Etude progressive 53 schott fr res
Schott frères is a Belgian sheet music publishing house that began in 1823 as the Belgium branch of B. Schott's Söhne, currently named Schott Music GmbH & Co. KG. The age of Schott frères has five markers. It is:
Contents
- Etude progressive 53 schott fr res
- Etudes progressives schott fr res 49
- Three way distribution of B Schotts Shne in 1875
- Influence on Belgium music
- Related links
- References
Schott frères is one of three European music publishing firms bearing the name Schott, all of which became independent in 1875; the other two, as of 1980, are the same firm – Schott Music GmbH & Co KG based in Mainz. The three publishing houses – part of B. Schott's Söhne when they became independent in 1875 – were: (i) B. Schott's Söhne of Mainz, (ii) Schott and Co., Limited, of London, and (iii) Schott frères of Brussels. By way of partnership, the London firm became affiliated with the Mainz firm, but operated autonomously from 1914 to 1980, when Schott's Söhne of Mainz resumed control. The firms are often confused with one another because, in addition to sharing the Schott name, they distribute music for one another and share the publishing heritage from when the three were one.
The Belgian publishing house, as part of the firm B. Schott's Söhne, was opened in 1823 in Antwerp by two of Bernhard's four children, Johann Andreas Schott (1781–1840) and Johann Josef Schott (1782–1855). Peter Bernhard Schott (1821–1873), Johann Andreas' son, became managing director of the Antwerp branch, and in 1943, moved it to Brussels.
Etudes progressives schott fr res 49
Three-way distribution of B. Schott's Söhne in 1875
Franz Schott (1811–1874) – the oldest son of Johann Andreas Schott (1781–1840), who was the oldest son of Bernhard Schott – was the managing director and sole proprietor of B. Schott's Söhne from 1855 until his death. Franz's will stipulated that B. Schott's Söhne be distributed after the death of his wife, Betty de Braunrasch (1820–1875), as follows:
Influence on Belgium music
Schott frères and its Brussels predecessor, B. Schott's Söhne, played a critical role in defining a Belgian identity – a blend of Flemish and Belgian-French, both connected to the pure French school. Compositions were produced for chamber music, orchestras, military bands, Belgian royalty, churches, and music pedagogy, namely the Royal Conservatory of Brussels.