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Zecca Laterza showed how the archives can be used to document and identify the many music copyists who worked with and for Marescalchi in the late eighteenth century and afterwards following his return from exile in France in the early nineteenth century.
The most valuable scores within the Gustav Holst Collection are the fourteen music copyist scores, published by Stainer & Bell between 1919 and 1921.
The music copyist includes the following inscription on the recto side of the third flyleaf: "A Collection of Airs; / Cosisting [sic] of / Overtures, Preludes, Chacones, / Sarabands, Marches, Trumpet Tunes, / Song Tunes, Slow Airs, Minuets, Grounds, Rondeaus, / Jiggs, Dances, & other Act Tunes; / Composed by Henry Purcell, for the Theatres: / Being the Instrumental Music in Score, to the following Operas, & plays: / .
Nothing similar to Nigito's discussion of late-seventeenth-century music copyists has been published since Owen Jander's presentation of the Stradella copyists in 1969, in volume 4 of the Wellesley Edition Cantata Index Series (Alessandro Stradella, 1644-1682 [Wellesley, MA: Wellesley College, 1969]).
Those who had to leave the orchestra for lack of musical skill became arrangers and music copyists.
The first session entitled Research on Music Copyists from the eighteenth and nineteenth Centuries took place on Monday June 28th.