The appearance of numerous organ books after Nivers’s extensive 1665 Livre d’orgue was an extraordinary phenomenon, and Jon Baxendale scrutinises this by looking closely at the composer-and-engraver relationships, and the methods and business concerns of the engravers. A rich music-industrial terrain is mapped out, not least in terms of legalities. The supporting notes and comprehensive concluding table consolidate this study as an important reference work.

This article first appeared in the RCO Journal for 2024.

This content is available free of charge to College members.

To find out more about joining RCO, please click here.

Non-members with an iRCO guest account can view this content with a one-off payment of £2.49. Please enter your details below to begin the secure payment process.