Petrucci's first publications (Odhecaton, Canti B, Canti C) are fully
in the tradition of the late franco-burgundian small choir-book
format (such as Paris Rès.Vmc. ms. 57 "Nivelle de la Chaussèe" or
Dijon 517) and their Italian and German relatives (Florence 2439
"Basevi Codex", Bologna Q 18, St. Gallen, Cod. Sang. 461, just to
name a few facsimile editions that happen to be within reach).
Petrucci was one of the last to use this format, certainly the only
publisher, and rather quickly changed over to the part-book format,
which, while being in some ways more practical (one doesn't have to
sit so bunched up as with the Odhecaton), certainly has it's
drawbacks, as any music historian mourning over the sole surviving
part-book of, say, Scheidt`s Ludi Musicali II can confirm. Which is
to say: Petrucci was Janus-faced; in his first publishing ventures
backward looking, later forward looking, but in both cases perfectly
in tune with the increasing demand of a growing number of the well-
to-do middle class for the music of his time.
EFF
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Habsburger Verlag Frankfurt (Dr. Fiedler)
[EMAIL PROTECTED]
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On 04.02.2006, at 01:25, Owain Sutton wrote:
Surely the fact that Petrucci part-books are completely different to
the layout of known contemporary performance sources is in itself
evidence that these may not have been used as such?
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