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Archive for the ‘Publishers’ Category

A new venture offering print copies of selected scores recently digitized by Sibley Music Library is kicking off! Come see the new site at Eastman Scores Publishing.

The sheet music pamphlets are published by the Eastman School of Music and printed and distributed by Library Commerce, an organization formed with grant support from the Rochester Regional Library Council’s Harold Hacker Fund, to help libraries develop ways to earn income from library services that are worthwhile, but impossible to offer without a sustainable revenue source and do not fit standard commercial formats. In this case, the high quality materials and print preparation developed by Sibley for our in-house preservation reformatting are used to make sturdy, beautiful print editions of sheet music pamphlets available for sale.

On this first day there are 100 scores “in stock” for immediate print on demand, mostly string and piano music, with another 150 scores, many of them organ works, to be added during the coming week, once we know the site is up and running without hitches.  New scores will be added as they are edited.

Dan Lopata, the proprietor of Library Commerce, will be happy to take requests from individuals who would like to be able to purchase a quality printed copy of a score they have seen at the Sibley Music Library digital site in the University of Rochester’s UR Research repository. He can be reached with requests at dlopata@eastmanscorespublishing.com and will respond with an estimate of how much the finished score will cost and how soon the editing can be completed. Once a score is edited he anticipates the normal print-on-demand turnaround time to be 48-72 hours.

To begin with we will only be offering music that can be suitably printed and bound in pamphlet format, which means scores with no more than 48 pages (parts are bound, and therefore counted, separately). We will soon be able to offer trimmed, ready-to-bind copies of longer scores, and we are working on adding availability of adhesive bound copies.

But first come check out the site at Eastman Scores Publishing! We’re very excited that it has all come together, and look forward to finding out what people think.

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Wa-Wan Press

Founded in Newton Centre, MA in 1901 by American composer Arthur Farwell (1872-1952), the Wa-Wan Press was a short-lived music publishing project that focused on contemporary American works. Farwell was interested in strengthening America’s unique musical identity, and his project highlighted music that drew from folk and Native American traditions. From 1901-1912, the Wa-Wan Press published instrumental and vocal works by over 30 different American composers. Though moderately popular for a time, the project faced falling subscription numbers by the end of the decade, and was ceased shortly after it’s acquisition by G. Schirmer in 1912.

A number of Wa-Wan publications are now part of the digitization project at Sibley, including works by Farwell, Harvey Loomis, Frederic Ayres, Arthur Reginald Little, and Gena Branscombe.

Download Ayres’s “Take, O Take Those Lips Away,” published by the Wa-Wan Press

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Tours

St. Helen's Bishopsgate, where Tours served briefly as organist.

Following in his father’s footsteps, Berthold Tours (1838-1897) was trained as an organist and composer, studying in Holland and Germany before traveling to Russia in the service of Prince Yury Golitsïn in 1859. In 1861, Tours left Russia for London, where he would spend the rest of his career. He held various organist posts at churches throughout the city, and in 1872 began working as an editor for the music publisher Novello. While working for Novello he arranged vocal scores for many larger works by composers including Beethoven, Gounod, and Schubert, as well as some Gilbert and Sullivan operettas.

Although best known as a composer of numerous songs, and music for the Anglican service, Tours’s works also include primers on the violin and viola, orchestral music, and chamber pieces such as his Petit Duo Symphonique.

Download an arrangement of the Petit Duo Symphonique for piano trio

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But Where’s the Full Score?

cramped scoreScholars and performers more familiar with the “standard repertoire” of frequently-republished nineteenth-century instrumental music may be surprised not to find a full score when perusing many of the chamber works found on the U of R research page.  While full scores were typically issued for ensembles including piano, such as piano quartets or quintets, only a very small percentage of the string quartets we have digitized include them, for instance.  This is also the norm even for larger ensembles of up to eight or nine instruments, or any group which did not include a pianist and was presumably small enough to not need a conductor.  While contemporary scholars, trained to analyze from the score, may find this to be a problem, it was evidently standard practice for nineteenth-century publishers, who were issuing music for performance rather than scholarly study.

On the rare occasions when publishers did issue a full score of a chamber work, it was almost always in the familiar pocket-sized miniature score format.  However, we have found several quite interesting specimens of super-miniature score printed on full-sized paper, resulting in an almost-illegible tangle of staves suitable only for reference.  For instance, see this arrangement of Schubert’s Valses Nobles, op. 77, for string quartet with optional bass part.

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