Andrea Antico

Andrea Antico (also Andrea Antico da Montona, Anticho,

Antiquo) (c. 1480 – after 1538) was an Italian music printer, editor,
publisher and composer of the Renaissance, of Istrian[1] birth, active
in Rome and in Venice.[2] He was the first printer of sacred music in
Rome, and the earliest competitor of Venetian Ottaviano Petrucci,
who is regarded as the first significant music printer
.

Contents
Life
Table of contents page from the first sacred music
Work and influence printed in Rome: Andrea Antico's 1516Liber
In popular media quindecim missarum
References
Notes

Life
Antico was born in Montona in the Republic of Venice (today Motovun in Croatia). His ethnicity is not known; fifteenth century
Montona had a mixed population of Italians and Croats.[3] Little documentation has yet come to light regarding his early life, but he
may have been active in the diocese of Parenzo (nowPoreč) in Istria, based on a papal letter of 1516 which called him a "cleric of the
diocese of Parenzo, now living in Rome".[4] His first publication dates from 1510, and was a collection of frottole. Like Petrucci,
whose similar Odhecaton had appeared eight years earlier in Venice, he began by publishing popular secular music.

In 1513 he secured papal privileges for printing music in the Papal States; this was the first such privilege to be granted, and shortly
after the grant he was given the exclusive right to print organ tablature. This set him up as a competitor of Petrucci, who had similar
privileges in the Republic of Venice (the right to print organ tablature in the papal states was originally Petrucci's, but since he had
not printed any, the pope transferred it to Antico).[5] A ten-year copyright was added to the printing privilege, although many reprints
[4]
from Antico's plates and blocks, some from before the expiration of the copyright, were not always attributed to him.

While in Rome, Antico worked in financial partnership with Ottaviano Scotto, and also used the services of printer Antonio Giunta.
Antico stayed in Rome until 1518, moving to Venice, where he began working as a printer in 1520. During the period from 1520 to
1522 he worked in partnership with Luca Antonio Giunta. What he did between 1522 and 1533 has not yet been determined, but he
resumed his printing activities in 1533, still in Venice, this time working as an employee of Ottaviano Scotto, his previous
collaborator from Rome. It has been suggested that Antico spent the years from 1522 to 1533 in Lyon, possibly working with the
famous printer there, Jacques Moderne, who was also from Istria.

Antico's last publication, a collection of motets for four voices by Adrian Willaert, is dated 1539, and no information is known about
Antico's life after this year.

Work and influence

Unlike Petrucci, who used moveable type and a multiple-impression technique, Antico made woodblock prints. While this
technology was older than moveable type and more laborious to prepare, it allowed for high-quality prints when done by a fine
[6]
craftsman, and Antico was acknowledged to be one of the finest woodblock printers of the time.

One of his Roman-period publications, the Liber quindecim missarum of May 9, 1516, contained masses by Josquin des Prez, Pierre
de La Rue, Antoine Brumel, Jean Mouton, Antoine de Févin, and Matthaeus Pipelare. This was the first sacred music to be published
at Rome itself (Petrucci had published sacred music in Venice more than a decade earlier). Antico told Pope Leo X in the dedication
that he had spent three years laboriously preparing the woodcuts for this publication. The graphic artist responsible for the cover page
designs as well as the abundant illustrations in the Liber quindecim missarum and elsewhere was probably Giovanbattista
Columba.[4]

While in Venice, he published many kinds of music, including frottole by Bartolomeo Tromboncino and Marchetto Cara arranged for
voice and lute; French motets and chansons; motets, including a collection of works by Willaert; and some of the first books of
madrigals, including collections byPhilippe Verdelot and Jacques Arcadelt.

Antico was also a composer, and occasionally included his own frottole in his publications, signing them "Andrea Anticho D.M."
They are in a light, fairly simple, andhomophonic musical style.

In popular media
The early music Ensemble Renaissance performs and has recorded a setting of his frottole as part of its "Journey through Dalmatia"
and Music of the Old Adriaticprogram.[7]

References
Martin Picker: "Andrea Antico", Grove Music Online, ed. L. Macy (Accessed December 29, 2006), (subscription
access)
Stanislav Tuksar: "Croatia: §I. Art music, Medieval and Renaissance", Grove Music Online, ed. L. Macy (Accessed
July 8, 2007), (subscription access)
H. Edmund Poole (I), Donald W. Krummel (II), "Printing and Publishing of Music" (I, II).The New Grove Dictionary of
Music and Musicians, ed. Stanley Sadie. 20 vol. London, Macmillan Publishers Ltd., 1980.ISBN 1-56159-174-2
Gustave Reese, Music in the Renaissance. New York, W.W. Norton & Co., 1954. ISBN 0-393-09530-4

Notes
1. Martin Picker, Grove online. Picker writes: "Italian woodblock cutter, editor, publisher and composer of Croatian birth.
His birthplace [Montona] is frequently appended to his name..."
2. Stanislav Tuksar, Grove online
3. W. E. Spehar, "Andrea Antico or Andrija Motovunjanin? An Unsettled Question of Identity
in Sixteenth-Century
Venetian Music Publishing." Journal of Croatian Studies, XXXI (1990), 76-86.
4. Picker, Grove
5. Reese, p. 156
6. Poole, Grove
7. [1] (http://www.renesans.org.rs/cir_ren_disko.html)

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