Summary: Simone Verovio was the first printer to produce a substantial number of musical prints using engraved copper plates. This intaglio printing technique not only allowed him to print on demand, but also to combine different kinds of notation on one page opening: voice parts with corresponding harpsichord and lute intabulations. This detailed comparison of intaglio and relief printing techniques in the editions associated with Verovio sheds light on the production of sheet music around 1600 and the comparison of the vocal and instrumental parts provides ground-breaking insights into historical performance practice

Contents: PRINTING AND PRINT - Printing techniques - Introduction - The printing process: relief versus intaglio - Engraved 'editions' - The dating of engravings - The costs of publishing engravings - Conclusions on the differences ; Music engraving - Engraving in Rome - History of music engraving - The prints associated with Verovio - Music engraving after Verovio ; Anomalies in the Verovio music engravings - Format and binding - The Diletto spirituale, a special case? - The Peetrino prints: Two title pages for the same collection? - Durante's Arie devote : four copies, four 'editions'? - Collections without attributions to Verovio - Conclusions. MAKERS AND CONSUMERS - The people involved in the production of the prints - Introduction - Simone Verovio, the man - The dedicatees - The composers - Single-composer prints - Compiled anthologies - The compilers, engravers, printers, and writers - The intabulators - Conclusions - The consumers - The spread of the prints - Functions of the prints - Te deum laudamus: Music in and around the church - Music in domestic surroundings - Who could have participated in the performance? - Conclusions. CONCERTARE : INTABULATIONS AND BASSO CONTINUO - Concertare : an introduction - Intabulating, intabulations and intavolature - Other notational methods - Professionals or amateurs? - The art of intabulating - Types of concertare in intabulations - Girolamo Diruta's keyboard intabulation techniques - Left hand technique - Lute intabulation methods - Italian sources around 1600 containing keyboard intabulations - Summary and conclusions - The art of basso continuo - Introduction - Reasons for the new way of playing upon a bass - The modern style - Convenience - The quantity of works - Printing techniques - Conclusion. PRACTICAL ASPECTS - Practical conclusions - The keyboard left hand - Parallel perfect intervals and voice leading - Variety of number of parts - Cadences - Finals - Cadential formulas - Ornamentation - Groppi di accadentia - Minute - Bridge passages - Doubling the top part - Superimposition of dissonances and resolutions - Performing forces and clashes - Contrabassi - Repercussions - Musica ficta - Harpsichord and lute together - Chiavi trasportati or chiavette - Conclusion Appendix I : Catalogue of the copies of music prints associated with Verovio in public libraries. Appendix II : Canons in the prints associated with Verovio. Appendix III : Dedications. Appendix IV: Canzonettas. Appendix V: Examples of canzonettas. (Wiener Veröffentlichungen zur Musikgeschichte, 13)

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