Early Lithographed Music: A Study Based on the H. Baron Collection.
Krummel, D.W.
Michael Twyman is highly respected among printing historians for his
Lithography, 1800-1850 (London: Oxford University Press, 1970), and
Early Lithographed Books (London: Farrand Press and Private Libraries
Association, 1990), which has a chapter on "Music Method
Books." Early Lithographed Music further surveys both the printing
technology and the publishing record. It also includes a catalogue of
the music lithography collection assembled by the late London music
antiquarian, Hermann Baron, now at the University of Reading, whose
roughly twelve hundred items chronologically emphasize the first fifty
years following Alois Senefelder's invention of the process just
before 1800, and geographically tell of the proliferation across Europe.
Twyman fears that the collection may not document the main patterns. But
we will not know this until we have more such studies, catalogues to
tell us what there is, and analyses to tell us what to look for. There
may be nothing from the United States, and while this is too bad, the
blackface minstrelsy lithographs from New York around 1830 clearly
deserve their own study.
Lithographs were faster to print than engravings - the presswork was
simpler and the ink dried more quickly, although the printing surfaces
wore out more easily (a point well illustrated on pp. 198-99). The
images could also be conceived more flexibly (see, e.g., the range of
lettering styles on pp. 166-67). Underlaid text, for instance, could use
whatever lettering forms might be right for the intended singers -
roman, gothic, italic, or other, and any style of these.
The graphic ideal was still that determined by music engravers; after
all, they had learned over many years how music was read. Lithographed
notation is best when it looks as much as possible like engraved
notation, although it can also work well by resembling manuscript copies
(see pp. 40, 135). But lithographed clefs in particular, no matter how
painstakingly drawn, can never achieve the congruence of those in
engravings, while the hand-drawn note heads seem too often overly large
or overly long. Lithographed music can also look rather amateurish (I
cannot imagine musicians enjoying p. 158, although this particular music
may have been intended to be taught by rote; as for pp. 387-90, one can
argue that the editions in question were intended to amuse purchasers
rather than to be sight-read by performers). Display lettering on the
staff (as on p. 229) seems uncommon, probably not because musicians
might resent any poaching on their space but because engravers would
never think to do this. In time, of course, it was the fine detail of
the lithograph that prevailed, leaving Beatrice Warde to complain that
"the terrible perfections of lithography" had ruined the
musical page.
Twyman's perspectives are those not of musicology but of the
graphic arts. As his work honors the craftsman's eye and hand, the
study of the historical evidence of music becomes the richer. His points
are well illustrated with facsimiles from the Baron collection, and his
appendix on "Identifying Lithographed Music" (pp. 501-20) is
invaluable. His work is also groundbreaking: his topic, like so much of
the history of the music printing crafts, stands roughly where printing
in general stood in the sixteenth century, as a "black art,"
understood by a handful of respected artisans who described it to their
apprentices but never in print. Twyman is respected both as a craftsman
and as a historian of craftsmanship, and it shows in this sumptuous and
well-researched book.
D.W. KRUMMEL University, of Illinois, Urbana-Champaign