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Scan 164
Grove's Dictionary of music and musicians, 1927
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1Edward Bunting. In 1855 he published, under the auspices of the Society for the Preservation and Publication of the Melodies of Ireland (founded in 1851), a large quarto volume of about 140 airs, mostly vocal, taken from the tunes he had noted. The work is full of very thorough notes on the subject of Irish music, and though very scarce is of the utmost value to the student of Irish folk-song.
3After his death an attempt towards a second volume of his quarto work was made, but only forty-eight pages were printed. Later the Irish Literary Society of London issued, under the editorship of Sir C. V. Stanford, 'The Complete Petrie Collection' (Boosey, three parts), which, containing 1582 airs, comprises all the melodies Petrie left behind him in manuscript. It is needless to enlarge on the value of such a collection of airs noted in Ireland, though every one of them cannot be justly claimed as of Irish origin. (See Irish Music.)
5F. K.
7PETROBELLI (PIETROBELLI), FRANCESCO (b. Bologna), maestro di cappella of Padua Cathedral (1651–77), composed 4 books of motets, psalms, various church music, 2 books, 'Scherzi amorosi,' a 2 and 3 v., chamber cantatas, etc., published between 1643 and 1693 (Q.-L.; Mendel).
9PETRUCCI, OTTAVIANO DEI (b. Fossombrone, near Ancona, June 18, 1466; d. May 7, 1539), an illustrious printer (see Printing of Music). In 1491 he was established at Venice; and on May 25, 1498, he obtained from the Seignory the sole privilege, for twenty years, of printing 'figured music' (canto figurato) and music in the tablature of the organ and lute—a privilege which he exercised there till about 1511. At that date he left the Venetian business in the hands of Amadeo Scotti and Nicolò da Raphael, and returned to Fossombrone, where, on Oct. 22, 1513, he obtained a patent from Pope Leo X. for the monopoly of music-printing in the Roman States for fifteen years. His latest work, three choral masses, in the Sistine Chapel, Rome, is dated 1523.
11Petrucci's process was a double one; he printed first the lines of the stave, and then, by a second impression, the notes upon them. In fact he discovered a method of doing by the press what the German printers of Patronendruck, or pattern-printing, had done by hand. His work is beautifully executed. The 'register,' or fit, of the notes on the lines is perfect; the ink is a fine black, and the whole effect is admirable. But the process was expensive, and was soon superseded by printing in one impression, which appears to have been first successfully accomplished by Pierre Haultin in 1525.1
13Petrucci printed no missals, service books, or other plain-song works; but masses, motets, lamentations and frottole, all in canto figurato, or measured music, and a few works in lute-tablature. (See Musica Mensurata; Tablature.) His first work was 'Harmonice musices odhecaton A.'—a collection of ninety-six pieces in three and four parts by Isaac, Josquin, Obrecht, Okeghem and other masters of the day, the parts printed opposite one another on the open pages of a small 4to. His activity was very great; Chrysander 2 gives a list of eighteen works certainly, and two probably, issued between June 12, 1501, and Nov. 28, 1504. The last work cited by Eitner (Bibliographie) is the 'Motetti della corona,' a collection of eighty-three motets for four, five and six voices (in separate partbooks) in four portions, the fourth portion of which was published at Fossombrone, Oct. 31, 1519. Fétis, however,3 mentions three masses, in large folio, printed for the lectern of a church, with the date 1523–25, and knocked down to an unknown buyer at a sale at Rome in 1829. These are now in the Sistine Chapel. His life and works are exhaustively treated by Anton Schmid, Ottaviano dei Petrucci, etc., Vienna, 1845.
15In the following list of Petrucci's publications, those in the British Museum are indicated by an asterisk, and those at Assisi, Bologna, Munich, Vienna, Rome, Berlin and Paris (Conservatoire) by the letters A., B., M., V., R., Ber. and P. (See also Libraries: Spain: Madrid and Seville).
17Harmonice musices odhecaton. A. Venice, 1501, May 14. (B. P.)
18Canti B, numero quinquanta. B. Venice, 1501, Feb. 5. (B. P.)
19Canti C, numero cento cinquanta. C. Venice, 1503, Feb. 10. (V. P.)
20Motetti A, numero trentatre. A. Venice, 1502, May 9. (B. unique.)
21Motetti B, B. Venice, 1503, May 10. (* B.)
22Motetti C. Venice, 1504, Sept. 15. (* imperf. B. M. V.)
23Motetti a 5. Lib. I. Venice, 1505, Nov. 28. (V. B. M. imperf.)
24Missae Josquin. Venice, 1502, Sept. 27. (Ber. unique.)
25Missarum Josquin. Lib. I. Venice, 1502, Dec. 57. (V. unique.)
26" " (Reprint.) Fossombrone, 1514, Mar. 1. (B. M. V. R.)
27" " (Reprint.) Fossombrone, 1516, May 29. (* unique.)
28" " Lib. II. Venice, 1503, Dec. 27. (V. A.)
29" " (Reprint.) Fossombrone, 1515, April 11. (* V. R.)
30" " Lib. III. Venice, 1503, Dec. 27. (V. unique.)
31" " (Reprint.) Fossombrone, Mar. 1, 1514 (*).
32" " (Reprint.) Fossombrone, 1516, May 29. (V. A.)
33Missae Obreth. Venice, 1503, Mar. 24. (M. V. Ber.)
34Missae Ghiselin. Venice, 1503, July 15. (V. A. Ber.)
35Missae Brumel. Venice, 1503, June 17. (V. Ber.)
36Missae Petri de la Rue. Venice, 1503, Oct. 31. (*A. B. V. R. Ber.)
37Missae Alexandri Agricoli. Venice, 1504, Mar. 23. (A. B. V. R. Ber.) (* imperf.)
38Missae de Orto. Venice, 1505, Mar. 22. (* imperf. M. V.)
39Missae Henri Izak. Venice, 1506, Oct. 20. (*B. V.)
40Missae Gaspar. Venice, 1506, Jan. 7. (* imperf. V.)
41Missae Antonii de Feuin. Fossombrone, 1515, Nov. 22. (*V.)
42Missarum Joannis Mouton Lib. I. Fossombrone, 1515, Aug. 11. (*V.)
43Missarum diversorum Lib. I. Venice, 1508, Mar. 15. (*M. B. V.)
44Fragmenta Missarum. Venice, 1505. (B. V. imperf.)
45(Reprint.) Venice, 1509. (V. unique.)
46Lamentationes Jeremiae. Lib. I. Venice, 1506, Apr. 8. (B. Padua, Cap. Ant.)
47Lamentationes Jeremiae. Lib. II. Venice, 1506, May 29. (B. unique.)
48Intabulatura de Lauto. Lib. I. Venice, 1507. (B. V.)
49" " Lib. II. Venice, 1507. (Ber. unique.)
50" " (Lib. III. caret.)
51" " Lib. IV. Venice, 1508. (V. unique.)
52Tenori e contrebassi intabulati. Lib. I. Venice, 1509. (V. unique.)6
53Frottole. Lib. I. Venice, 1504, Nov. 28. (Ber. M. V.)
54" " Lib. II. Venice, 1504, Jan. 8 (i.e. 1505). (M. V.)
55(Reprint.) Venice, 1507, Jan. 29. (Regensburg.)
56" " Lib. III. Venice, 1504, Feb. 6 (i.e. 1505). (M. V.)
57" " Lib. IV. Venice, 1505. (M.)
58" " Lib. V. Venice, 1505, Dec. 23. (M. V.)
59" " Lib. VI. Venice, 1505, Feb. 5 (i.e. 1506). (M. V.)
611 The method of printing by double impression—so as to obtain the stave lines continuous without the breaks inevitable in printing by a single impression—was patented by Scheurmann in 1856. (See Scheurmann.)
622 Mus. T., 1877, p. 325a.
633 Biog. univ. vii. 16a.
644 But see Vernarecci as to this date.
655 These two editions are unnoticed by Schmid.
666 A copy appeared in Marini's Catalogue X. (1909).
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