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 An Edition Peters title page of an old bound volume of Beethoven's piano sonatas. | |
| Founded | 1800 |
|---|---|
| Founder | Franz Anton Hoffmeister and Ambrosius Kühnel |
| Country of origin | Germany |
| Headquarters location | Leipzig |
| Publication types | sheet music |
| Official website | www |
Edition Peters is a classical music publisher founded in Leipzig, Germany in 1800.
The company came into being on 1 December 1800 when the Viennese composer Franz Anton Hoffmeister (1754–1812) and the local organist Ambrosius Kühnel (1770–1813) opened a concern in Leipzig known as the "Bureau de Musique." Along with publishing, the new firm included an engraving and printing works and a retail shop for selling printed music and instruments. Among its earliest publications were collections of chamber music works by Haydn and Mozart. When Hoffmeister departed for Vienna in 1805, the firm had already issued several works by the then new Viennese composer, Ludwig van Beethoven (Opp. 19–22; 39–42). Kühnel continued publishing new works, adding those of composers Daniel Gottlob Türk, Václav Tomášek, and Louis Spohr, all of whom went on to have a long relationship with the firm.[ citation needed ]
After Kühnel's death, the enterprise was sold to Carl Friedrich Peters (1779–1827), a Leipzig bookseller. Despite difficulties arising from the aftermath of the War of the Sixth Coalition and depression, Peters added new works by Weber, Hummel, Klengel, and Ries to the catalog along with his name (now "Bureau de Musique C. F. Peters") before his death. The next owner was a manufacturer, Carl Gotthelf Siegmund Böhme (1785–1855), who published many works of J. S. Bach after the revival of interest in his work with the assistance of Carl Czerny, Siegfried Dehn, Friedrich Konrad Griepenkerl and Moritz Hauptmann. Ownership of the company was transferred to a charity run by the City of Leipzig for a short period after Böhme's death (1855–1860).
The company was then sold to a Berlin music and book retailer, Julius Friedländer, on 21 April 1860. By 1863, Friedländer took on a partner, Dr. Max Abraham (1831–1900). Abraham employed many of the improvements to music printing that were introduced by the Leipzig engraver Gottlieb Röder, and launched the "Edition Peters" imprint in 1867. This series competed with Breitkopf & Härtel's similar Volksausgabe ("People's edition") series, launched at the same time. Two color schemes were used for the covers of this inexpensive series: a light green cover for works of earlier composers not affected by copyright restrictions; and pink covers for new, original works acquired by Peters or licensed from other publishers. By 1880, the year Abraham took over the directorship, Peters had begun issuing new works by contemporary composers of the era. By 1900, new works from composers including Brahms, Bruch, Grieg, Köhler, Moszkowski, Reger, Sinding and Wagner were included in the catalog.
Abraham's successor was his nephew, Henri Hinrichsen, who added works of Mahler, Pfitzner, Reger, Schoenberg, and Hugo Wolf. The works of Richard Strauss that were originally issued by Joseph Aibl (later Universal Edition) were acquired by Hinrichsen for Peters in 1932. Hinrichsen's sons Max (1901–1965), Walter (1907–1969), and Hans-Joachim (1909–1940) all entered the business in the 1930s.
Following the advent of the Nazi German government in Germany, Max Hinrichsen moved to London, where in 1938 he founded Hinrichsen Edition (renamed Edition Peters London in 1975), and his brother Walter moved to New York where he founded C. F. Peters Corp. (including the subsidiary Henmar Press) in 1948. [1] By 1940, the Nazi regime forced Henri and Hans-Joachim Hinrichsen to turn over the company to Johannes Petschull (1901–2001), who later established the Frankfurt company in 1950 in partnership with the Hinrichsen heirs Walter and Max Hinrichsen.
In spite of suffering a similar degree of damage as other Leipzig publishers from the Allied bombing of Germany during the war, the Leipzig facility was re-opened in 1947, and transferred to state ownership of the East German government by 1949. Its first director was Georg Hillner, who was succeeded by musicologist Bernd Pachnicke in 1969. During the communist era, Peters Leipzig issued contemporary works of composers including Paul Dessau and Hanns Eisler, along with those of Soviet composers including Khachaturian and Shostakovich in addition to a number of urtext editions of works by Beethoven, Chopin, Fauré, Mahler, Scriabin, Vivaldi and others. Since the late 1960s the publisher also developed an internationally performed new music line, with composers such as Friedrich Goldmann and Georg Katzer. Following German reunification in 1990, the Leipzig concern was absorbed by the Frankfurt firm, who had acquired the catalogues of M.P. Belaieff in 1971, Schwann in 1974 and C.F. Kahnt in 1989.
The Peters Edition Ltd. (London), the C.F. Peters Corporation (New York), the C.F. Peters Musikverlag (Frankfurt/Main) and the Leipzig firms of the Edition Peters merged in August 2010 to form Edition Peters Group. In July 2014, the headquarters was moved from Frankfurt back to Leipzig. [2] In 2023, Edition Peters was acquired by the Wise Music Group.
Universal Edition (UE) is an Austrian classical music publishing firm. Founded in 1901 in Vienna, it originally intended to provide the core classical works and educational works to the Austrian market. The firm soon expanded to become one of the most important publishers of modernist and contemporary classical music.
Johann Baptist Joseph Maximilian Reger was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, as a musical director at the Leipzig University Church, as a professor at the Royal Conservatory in Leipzig, and as a music director at the court of Duke Georg II of Saxe-Meiningen.
Franz Anton Hoffmeister was an Austrian composer and music publisher.
Max Friedlaender was a German bass singer, music editor, and musicologist. He specialized in German Lieder.
Max Abraham was a German music publisher.
Max Reger's 1915 Requiem, Op. 144b, is a late Romantic setting of Friedrich Hebbel's poem "Requiem" for alto or baritone solo, chorus and orchestra. It is Reger's last completed work for chorus and orchestra, dedicated in the autograph as Dem Andenken der im Kriege 1914/15 gefallenen deutschen Helden.
James Kwast was a Dutch-German pianist and renowned teacher of many other notable pianists. He was also a minor composer and editor.
Friedrich Hofmeister Musikverlag is a publisher of classical music, founded by Friedrich Hofmeister in Leipzig in 1807. Early listings included composers Ludwig van Beethoven, Frédéric Chopin and Franz Liszt. Hofmeister was the first to publish Mahler's Second Symphony. Pedagogical works, such as a Violinenschule of Hubert Ries (1841), are still in use. The company sells sheet music internationally, including Asia and America.
N. Simrock was a German music publisher founded by Nikolaus Simrock which published many 19th-century German classical music composers. It was acquired in 1929 by Anton Benjamin.
Johann Sebastian Bach: His Life, Art, and Work is an early 19th-century biography of Johann Sebastian Bach, written in German by Johann Nikolaus Forkel, and later translated by, among others, Charles Sanford Terry.
Zwei Choralphantasien, Op. 40, are fantasias for organ by Max Reger. He composed the fantasias in 1899 on two chorales: "Wie schön leucht't uns der Morgenstern" and "Straf mich nicht in deinem Zorn" They were published by Musikverlag Josef Aibl in Munich in May 1900.
Zwölf Stücke, Op. 65, is a group of twelve pieces for organ by Max Reger, composed in Munich in 1902. They were published by C. F. Peters in Leipzig in August of that year, in two books (Heft) of six pieces each.
Zwölf Stücke, Op. 80, is a group of twelve pieces for organ by Max Reger. He composed them in Munich in 1902 and 1904. They were published by C. F. Peters in Leipzig in September 1904.
Ein' feste Burg ist unser Gott, Op. 27, is a chorale fantasia for organ by Max Reger. He composed it in 1898 on Luther's hymn "Ein feste Burg ist unser Gott". The full title is Phantasie über den Choral "Ein' feste Burg ist unser Gott".
Martin Greif, born Friedrich Hermann Frey was a German freelance writer of poems and dramas which were performed at the Burgtheater in Vienna and the Bavarian Court Theatre in Munich. His texts inspired compositions by Alban Berg, Max Reger, Erna Schorlemmer, and Pauline Volkstein, among others.
"An die Hoffnung", Op. 124, is a Lied for alto or mezzo-soprano and orchestra by Max Reger, setting a poem by Friedrich Hölderlin. He composed it in Meiningen in 1912 and dedicated it to Anna Erler-Schnaudt, the singer of the first performance. It was published by Edition Peters the same year.
Henri Hinrichsen was a German music publisher and patron of music in Leipzig. He directed the music publishing house C. F. Peters, succeeding his uncle. He helped found the Hochschule für Frauen zu Leipzig, the first academy for women in Germany, and financed the acquisition of a collection of musical instruments by the University of Leipzig. He was murdered at the Auschwitz concentration camp.
Hella Maria Brock was a German music educator, musicologist, and an internationally known Edvard Grieg scholar. Brock was professor of music and English studies at the Leipzig University. She was president, and honorary president of the Grieg-Begegnungsstätte in Leipzig until her death in 2020.
Fritz Eberhardt Klemm was a German musicologist and journalist. He was one of the leading Hanns Eisler experts of the GDR.
Throughout the 18th century, the appreciation of Johann Sebastian Bach's music was mostly limited to distinguished connoisseurs. The 19th century started with publication of the first biography of the composer and ended with the completion of the publication of all of Bach's known works by the Bach Gesellschaft. A Bach Revival had started from Mendelssohn's performance of the St Matthew Passion in 1829. Soon after that performance, Bach started to become regarded as one of the greatest composers of all times, if not the greatest, a reputation he has retained ever since. A new extensive Bach biography was published in the second half of the 19th century.
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