have furnished titles and imprints from their collections. Their contribu- tions are all indicated in the text where they occur, and it but remains to thank all heartily for their aid. The references from the Edinburgh direc- tories for 1804, 1806, and 1807 are from copies in Mr. Glen's possession. I am also indebted to Mr. Hardie Brown, bookseller, Edinburgh, for kindness in allowing me the use of a hie of early Edinburgh newspapers. I have to thank Mr. McLauchlan and his assistant at the Dundee public library for facilities granted in connection with the Wighton Collection, and a great number of practical sympathisers with the work. FRANK KIDSON. 128, Burley Road, LeeDvS. January, 1900. Introduction THE present volume is an endeavour to place in a form, convenient for reference, a list of men (a number of whom were themselves musicians) who have played important part in the building up of British Music. By its aid it is hoped that much fresh light will be thrown on the musical history of the period it covers, and in some degree remove that uncertainty as to date, with which the average musician, librarian, or bookseller regards a piece of old music. The unfortunate habit, in force even to-day, of omitting the year of publication on musical works has caused more anxiety, trouble, and vexation of spirit to the antiquary in such matters than the outsider, unacquainted with the toil of tracking a melody to its source or of following the career of a musican, can con- ceive. Prior to the 18th century Playford and the earlier printers honestly placed the year of issue before the reader, but the wily John Walsh soon discovered that "women and music should never be dated," and up to the present the maxim has been religiously observed. To get at the date of such undated work it is necessary to find out the business movements of the publisher; his partnerships, his changes of address, and the year for such events. In the absence of publisher's name or initals, the quality of the paper, or engrav- ing, or if it chance, a dated signature of a former owner all have to be taken into account before a satisfactory estimate of a year of publication can be arrived at. The yearly issue by nearly every publisher of a set of twenty-four country dances gives absolute dates and so do the inclusion in collections of airs, songs from the various operas, for there is satisfactory record as to the performance of these, and however much after, the work which contains melodies from one cannot be of earlier date. The London Directories are in some degree of great use, but this only applies to the comparatively late ones, for music sellers, even late on in the eighteenth century, were completely ignored by the compilers of the lists, with the sole exception of the Thompson family. After about 1780 one or two other names began to creep in, but very complete lists were not given until almost the first quarter of the new century. The London Directories were in this respect far behind those of Edinburgh and of the English provinces. The art of music printing followed closely upon the discovery of letterpress typography ; results being obtained in various ways on the Continent. The first piece of music printing in England is a fragment about an inch square, con- taining but 8 notes, used as an illustration in Higden's " Polychronicon," printed by Wynkyn de Worde in 1495. Shortly after this date many musical works issued from the English presses, being missals for the various Cathedrals. It is questionable which is absolutely the first secular musical work printed in England, but one of the earliest is an oblong quarto work in the British Museum, (attributed to Wynkyn de Worde) with the printed date 1530. Its title runs : " In this boke ar Coteynyd XX Soges ; ix of iiii ptes, and xi of thre ptes [a list follows] . Anno dni MCCCCCXXX, decimo die mensis octobris," oblong 4to. Another work which was at one time considered to be of the date 15 19 and supposed to be printed by John Rastell [or Rastil] , contains four pages of music, set up from moveable type : — " A New Interlude, and a mery of the nature of the iiij Elements" (no printer's name. British Museum). Though there is a chance that other secular music books had been printed, yet beyond these two works I have been unable to trace any others until past the middle of the sixteenth century ; but Rd. Grafton, John Day, and others were printing Psalters and other religious musical works freely' All this early music printing was done from moveable metal type, woodblock, or other raised surfaces, and it was not until quite late that engraving was employed in the production of music. It has ' ; been long held that Parthenia," 161 1, was the first engraved music, and again it has been recently stated that a work, entitled " The Noble Arte of Venerie, or Hunting [George Turberville] ...Imprinted by Henry Bynneman for Christopher Barker," 1575, 4to, contains music printed from engraved plates. In this opinion I cannot coincide. The music in question is the notes for the hunting horn and having care- fully examined the 1575 and the 2nd edition 161 1, I am under the conviction that in both copies the music is printed from a raised surface ; the work is freely adorned with wood- cuts, so no doubt a wood block has been cut for the purpose as undoubtedly it would be far the simplest and readiest method to employ. Perhaps there are earlier engraved works than " Parthenia," but I do not grant that the " Noble Arte of Venerie " is one of them. Though there are isolated instances of music printing from engraved plates, yet for a very long period the general practice was to have it worked off from moveable type, right down to almost the end of the sixteenth century. The Dutch are said to have been the forerunners in plate music engraving, and by a method of softening the copper they were enabled to punch the notes on the plate and so save considerable labour and skill in its pro- duction. About 1680, plate engraved music became pretty general in England. John Playford had, however, previous to this issued several works in which the music was cut on copper, and he also re-printed others from works done on it prior to his time. Hawkins gives the date 1710 for the introduction of the process of stamping music on pewter plates, naming Walsh and Hare in connection with it. The process continuing from that time to this remains the one in general use to-day, with the advantage of a transfer of the impression to a litho- graphic stone and the consequent rapidity of production. The printing of music from moveable type was in great use from the time of the first printers down to the commence- ment of the eighteenth century, when, for large works, it fell entirely in disuse, being superceded by the stamped pewter plates. Octavo Psalm books, however, continued to be printed from raised type or woodcuts as also odd pocket volumes of songs, quite through the century. Fought and Falkener, however, attempted to revive the type printed folio, but quite unsuccessfully. Up to about 1687-90 the lozenge shaped note was always used in typography with the tails of the quavers and semi-quavers separate. They were joined together in the modern fashion on plate printed music at and before this time, but it was not until Heptinstall and after him Pearson made their improvements that the " new tied note " came to be used.
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