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77-691: John Playford (1623–1686) was a London bookseller, publisher, minor composer and member of the Stationers' Company . He published books on music theory, instruction books for several instruments and psalters with tunes for singing in churches. He is perhaps best known today for his publication of The English Dancing Master in 1651. Playford was born in Norwich , the younger son of John Playford. He served an apprenticeship in London with publisher John Benson from 1639/40 to 1647, after which he remained in

154-679: A house in Arundel Street 'near the Thames side, the lower end, over against the George.' He suffered from a long illness in that year, and retired, leaving the main running of the business to his son Henry Playford (see below). He brought out, in his own name, a collection of catches in 1685; The Dancing Master of 1686 was the last work for which he was responsible. He apparently died in Arundel Street about November 1686. His will

231-603: A monopoly over the publishing industry and was officially responsible for setting and enforcing regulations until the enactment of the Statute of Anne , also known as the Copyright Act 1710. Once the company received its charter, "the company's role was to regulate and discipline the industry, define proper conduct and maintain its own corporate privileges." The company members, including master, wardens, assistants, liverymen, freemen and apprentices are mostly involved with

308-536: A penny a piece, a practice 'which hindered good collections.' In 1703 Playford invited subscriptions to the 'Monthly Collections of Music' to be sent to his house in Arundel Street, The Strand , 'over against the Blue Ball.' From 1703 to 1707 he also seems to have engaged in selling prints, paintings, 'and other adornments.' In 1706, his warehouse was a room 'up one pair of stairs next the Queen's Head Tavern over against

385-538: A readjustment of clefs. Playford's printers were: Thomas Harper, 1648–1652; William Godbid, 1658–1678; Ann Godbid and her partner John Playford the younger , 1679–1683; John Playford alone, 1684-1685. By 1665 Playford and his wife moved from the Temple to a large house opposite Islington Church, where Mrs. Playford kept a boarding-school until her death in October 1679. By November 1680, Playford had established himself in

462-451: A running page header "Canons in the unison", but the sections are headed "rounds or catches of 3 (&c) voices". Deuteromelia introduces part-songs labelled as "Freemens songs". Melismata divides the contents into City Rounds and Country Rounds as contrasted with part-songs labelled Court varieties, City Conceits and Country pastimes. The Ravenscroft catches have no identified composers save for two that are known to be by Lassus . There

539-554: A specified number of repeats or when the leader gives a signal. A catch does not necessarily require the lines of lyrics to interact so that a word or phrase is produced from one part in the rests of another. This view became prevalent in the later part of the eighteenth century under the influence of the competitions sponsored by the Noblemen and Gentlemen's Catch Club. Catches were originally written out at length as one continuous melody, and not in score. The change to printing in score

616-493: A succinct verse well matched to suitably harmonised and polyphonic music. Names quoted include the prolific Donald Sosin (US) and Uitdenbogerd The catch technique has also migrated into other fields: Dashboard Confessional used a catch in the chorus of the song "Hold On" from the album The Swiss Army Romance . The Art of the Ground Round by P. D. Q. Bach uses several catches. One format which became popular later in

693-463: A text or "copy" by having it approved by the company, no other member was entitled to publish it, that is, no one else had the "right to copy" it. This is the origin of the term " copyright ". However, this original "right to copy" in England was different from the modern conception of copyright. The stationers' "copy right" was a protection granted to the printers of a book; "copyright" introduced with

770-810: A young person under 40 years of age who has distinguished themself within the company's trades. Launched in 2014, the prize is a pewter plate (donated by the Worshipful Company of Pewterers ) onto which each winner's name is engraved. As of December 2019 there have been seven winners of the Young Stationers' Prize: Katie Glass, journalist, 2014; Angela Clarke , novelist, playwright, and columnist, 2015; Ella Kahn and Bryony Woods, founders of Diamond Kahn & Woods Literary Agency (awarded jointly), 2016; Ian Buckley, managing director of Prima Software, 2017; Shane Tilton , academic and professor of multimedia journalism, 2018; Amy Hutchinson, CEO of

847-641: Is Verbum Domini manet in aeternum , Latin for "The Word of the Lord endures forever;" which appears on their heraldic charge . In November 2020 Stationers' Hall the home of the Stationers' Company were granted approval to redevelop their Grade 1 listed building to bring modern day conference facilities, air-cooling and step free access to its historic rooms. It reopened in July 2022 for live events, weddings, and filming. The modern Stationers' Company represents

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924-472: Is a table of "catches and rounds in this book", followed by "a table of the Sacred Hymns and Canons"; however, none of the first section is specifically described as catch or round. In the last section the canons are described as such, and the few "hymns" in three parts have no description; in fact unlike the catches and canons they are very much older than the rest of the contents which had been written in

1001-444: Is no evident distinction between rounds and catches and no set terminology for part-songs. Though the catches are generally short, one or two take a whole page to print (four parts of 13 bars), and subject matter is varied, including pastoral, descriptive and devotional items, and none that might be described as bawdy. John Hilton 's Catch That Catch Can is described as "A choice collection of Catches rounds and canons". Inside there

1078-602: The Archbishop of Canterbury , depending on the severity of the transgression. Thus the Stationers played an important role in the culture of England as it evolved through the intensely turbulent decades of the Protestant Reformation and toward the English Civil War . The Stationers' Charter, which codified its monopoly on book production, ensured that once a member had asserted ownership of

1155-521: The Copyright Act 1709 , the first such act to establish copyright as the purview of authors, not printers or publishers. In 1861, the company established the Stationers' Company's School at Bolt Court, Fleet Street for the education of sons of members of the Company. In 1894, the school moved to Hornsey in north London, eventually closing nearly a century later in 1983. Registration under

1232-593: The Copyright Act 1911 ended in December 1923; the company then established a voluntary register in which copyrights could be recorded to provide printed proof of ownership in case of disputes. In 1937, a royal charter amalgamated the Stationers' Company and the Newspaper Makers' Company, which had been founded six years earlier (and whose members were predominant in Fleet Street ), into the company of

1309-406: The Statute of Anne , or the Copyright Act of 1710, was a right granted to the author(s) of a book based on statutory law. Members of the company could, and mostly did, document their ownership of copyright in a work by entering it in the "entry book of copies" or the Stationers' Company Register . The Register of the Stationers' Company thus became one of the most essential documentary records in

1386-550: The "content and communications" industries within the City of London Liveries. This includes the following trades and specialisms: Stationers' Hall is at Ave Maria Lane near Ludgate Hill . The site of the present hall was formerly the site of Abergavenny House, which was purchased by the Stationers in 1606 for £3,500, but destroyed in the Great Fire of London , 1666. The current building and hall date from circa 1670. The hall

1463-533: The 1670s, glees had not been especially encouraged until the Catch Club started to award prizes. Their encouragement eventually led to the formation of further clubs explicitly devoted to glees, starting in 1783 with the Glee Club and another at Harrow School in 1787. On the whole the glees stimulated by the prizes started with a clearly pastoral or abstract content and developed a style which separates them from

1540-499: The 20th century exploited rests at the ends of lines. Probably the most widely known of these is "Liverpool Street Station", beginning, "The girl that I love has given me the shove \\ She says I am too low for her station".. An alternative approach picks out individual syllables from an unrelated text as illustrated by Donald Sosin’s catch, "We Took Off Our Ugly Clothes," devoted to the University of Michigan Men's Glee Club, in which

1617-579: The 47th in city livery company precedence. At the time, it was based at Peter's College, which it bought from St Paul's Cathedral . During the Tudor and Stuart periods, the Stationers were legally empowered to seize "offending books" that violated the standards of content set down by the Church and state; its officers could bring "offenders" before ecclesiastical authorities, usually the Bishop of London or

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1694-474: The BOSS Federation, 2019. 51°30′51″N 0°06′05″W  /  51.51425°N 0.10147°W  / 51.51425; -0.10147 Catch (music) In early collections the terms "catch" and "round" were interchangeable and, with part-songs and multi-voice canons, were all indexed as "songs". The catch and round differ from the canon in having a cadence on which the song can terminate after

1771-626: The Commonwealth and Catch singing was much practised by displaced choirmen; and so the Playfords encouraged the formation of more catch clubs to buy and sing their music. After the Restoration a new generation of composers included Henry Aldrich , John Blow and Michael Wise , who were employed by the church; and Henry Purcell and John Eccles , whose later work was in the newly revived theatres. Examples include Purcell ("A catch upon

1848-760: The Company/English Stock was elected annually in March along with the Stockeepers, and again, was often held by the same person for years. The master oversaw Company "courts", meetings of the Assistants and sometimes the Livery and wider membership where Company business was discussed and resolved. These courts were usually held monthly but could be held more or less frequently. Although official company positions were historically always held by men until

1925-621: The Lant Collection copied around 1580 and containing 57 catches and rounds. This was followed by the first printed collections edited by Thomas Ravenscroft , which include most of the Lant pieces and most of those in the Melvil collection. Taking all three sources together this amounts to about 145 catches or rounds with a few part-songs. The contents list in all three Ravenscroft publications refer to "the songs in this book". Pammelia has

2002-574: The Middle Temple Gate.' His name appears on the fifth edition of ' The Pleasant Musical Companion,' dated 1707, but as a rule these publications were antedated; and his name does not occur again in advertisements or on title-pages. He died between 1706 and 1721, when his will was proved. He left a legacy to Henry Purcell, and the bulk of his property to his wife Ann (née Baker - daughter of Thomas Baker of Oxford), whom he had married in December 1688. The music printer and stationer John Playford

2079-548: The President after supper; it was later supplied with alternative lyrics and became more widely known as " The Star-Spangled Banner ". Samuel Webbe won 27 prizes and was especially known as a glee composer, becoming Librarian of the Glee Club at its formation and later Secretary of the Catch Club. It is said that he developed a style which is regarded as the essence of the glee. So, though the City Glee Club dates from

2156-589: The Tudor/Stuart regime. Works were often printed surreptitiously and illegally, and this would remain a subject of interest to both the Company and the government into the modern period. In 1603, the Stationers formed the English Stock, a joint stock publishing company funded by shares held by members of the company. This profitable venture gave the Company a monopoly on printing certain types of works, including almanacs, prayer-books, and primers, some of

2233-593: The Warren Collection. Some are anonymous, which accords with the Club's submission rules, though in most cases Warren has supplied a composer. Gladstone writes (p. 41) that "The worst of the literature set to music was either destroyed or suppressed...Catches were still written but not to objectionable words." Nevertheless, catches had from early times exploited the gaps revealed by rests to reveal hidden meanings from other lines, usually with amusing intent. In

2310-464: The best-selling works of the day. By buying and holding shares in the English Stock (which were limited in number), members of the company received a nearly guaranteed return each year. The English Stock at times employed out-of-work printers, and disbursed some of the profit to the poor and to those reliant on the Company's pensions. When a printer or bookseller who held a share died, it might often pass to another relation, most often his widow. In 1606,

2387-512: The business alone. His last work for his uncle was the seventh edition of The Dancing Master , dated 1686; he printed only one of Henry's publications, The Theatre of Musick , 1685. He died in that year, and was buried in Great Stanmore church. Playford left his property to his mother Eleanor, and to his two sisters, Anne (wife of William Killigrew), and Eleanor (who afterwards married William Walker). The printing-house (and dwelling house)

John Playford - Misplaced Pages Continue

2464-445: The business of music publishing in England. His shop was the meeting-place of musical enthusiasts; Samuel Pepys was a frequent customer. Bookseller, publisher, and member of the Stationers' Company , Playford published books on music theory, instruction books for several instruments, and psalters with tunes for singing in churches. He is perhaps best known today for his publication of The English Dancing Master in 1651, during

2541-490: The capital, opening a shop in the porch of Temple Church . Playford was clerk to the church, and probably resided with his wife Hannah over the shop until 1659. He was, it appears (from the title-pages of his publications) temporarily in partnership with John Benson in 1652, and with Zachariah Watkins in 1664 and 1665. Under the Commonwealth (1649–60), and for some years of Charles II 's reign, Playford almost monopolised

2618-769: The church. Subject matter of the catches continued as before but began to reflect theatrical work in the way that Purcell had done. Various continental composers wrote in a similar vein, but all called their work canons. The most prolific was Michael Haydn , whose work remained unpublished until very recently. He encouraged his neighbours in Salzburg , the Mozarts, to sing and write canons, and several by Wolfgang are extant, including two MS originals in BL. Likewise Michael's brother Joseph wrote some amusing pieces including Crab Canons that can be sung upside down (and thus back to front) at

2695-493: The company bought Abergavenny House in Ave Maria Lane and moved out of Peter's College. The new hall burnt down in the Great Fire of 1666, along with most of its contents, including a great number of books. The Company's clerk, George Tokefeild, is said to have removed a great number of the Company's records to his home in the suburbs—without this act, much of the Company's history before 1666 would have been lost. It

2772-541: The compositions before a selection committee, so this became very expensive. Callcott's popular catch "Sir John Hawkins' History of Music" [2] ridiculed Sir John Hawkins ' work by comparison with a similarly intended work by Charles Burney . John Stafford Smith won six prizes from 1773. His output was mostly glees, but his song " To Anacreon in Heaven " was written for the Anacreontic Society and sung by

2849-553: The earlier part-songs published in catch collections. Many other clubs existed under a variety of titles, including the Hibernian Catch Club (Dublin, late C17 and still extant), harmonic societies, Anacreontic societies and so forth. The Canterbury Catch Club (1779 to 1865) has resurfaced as a website with transcripts and recordings of a selection of catches and glees from the archives left in Canterbury . Possibly

2926-474: The early eighteenth century, as other forms of music became more popular. Less significant figures such as Richard Brown and John Church helped to bridge the gap into the new century, but it was Maurice Greene who dominated this period, despite the presence of opera composers such as Handel and Bononcini . Greene became Master of the King's music when Eccles died (1735), and he changed the way in which catch music

3003-583: The end of their tails, the last note of the group retaining in the early examples the characteristic up-stroke. Hawkins observes that the Dutch printers were the first to follow the lead in this detail. In 1665 he caused every semibreve to be barred in the dance tunes; in 1672 he began engraving on copper plates. Generally, however, Playford clung to old methods; he recommended the use of lute tablature to ordinary violin players; and he resisted, in an earnest letter of remonstrance (1673), Thomas Salmon 's proposals for

3080-464: The extent that many began to believe that this is the essence of the catch. Of the many composers associated with the Catch Club, three stand out. John Wall Callcott submitted his first glee at the age of 18 and the following year, 1784, carried off three of the prizes, and was a frequent prize-winner until their abolition in 1794. He may well have assisted in their abolition by submitting nearly 100 compositions in one year. Singers were hired to try out

3157-477: The first half of the seventeenth century. The contributors were generally church musicians such as Hilton himself, Nelham and Holmes, or court composers such as the Lawes brothers, Henry and William , and Simon Ives . There is evidence that the catches were sung by the composers and their friends in off-duty hours, especially the taverns and ale houses around Parliament Square . The subject matter includes more in

John Playford - Misplaced Pages Continue

3234-406: The first part continues from 1663 with the usual updates and omissions. The second part is headed simply The Musical Companion and contains part-songs and may be the first use of " glee " in this sense, and certainly seems to have established a general outline of use for some time. Playford, with his son Henry , dominated music publishing until the end of the century. Music meetings had begun during

3311-530: The first volume of the Collection is an epitaph by Giardini (p. 29) which exploits the division of syllables "in a count-ry churchyard" in this way, so perhaps members reading the lyrics, and not the music, did not find them objectionable. This seems to have set the tone for a revival of this style of catch since there are many more in this vein. Similarly, glees had not been especially singled out before this period, and their encouragement eventually led to

3388-533: The following collections: Catch ... or the Musical Companion , 1667; Choice Songs , 1673; Cantica Sacra , 1674; The Whole Book of Psalms and The Harmonicon . After Playford's death, his only surviving son, Henry Playford (5 May 1657 - 1706?), carried on the business at the shop near the Temple Church. In partnership with Robert Carr, Henry published three books of 'The Theatre of Musick;'

3465-458: The formation of clubs explicitly devoted to glees, starting in 1787 with the Glee Club in London and another at Harrow School . On the whole the glees stimulated by the prizes started with a clearly pastoral or abstract content and developed a style which separates them from the earlier part-songs published in catch collections. Catches on the other hand increasingly exploited the gaps revealed by rests which reveal hidden meanings from other lines, to

3542-473: The fourth book and his other publications appeared independently of Carr. In 1694, he sold his copyright in 'The Dancing Master' to printer, John Heptinstall. From 1696 to 1703, Playford traded in the "Temple Exchange" 'over against St. Dunstan's Church in Fleet Street .' He employed as printers, John Playford the younger, 1685; Charles Peregrine, 1687; E. Jones, 1687, 1696; John Heptinstall, 1696; and William Pearson, 1698. Around 1701 he instituted weekly clubs for

3619-551: The glee as previously known was overshadowed. Unlike the glee clubs founded in the United States, there seem to be few clubs founded in the 20th century specifically for singing catches. The only known exceptions are The Aldrich Catch Club (London 1954) and the Catch Society of America . [more information needed] On the other hand, the extension of musical education and easier methods of dissemination, especially

3696-475: The interests (strategic, educational, training and charitable) of the industries associated with the company. In 1403, the Corporation of London approved the formation of a guild of stationers . At this time, the occupations considered stationers for the purposes of the guild were text writers, limners (illuminators), bookbinders or booksellers who worked at a fixed location ( stationarius ) beside

3773-400: The internet, have revealed an active community of people writing canons and rounds. Perhaps a drawback is that many of the older rounds and catches so disseminated have become detached from their origins and composers, though they can be re-connected as time goes by. Nevertheless, comparison of newer materials with 17th and 18th century catches reveal the difficulty, as in epigrams , of choosing

3850-478: The last to stagger on into the 20th century was the Round Catch and Canon Club (London 1843–1911). By the nineteenth century the Noblemen and Gentlemen's Catch Club sang few catches, and its repertoire consisted largely of glees sung by professional members. This was true elsewhere, and choral societies began to absorb the interests of amateur musicians. There was a revival of interest in madrigals so that even

3927-542: The later study of English Renaissance theatre . (In 1606 the Master of the Revels , who was responsible until this time for licensing plays for performance, acquired some overlapping authority over licensing them for publication as well; but the Stationers' Register remained a crucial and authoritative source of information after that date too.) Enforcement of such rules was always a challenge, in this area as in other aspects of

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4004-544: The light heels and brains of this nimble and wanton age,' and he therefore ventured to 'new string the harp of David' by issuing fresh editions of his 'Skill of Music,' with music for church service, in 1674, and, in 1677, 'The Whole Book of Psalms' in which he gave for the first time the church tunes to the cantus part. In typographical technique Playford's most original improvement was the invention in 1658 of 'the new-ty'd note.' These were quavers or semiquavers connected in pairs or series by one or two horizontal strokes at

4081-422: The modern visual and graphic communications industries that have evolved from the company's original trades. These include printing, paper-making, packaging, office products, engineering, advertising, design, photography, film and video production, publishing of books, newspapers and periodicals and digital media. The company's principal purpose nowadays is to provide an independent forum where its members can advance

4158-477: The more rowdy characters drinking and singing catches late at night, of which one is said to begin "Hold thy peace, thou knave." John Playford who published Hilton's collection continued to do so after Hilton's death (1656) with further versions of Catch that Catch Can in 1658 and 1663 with some omissions and replacements. This changed in 1667 when he included a much larger "second book containing dialogues glees , ayres & ballads ". The list of catches in

4235-564: The period of the Puritan-dominated Commonwealth (later editions were known as 'The Dancing Master'). This work contains both the music and instructions for English country dances . This came about after Playford, working as an English Civil War correspondent, was captured by Cromwell 's men and told that, if he valued his freedom (as a sympathiser with the King), he might consider a change of career. Although many of

4312-494: The practice of music, which flourished in Oxford as well as in London. Playford, in order to meet competition from purveyors of cheap music, established, in 1699, a music concert to be held three evenings in the week at a coffee house. Here his music was to be sold, and might be heard at the request of any prospective purchaser. He complained of the expense of good-quality paper, and of the scandalous abuse of selling single songs at

4389-559: The present name. In March 2012, the company established the "Young Stationers", to provide a forum for young people (under the age of 40) within the company and the civic City of London more broadly. This led to the establishment of the Young Stationers' Prize in 2014, which recognises outstanding achievements within the company's trades. Prize winners have included novelist Angela Clarke , journalist Katie Glass, and professor of journalism Dr Shane Tilton . The company's motto

4466-444: The publications discussed so far have a basic similarity in their printed appearance. Thomas Cross regularised an engraving system, and the commercial advantages were seen by John Walsh from the beginnings of his business in 1695. From there Walsh dominated music publishing through the first half of the 18th century. Further, the new method was cheaper and quicker, so publications diversified and increased in number. Though Walsh preferred

4543-542: The same time as forwards. Some surprisingly jocular pieces exist from the hand of Ludwig van Beethoven , all of which have been published. Even so, the idea of a group meeting regularly seems not to have taken root as it did in Britain. An event which changed matters substantially in England was the formation of the Noblemen and Gentlemen's Catch Club in 1761, and especially its decision to award prizes. Notwithstanding its name, glees featured strongly in its repertoire from

4620-528: The score were to indicate a part song. The earliest secular round is the thirteenth century " Sumer is icumen in ". Other early survivals are in manuscripts devoted to topics other than music, and though there may well have been many more over the years, few survived. The first major collection is in the Henry VIII manuscript dated about 1515; but they are really courtly art-songs and too complex to be sung informally. The current catch repertoire dates from

4697-488: The sort of anthology published in the previous century, it gradually became more common to see single-composer collections. Those anthologies that appeared usually also included glees, printed in score as compared with the separate parts which prevailed for example in 1667. With increasing prosperity more music was printed and, though plates were initially more expensive to engrave, it was their re-use in new anthologies which kept costs down. Even so, catches seem less popular in

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4774-513: The start, as they did for most clubs of the period. Nevertheless, the award of prizes may have altered the balance. In 1762 prizes were awarded for catch, canon, serious glee, and cheerful glee. In 1768 Italian catch was added, and later we find ode , canzonet , and madrigal as well as the more frequent glee and catch. The first secretary of the Club was Thomas Warren (later Warren-Horne after an inheritance) who published an annual collection of catches and glees from 1762 to 1793, generally known as

4851-511: The time the Company was first granted a charter in 1556 to the present day. As with most London livery companies, the Master of the Company was elected yearly, along with the Wardens. For the Stationers, this election day always took place in late June, the day before St. Peter's Day (June 29). Thus, a Master's term would run effectively from July to July. The dates below reflect the year a Master

4928-426: The tunes in the book are attributed to him today, he probably did not write any of them. Most were popular melodies that had existed for years. During the Restoration period, on the other hand, he endeavoured to encourage serious tastes. In 1662 he dedicated the 'Cantica Sacra' to Queen Henrietta Maria . He regretfully observed in 1666 that 'all solemn musick was much laid aside, being esteemed too heavy and dull for

5005-400: The twentieth century, women have always participated meaningfully in the life of the Company, at certain times even holding a controlling interest in the Company's joint stock venture, known as the English Stock. The first woman elected master was Helen Esmonde, who held the position in 2015. The "Young Stationers' Prize" is an annual prize awarded by the Young Stationers' Committee to

5082-607: The viol" ), Wise ("A catch upon the midnight cats" ); and Eccles ("My man John" ). The biggest change in subject matter was politics, sometimes explicitly and at others hidden deep in allegory and allusion, especially in the 1680s. This accounted for the largest number of catches circulated anonymously in MS (to avoid arrest) though some were openly party propaganda. New habits were also covered; smoking (Aldrich) and congested water travel (Isaak), though conviviality (wine, women and song) accounted for an even greater share than before. Purcell

5159-423: The walls of St Paul's Cathedral. Booksellers sold manuscript books, or copies thereof produced by their respective firms for retail; they also sold writing materials. Illuminators illustrated and decorated manuscripts. Printing gradually displaced manuscript production so that, by the time the guild received a royal charter of incorporation on 4 May 1557, it had in effect become a printers' guild. In 1559, it became

5236-622: The way of street cries and conviviality than in the Ravenscroft catches, and 37 (of 138) are devotional hymns and canons, only a few of which are in Latin. "Here dwells a pretty maid" by Cranford, another church musician, is the sort of minority contribution that made some nineteenth commentators consider all catches to be bawdy; it is said that a soldier singing this three-part catch (alone?) was heard by Cromwell and hauled before his colonel. Shakespeare 's play Twelfth Night features some of

5313-522: The younger (1656–1686), nephew of John Playford the elder, entered in 1679 into partnership with Ann, the widow of William Godbid, in the printing-house at Little Britain , 'the ancient and only printing-house in England for variety of musick and workmen that understand it.' It was also the chief printing-house for setting up mathematical works. Playford's firm printed the sixth edition of The Dancing Master in 1679, and other musical publications. In 1684, Mrs. Godbid's name disappeared, and Playford continued

5390-514: Was advertised for sale in the London Gazette of 6 May 1686. Stationers Company The Worshipful Company of Stationers and Newspaper Makers (until 1937 the Worshipful Company of Stationers ), usually known as the Stationers' Company , is one of the livery companies of the City of London . The Stationers' Company was formed in 1403; it received a royal charter in 1557. It held

5467-451: Was elected and began a term of service. Upper and Under Wardens were elected at the same time, while Renter Wardens (those two wardens charged with collecting dues from members of the Company annually) were chosen for the following year in March, on or around Lady Day . The roles of Beadle and Clerk were likewise elected positions, filled whenever they came open, but were often held by the same members for years or even decades. The Treasurer of

5544-404: Was first made in the early eighteenth century, and this is now the normal method of presentation. In the score for a catch the different voices are usually labelled "1", "2", "3", etc. This indicates that voice "1" sings its part first and continues to part 2. When part 1 has been completed it is sung by voice "2" and so on. A common mistake in performance is for all parts to start together as though

5621-532: Was presented. Hitherto it had been written in a continuous line, but Greene had it printed in score. Moreover, he published only his own catches, a practice followed by Hayes and others. William Hayes was representative of a larger group of composers born in the early part of the century, many still employed by the church but increasingly in the theatre or pleasure gardens. This included Arne , Baildon, Boyce , and Nares , and immigrant musicians such as Marella, Lampe , Berg and Festing , who worked entirely outside

5698-417: Was probably the most prolific contributor with 53 catches to his name including two that are bawdy and many more wrongly attributed to him, most of which are bawdy. John Playford retired in 1684, and his place was taken initially by Henry Playford working with Richard Carr, but they were overtaken by new technology. Hitherto there had been little change in music printing since the mid sixteenth century; all of

5775-444: Was rebuilt by 1674, and its present interior is much as it was when it reopened. The Court Room was added in 1748, and in 1800 the external façade was remodelled to its present form. In 1695, the monopoly power of the Stationers' Company was diminished by the lapsing of their monopoly on printing, allowing presses to operate more freely outside of London than they had previously. This blow was compounded when in 1710 Parliament passed

5852-574: Was remodelled in 1800 by the architect Robert Mylne and, on 4 January 1950, it was designated a Grade I listed building . Stationers' Hall hosts the Shine School Media Awards, where students compete in the creation of websites and magazines. Below are lists of officials who either sat on the Stationer's Company Court of Assistants, or who worked for the Company in another official capacity (Beadle, Treasurer, and Clerk) from

5929-583: Was written on 5 November 1686, neither signed nor witnessed, and only proved in August 1694, the handwriting being identified by witnesses. He was probably buried in the Temple Church as he desired, although the registers do not record his name. Henry Purcell and John Blow attended the funeral. Several elegies upon his death were published; one written by Nahum Tate , and set to music by Purcell, appeared in 1687. Playford's original compositions were few and slight, and included some vocal and instrumental pieces in

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