Music-selling in seventeenth-century Rome: three ... - Patrizio Barbieri

Music-selling in seventeenth-century Rome 141• Virgilio Mazzocchi: [III: 179] Chi soffre speri, Roma 1637 (commedia musicale);[III: 174] S. Bonifazio, Roma 1638 (rappresentazione spirituale); [III: 178] LaGenoinda, Roma 1641 (opera musicale); [III: 168] Il Sant’Eustacchio […], Roma1643 (azione in musica).• Domenico Mazzocchi: [III: 167] Il martirio de’ Santi Abundio […], Roma 1641(sacred opera).• Giovanni Antonio Carpani: [III: 175] S. Cecilia, Roma 1660 (sacred drama).• Raffaele Libelli: La Galatea (unknown work, already mentioned in inv. 1676,and therefore not Loreto Vittori’s Galatea).2.3. The publishers: Venice vs Rome. Just as with the inventory of the bookseller Pierodi Giuliano Morosi of Florence (late 1580s or early 1590s, and possibly after 1592),in the case of the Franzini too (1586) almost all the musical publications came fromVenice, then the European capital of the music printing trade (Table 2). 37 The Franziniwere facilitated in this owing to their Veneto origin and, probably, also to thepresence in Rome of not a few printers from the same area (see, for example, Basa,Coattino, Alessandro Gardano, the Zannetti). Nor can we exclude the possibility thatsome of the works came directly from Brescia itself, the native town of the Franzini,of Carampelli and the Zannetti. Indeed, we may recall that in 1586 Angelo Gardanostated that he had sent “piles of music books every week” to Brescia. 38Table 2. Publishers from different cities indicated in the inventories, as percentages (valuationincludes only the 1st edition of each work).inventoryyearvenice%rome%other italian cities%1586 94 1 4 11621 45 40 12 31633 69 19 7 51676 65 23 11 1foreign cities%Only a few years later, however, Rome began to gain ground, due in particularto Nicolò Muzi (Mutij) and Alessandro Gardano: indeed, their editions are sold bythe booksellers operating in the City, such as Giacomo Bericchia (1591) and PaolinoArnolfini (1596). 39 In the 1621 Franzini inventory, we also see that Rome almostmanages to rival Venice, this time thanks to the publishing activity of printers suchas Zannetti, Soldi and, most of all, Robletti (in the said inventory Nicolò Muzi isalmost absent, probably because he sold his editions himself). 40 Bearing in mind that37. On Morosi, see carter, “Music-selling in late sixteenth-century Florence”, p. 489.38. carter, “Music-selling in late sixteenth-century Florence”, p. 491.39. barbieri, “Music printers”, pp. 98–100. On the difference between music presses in Rome andVenice, see jane a. bernstein, “Publish or perish? Palestrina and print culture in 16th-century Italy”,Early Music, xxxv, 2007, pp. 225–235: 233–234.40. On Muzi, see franchi, “Cartolai editori di musica nel Seicento romano”, p. 37.