Publication strategies in the Imperial Court Chapel of Rudolf II

In the second half of the sixteenth century, the European market for printed music had largely consolidated. Printing music had become a business with calculable risks, and in cities like Venice, Antwerp, Paris, or Nuremberg, printers produced music books for regional and international markets alike. For composers, publishing their works in print was not only a matter of prestige but also a source of additional income. A direct consequence of the success of music printing was the control of music publishing by the political authorities, for example through printing privileges or by restricting the publication of certain works (musica reservata).
The musicians at Rudolf II's imperial court participated extensively in the European music business despite the geographical remoteness of the imperial residence in Prague. The director of the court chapel Philipp de Monte and other court musicians were included in numerous printed collections and published many individual prints. However, the musicians pursued different publication strategies. While de Monte printed his works almost exclusively in Italy, composers like Jakob Regnart published their compositions only in German-speaking countries. This paper explores the background and motives behind the publication of compositions from the ranks of the chapel of Rudolf II. The starting point of this investigation will be the individual prints of the composers employed at the Prague court. Which actors were involved in the publication process besides the printers and musicians? In which markets did the court musicians position themselves? What role did political considerations play and was there any political agenda behind imperial music publications?