Various attempts were made to unify the separate Peters firms which had emerged since 1937. This resulted in disputes over the ownership of the Leipzig concern, which came under the control of the Frankfurt company in 1993. Following German reunification in 1989, the Leipzig concern was absorbed by the Frankfurt firm, who had acquired the catalogues of M.P. During the communist era, Peters Leipzig issued contemporary works of East German composers like Dessau, Eisler, and Geisler along with those of Soviet composers like Khachaturian and Shostakovich in addition to a fair number of urtext editions of works by Beethoven, Chopin, Fauré, Mahler, Scriabin, and Vivaldi, among others. Its first director was Georg Hillner, who was succeeded by musicologist Bernd Pachnicke in 1969. In spite of suffering as much damage as other Leipzig publishers from Allied aerial bombing during the war, Peters' Leipzig facility was re-opened in 1947 and transferred to state ownership of the East German regime by 1949. 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 an uncomfortable partnership with the Hinrichsen heirs Walter and Max. His brother Walter moved to New York where he founded C. With the advent of the Nazi regime in Germany, Max Hinrichsen moved to London, where in 1938 he founded Hinrichsen Edition (renamed Edition Peters London in 1975). The works of Richard Strauss that were originally issued by Joseph Aibl (later Universal) were acquired by Hinrichsen for Peters in 1932. By 1900, fresh works from composers like Brahms, Bruch, Grieg, Köhler, Moszkowski, Reger, Sinding and Wagner greatly enriched the catalog.Ībraham's successor was his nephew, Henri Hinrichsen (1868-1942), who added the works of composers like Mahler, Pfitzner, Reger, Schoenberg, and Wolf. By 1880, the year Abraham took over the directorship, Peters became increasingly active in issuing new works by contemporary composers of the era. Two color schemes were used for the covers of this revolutionary 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.
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This series competed vigorously with Breitkopf und Härtel's similar Volksausgabe (People's edition) series, launched at exactly the same time. Abraham recognized the vast potential in improvements to music printing that were introduced by the Leipzig engraver Carl Gottlieb Röder, launching the famous "Edition Peters" imprint in 1867. Max Abraham (1831-1900), who was instrumental in transforming the firm into a major international publisher. By 1863, Friedländer took on a partner, Dr. Friedländer was the co-founder of Stern & Co. 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).Ī new era began with the sale of the company to a Berlin music and book retailer, Julius Friedländer, on April 21, 1860. Bach after the revival of interest in his work with the assistance of Carl Czerny, Siegfried Dehn, F. The next owner was a manufacturer, Carl Gotthelf Siegmund Böhme (1785-1855), who published many works of J.
Despite difficuties arising from the aftermath of war (1813) and depression, Peters managed to add new works by Weber, Hummel, Klengel, and Ries to the growing catalog along with his name (now "Bureau de Musique C. Kühnel continued publishing new works, adding those of composers, Daniel Gottlob Türk, Tomasek, and Louis Spohr, who would have a long relationship with the firm.Īfter Kühnel's death, the enterprise was sold to Carl Friedrich Peters (1779-1827), a Leipzig bookseller. When Hofmeister departed for Vienna in 1805, the young firm had already issued several works by the emerging Viennese composer, Ludwig Van Beethoven (Opp. Bach, who was nearly forgotten by that time.
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The very first music published included chamber works by Haydn and Mozart, plus a 14-volume collected edition of keyboard works by Leipzig's own J. This company came into being on Decemwhen 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.
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