Music and Arts Librarian
Brief History
Major Phases (Dates approximate)
| Prior to 1500 | Manuscripts only |
| 1500-1830 | Variety of techniques: single-impression type, double-impression type, engraving, and etching. Hand press |
| 1830-1930 | Industrialization and mechanized press allows for mass-production. MANY prints and editions from this time |
| 1930-1980 | Photoduplication techniques lead to rise of reprints as well as use of music copyists rather than engravers |
| 1980- | Last engraving and typesetting shops shut down, adoption by all publishers of computer notation systems |
Engraving of music was the dominant form of publishing for centuries. For a look at this unique art, I recommend this page from Henle, one of the last publishers to stop hand engraving. Definitely watch the first video!
- Music Engraving (Henle)Includes two videos highlighting the art and technique of traditional music engraving.
Identification Numbers
Scores may be published with a variety of numbers:
Standard numbers are used on most modern publications, but not consistently. You may see:
| ISMN | Intl. Standard Music No. | M-1234-5678-9 | 10 digits, M+9 |
| ISMN / EAN | Intl. Standard Music No. | 979-0-1234-5678-9 | 13 digits, 9790+9 |
| ISBN | Intl. Standard Book No. | 0-1234-5678-9 | 10 digits, X allowed in last character |
| ISBN / EAN | Intl. Standard Book No. | 978-0-1234-5678-9 | 13 digits, 978+10 |
| UPC | Universal Product Code | 0-12345-67890-0 | 12 digits |
| EAN | European Article No. | 123-0-1234-5678-9 | 13 digits, unified in 2008 with ISMN and ISBN |
Before the use of standard numbers and barcodes, music publishers established their own ways to number scores. This was done primarily with a Plate Number and/or Publisher Number, and the practice continues today. There is no uniformity, even with the same publisher, but many times these are the best way to identify a score and its reprints.
Plate numbers are found at the bottom of each page of printed music. Publishers will often reprint using the same plates, so even a score that was recently published may be using the same 50 year old plates.
Publisher numbers can be found on the cover, title page, or near the copyright information. This may be the same or similar to the plate number, or completely different. Publishers still utilize these as it is an easier way to keep track of their catalog and refer to their items than ISMN. It also serves as a way to quickly differentiate two similar editions.
Sometimes you will find an additional number assigned by a distributor, usually on a sticker, and this can usually be ignored. They are simply a way to facilitate inventory tracking and sales, and don't indicate any difference in edition.
Publisher Guide
| Alphonse Leduc (Fr.) | Large Parisian publisher and main competitor of Durand-Salabert-Eschig. Represents many of the most important French composers of the past two centuries. During industry consolidation, acquired Hamelle, Heugel, and Bornemann, as well as a controlling stake in American publisher Robert King. Corrections and editorial revisions are nearly non-existent, with most works simply reprinted from the same decades old masters. Now part of conglomerate Wise Music Classical. |
| Bärenreiter (Ger.) | The giant of scholarly edition publishing began from a small press focused on contemporary composers and rose from the ashes of WWII, obtaining both the NBA and NMA contracts. Now the leading publisher of complete critical editions as well as performing off-prints. Continues to publish a small number of contemporary composers. |
| Bärenreiter Praha (Cz.) | The Prague branch of Bärenreiter was formerly the state-controlled publisher Supraphon. Nearly indistinguishable now from its German counterpart, but focusing on Czech and Slovak music with the same high editorial standards. |
| Billaudot (Fr.) | The smallest of the three major French publishing houses, yet the best in terms of production quality and editorial work. Represents 20th century composers as well as editing older French masterworks. |
| Boosey & Hawkes (UK) | Gained dominance in the early 20th century after a merger and rapidly grew by aggressively courting prominent composers such as Stravinsky, Copland, and Strauss, as well as purchasing rights from cash-strapped companies (Belaieff, Édition Russe, Universal Edition). Continues to actively publish works of contemporary composers recruited out of their London, New York, and Berlin offices. |
| Breitkopf & Härtel (Ger.) | The oldest music publisher still in operation, Breitkopf dominated the industry during the 19th century. With headquarters in both Leipzig and Weisbaden, the firm was split in two by the German divide following WWII and fell into disarray. Only since reunification have they begun to reclaim their standing. |
| Carus (Ger.) | Specialist in choral and vocal music with close ties to many of the German composer institutes. Originally cooperated with Bärenreiter in publishing scores based on their complete editions, but began offering competing editions following their acquisition of Hänssler. Well-researched and edited as well as being performer-friendly. Has an associated record label to promote their works. |
| CMBV (Fr.) | Centre de musique baroque de Versailles. Newer and well-regarded musicology press working on the French Baroque. Publishes a wide variety of vocal and instrumental work in high quality performing editions. |
| Doblinger (Aust.) | Major Viennese press representing modern Austrian composers as well as publishing the extensive series Diletto Musicale that features new editions of earlier music. Also administers the non-profit group Musikwissenschaftlicher Verlag (MWV). |
| Durand-Salabert-Eschig (Fr.) | A triumvirate of Parisian publishers that has banded together but continues to print under their individual brands and maintain separate catalogs. These three publishers represent the majority of French composers of the 19th and 20th century as well as foreigners such as Albéniz, de Falla, Szymanowski, and Villa-Lobos. Publishes some revised editions, but mostly reprints original versions with new covers. |
| Editio Musica Budapest (Hung.) | The former state press of Hungary. Continues to dominate the market and promote all Hungarian music from the Renaissance to the 20th century. Editions vary in quality, but most made after the early 90s are well-documented. |
| Hal Leonard (USA) | THE commercial music press. Owns publishing rights to nearly all pop, rock, and jazz standards as well as distribution rights for most European publishers. Has also published its own editions of major composers, but primarily as pedagogical material for young students. Good for Broadway, not for Bach. |
| Wilhelm Hansen (Den.) | The primary publisher of Denmark, Wilhelm Hansen represents Danish composers such as Carl Nielsen, as well as other major 20th century figures including some works of Sibelius and Poulenc. Now part of the conglomerate Wise Music Classical. |
| G. Henle (Ger.) | As musicology and performance practice changed in the late 40s, Günter Henle launched his business selling “Urtext” editions, a term that has no shortage of critics. Regardless of semantics, Henle has continued to produce the most exceptional editions with deep scholarship, beautiful engraving, and high production quality. |
| E.F. Kalmus (USA) | The infamous reprint publisher, Kalmus filled a vast need of American colleges and ensembles when the European distribution network fell apart during WWII. By reprinting authorized or public domain copies of works, Kalmus made themselves indispensable. Now with the ease of obtaining PD music through HathiTrust of IMSLP, they are trying to reinvent themselves by offering corrected and revised editions. |
| Novello (UK) | Major British press that made a name for itself by publishing major works from the Continent in English translation. Earlier editions are questionable, but in the past 30 years has increased both scholarship and production quality, particular in their work on Handel. Also represent a number of major British composers such as Arnold, Elgar, Holst, and Howells. Now part of conglomerate Wise Music Classical. |
| Edition Peters (Ger./USA) | Headquartered in Frankfurt, includes C.F. Peters, Hinrichsen, Kahnt, and Litolff. Similar to Breitkopf, Peters had a long history of publishing major works of German composers, but branched following WWII. C.F. Peters in New York contracted with the avant-garde, including Cage, Crumb, Feldman, and Wuorinen. The German and London branches continue to publish a vast catalog of varying quality. |
| Theodore Presser (USA) | Presser has had a strong place in US publishing through a series of acquisitions including John Church, Oliver Ditson, and Elkan-Vogel. They represent a large number of major American composers including Adler, Ives, Persichetti, Sessions, and Stucky. |
| PWM Edition (Pol.) | Polskie Wydawnictwo Muzyczne. The former state press of Poland. As with the other former Eastern Bloc states, it controls the rights to nearly all the country’s composers such as Górecki, Penderecki, Lutosławski, and Szymanowski. Also published historical works in well-researched editions as part of the series Monumenta Musica Polonia. |
| Ricordi (It.) | Casa Ricordi is the oldest and largest publisher in Italy. They maintain the catalogs of nearly all major Italian composers but has unfortunately struggled following the war and has changed hands four times in the past 20 years. Editorial work is good, but very slow, and distribution problems have caused some institutions, such as the Rossini Foundation, to seek other publishers. Thankfully, recent changes have resulted in vast improvements. Affiliated with Ricordi Berlin and Ricordi London. |
| G. Schirmer/AMP (USA) | Major partner in Wise Music Classical, and includes Associated Music Publishers. Together they represent a majority of American composers, acting as the heavier counterweight to Presser. Includes Adams, Barber, Carter, Harbison, Menotti, and Piston, among many others. Their other editions of European composers are widely used and available, but the quality is spotty at best, mostly being re-typeset versions of old editions with English translations. |
| Schott Musik (Ger.) | Another high quality German press, primarily publishing contemporary composers but also issuing performing editions of Baroque and Classical works from all regions. Represents Henze, Hindemith, Ligeti, Orff, and Schoenberg. Has expanded its scholarly work in the past decades with many major critical edition projects. |
| Sikorski (Ger.) | Following WWII, Sikorski took on many Soviet composers for Western distribution, including Shostakovich and Prokofiev. This has led them to a focus on modern composers from Eastern Europe and the former USSR. Normally does not produce new editions, but does have agreements to publish new editions prepared by institutions such as DSCH (Shostakovich Critical Edition). |
| Stainer & Bell (UK) | “Her Majesty’s Publisher” gained prominence in the mid-century with the publication of scholarly editions of the finest in British music dedicated to the Queen in series such as Musica Britannica and Early English Church Music. Also publishes a wide variety of vocal music and materials for Anglican services. |
| Universal Edition (Aust.) | Often referred to simply as UE, this Vienna powerhouse contracted with many of the composers now considered 20th century masters: Berg, Bartók, Boulez, Messiaen, Pärt, Webern, and others. Continues to publish contemporary works as well as revised editions of its vast catalog. Also includes the Wiener Urtext series of Classical/Romantic chamber music. |
| Ut Orpheus (It.) | A relatively new Italian publisher producing high-quality scholarly and performing editions of Italian music from the Renaissance to the Romantic periods. Has filled a void left by other Italian publishers. Highlights include a complete set of the Monteverdi madrigals and new editions of Italian chamber music. |
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Who Owns Whom??
The publishing industry has undergone massive consolidation, both recently and historically. Additionally, distribution agreements make it appear that certain publishers own others, when really it is simply a legacy from a different time.
The Soviet and former Eastern Bloc countries are especially difficult to sort out, given that companies were put under State control, and then some re-emerged after the change in governments.
It can be daunting trying to keep track of it all. I compiled the following for my own sanity and hope you will find it useful as well.
Information on publishers can be found on their individual websites, the Music Publishers Association, or the rights groups: ASCAP, BMI, and SESAC. IMSLP also has decent information about publishers and brief histories.
**For those especially detail-minded folks, not all of these are subsidiaries and imprints, some are partner companies, agents, etc., but it's simply easier to make one list**
| Alphonse Leduc | Wise Music Classical |
| Associated Music Publishers (AMP) | G. Schirmer / Wise Music Classical |
| Augener | Galaxy / ECS Publishing |
| Aureole | MorningStar / ECS Publishing |
| Belwin-Mills | Warner / Alfred |
| Birnamwood | MorningStar / ECS Publishing |
| Bournemann | Alphonse Leduc / Wise Music Classical |
| Casa Romero | Unión Musical Ediciones / Wise Music Classical |
| Chappell | Warner / Alfred |
| Chester Music | Wise Music Classical |
| John Church | Theodore Presser |
| Costallat | Alphonse Leduc / Wise Music Classical |
| Oliver Ditson | Theodore Presser |
| Durand-Salabert-Eschig | Universal Music Publishing Classical |
| Editio Musica Budapest | Universal Music Publishing Classical |
| Elkan-Vogel | Theodore Presser |
| Elkin & Co | Novello / Wise Music Classical |
| Eulenburg | Schott |
| Rob. Forberg | Ricordi / Universal Music Publishing Classical |
| Galaxy | ECS Publishing |
| H. W. Gray | Jubilate / Alfred |
| Hamelle | Alphonse Leduc / Wise Music Classical |
| Wilhelm Hansen | Wise Music Classical |
| T. B. Harms | Warner / Alfred |
| Heugel | Alphonse Leduc / Wise Music Classical |
| Highgate | Galaxy / ECS Publishing |
| Ione | E. C. Schirmer / ECS Publishing |
| P. I. Jurgenson |
Forberg / Ricordi / UMPC - or - Muzyka |
| Jubilate | Alfred |
| Kalmus Classic Series (independent of E.F.Kalmus) | Belwin-Mills / Alfred |
| Robert King (closed as of June 2018) | Alphonse Leduc / Wise Music Classical |
| E.B. Marks | Carlin America / Round Hill Music |
| Masters | Kalmus |
| Mercury | Theodore Presser |
| Merion | Theodore Presser |
| MorningStar | ECS Publishing |
| Novello | Wise Music Classical |
| Panton | Schott |
| Paterson's Publications | Novello / Wise Music Classical |
| Remick | Warner / Alfred |
| Ricordi | Universal Music Publishing Classical |
| E. C. Schirmer | ECS Publishing |
| G. Schirmer | Wise Music Classical |
| Supraphon | Bärenreiter Praha |
| Unión Musical Ediciones (UME) | Wise Music Classical |
| M. Witmark & Sons | Warner / Alfred |
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Publishers that specialize in reprinting older editions or putting primary sources into modern editions of varying quality. Some of the publishers also publish new editions as well as reprints, so it is important to distinguish what you are looking at. This list could go on and on, but these are the biggest names. Always take extra care to look at a publisher you aren't aware of. Many are very good, but an equal number are not.
| Dover | Reprints are of good quality, affordable, and normally contain information on the source as well as additional information such as foreign term glossaries, libretto translations, etc. |
| Garri Editions | Typesets manuscripts and prints available online, source research and comparison is essentially non-existent, "editors" have no scholarly credentials. Use with caution. |
| E.F. Kalmus | Reprints never mention their source, and identifying information such as plate numbers are often removed. Often reprinted as-is with no additional information or corrections. |
| Musikproduction Höflich | A newer company, similar to Dover but focused on obscure repertoire not available in modern edition. Reprints are clean, contain source information, and a scholarly preface. |
| Petrucci Press | Takes music on IMSLP, cleans up the scans, and prints them on high quality paper. There are MANY companies out there doing this, and the names change all the time. |
| Prima la musica! | Primarily typesetting online sources in modern edition. Scholarship and quality varies greatly depending on the piece and the individual editor. |