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

142 Patrizio Barbieriin that period Venetian publishing began to give way to Rome, 41 we might expectthat this trend in favour of the Eternal City would have continued, whereas the 1633inventory on the other hand (drawn up however in 1625) shows that Venice regainsits pride of place. This was probably due to a personal choice of the old Carampelli,from 1621 onward the sole manager of the shop at the sign of the “Golden Fountain”.Again in 1686 the ratio remains almost unvaried, albeit with a slight edge infavour of Rome (Table 2).Unlike Florence, 42 at least up to 1633 the Franzini and Carampelli bookshops areup-to-date from a publishing point of view. The first editions of music published inthe five or six years prior to the drawing up of the related inventories are about 28 in1586, 17 in 1621, and 25 in 1633. Of the more recent publications, the ones in the twolatter inventories are those printed in Rome, providing further evidence of vigorouscommercial activity by publishers in the City.Extremely limited is the contribution of other Italian cities, such as Milan, Naples,Ferrara, and Bologna (a town that, in the second half of the century overtook Rome,of which however the 1676 inventory provides no evidence). Negligible are musicaleditions from beyond the Alps, as also the presence of works of composers otherthan Italians or foreigners operating in the Peninsula. Of the said oltramontane cities,the only ones mentioned are Antwerp (in 1597 the Franzini made purchases fromChristoffel Plantin) 43 and Lyon (see § 1, years 1649, 1686), which used the port ofMarseilles for deliveries to Rome. To audit the bill for books coming from Padua,in 1649 Giovanni Domenico Franzini had recourse to a correspondent at Genoa(see fn 15 above), hinting that this other port city may have been the transit hub forpublications from the North.Table 3. Genre split of music publications indicated in the inventories, as percentages.inventoryyearsacred%secular%instrumental%1586 27 69 3 11621 60 34 3 31633 55 40 4 11676 59 35 6 0theory%41. tim carter, “Music publishing in Italy, c.1580-c.1625: some preliminary observations”, RoyalMusical Association Research Chronicle, xx, 1986–87, pp. 19–37 (reprint in id., Monteverdi and his contemporaries,Aldershot, Ashgate, 2000, art. i), pp. 19–20; see also tim carter, “Music-printing in late sixteenthandearly seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni”,Early Music History, ix, 1989, pp. 27–72 (reprint in id., Music, patronage and printing in late RenaissanceFlorence, Aldershot, Ashgate, 2000, art. xi), p. 57.42. carter, “Music-selling in late sixteenth-century Florence”, p. 490.43. barbieri, “Music printers”, p. 100.