Attaignant, Pierre - Ave Maria virgo virginum

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Pierre Attaingnant (or Attaignant) (c. 1494 – late 1551 or 1552) was a French music printer, active in Paris.

Life
Attaingnant is considered to be first large-scale publisher of single-impression movable type for music-printing, thus making it possible to print faster and cheaper than predecessors such as Ottaviano Petrucci. Attaingnant is often falsely attributed with being the first to develop this technique; however, sufficient evidence exists to suggest that John Rastell, an English printer in London, was the first to use single-impression printing in 1520.[1] He published over 1500 chansons by many different composers. In this collections the Paris composers, like Claudin de Sermisy, Pierre Sandrin and Pierre Certon, are prominently present, but Clément Janequin is at the top of the list with five books of chansons, dedicated to his chansons only. He acquired royal privileges for his music books, which were renewed many times. Eventually he was named imprimeur et libraire du Roy en musique (Royal music-printer and librarian).

Works
Attaingnant's major contribution to music printing consists in his popularizing the single-impression method for music printing, which he first employed in his 1528 publication Chansons nouvelles en musique à quatre parties. In this system, the individual notes were printed directly onto segments of staff, and so the notes, staff lines, and text could all be printed with one send through the printing press. The main disadvantage of this method was the alignment of the staff lines, which often had a “bumpy” look - some being slightly higher or slightly disjointed from others. Nevertheless, this method became standard music printing practice across Europe in the 16th and 17th centuries.

Apart from his 36 collections of chansons, he also published books with pieces in lute or keyboard tablature, as well as Masses and motets.

Among the most important documents for the keyboard music in general and in French Renaissance keyboard music in particular are the seven volumes published by Attaingnant in Paris, in the Spring of 1531:

1.Dixneuf chansons musicales reduictes en la tabulature des Orgues Espinettes Manichordions, et telz semblables instrumentz musicaulx... Idibus Januraii 1530 (sic).
2.Vingt et cinq chansons musicales reduictes en la tabulature des Orgues Espinettes Manichordions, et telz semblables instrumentz musicaulx... Kal. 1530 (sic).
3.Vingt et six chansons musicales reduictes en la tabulature des Orgues Espinettes Manichordions, et telz semblables instrumentz musicaulx... Non. Frebruaii 1530 (sic).
4.Quatorze Gaillardes neuf Pavennes, sept Branles et deux Basses Dances le tout reduict de musique en la tabulature du jeu d'Orgues Espinettes Manicordions et telz semblables instrumentz musicaulx... (February 1531 ?).
5.Tabulature pour le jeu d’Orgues, Espinettes et Manicordions sur le plain chant de Cunctipotens et Kyrie Fons. Avec leurs Et in terra, Patrem, Sanctus et Agnus Dei... (March 1531).
6.Magnificat sur les huit tons avec Te Deum laudamus et deux Preludes, le tout mys en tabulature des Orgues Espinettes et Manicordions, et telz semblables instrumentz... Kal. Martii 1530.
7.Treze Motetz musicaulx avec ung Prelude, le tout reduict en la Tabulature des Orgues Espinettes et Manicordions et telz semblables instrumentz... Kal. Aprilis 1531.

In popular culture
An original composition by Attaingnant has been used three times in contemporary popular music:

"Donna ti voglio cantare" by Italian singer-songwriter Angelo Branduardi, recorded in his 1979 album Cogli la prima mela;
"Play Minstrel Play" by Renaissance band Blackmore's Night, in their 1997 album Shadow of the Moon;
"The March Of The Swordmaster" by Rhapsody, included in their 2002 album Power of the Dragonflame.
Also, the melody by Attaingnant are used in songs:

"Eternal Wait" by Finnish Folk metal band "Ensiferum";
"O Sonar das Augas" by Spanish Neoclassical darkwave band "Narsilion";
"Tourdion" by German medieval folk band "Die Streuner".

Pierre Attaignant (b. c. 1494, Douai?, France d. 1551/52, Paris) was the son-in-law and heir of the printer-engraver Philippe Pigouchet (fl. 1490-1514). Beginning with a collection of chansons dated April 4, 1527, he used movable type and a single impression, a method that was probably his invention (earlier printers printed the staff and the notes in separate impressions.)

Before 1527 Attaignant began using a newly invented moveable music type, in which a fragment of a musical staff was combined with a note on each piece of type. He used the new type in a book of chansons, Chansons Nouvelles (1528). Because Attaignant's single-impression method halved the time and labour formerly needed to print music, it was quickly adopted throughout Europe. Attaignant was the first to use the printing press to achieve mass production in music publishing. In 1537 he became music printer and bookseller to the French king Francis I. His printing represents more than 150 outstanding composers of his day and include chansons, dance collections, masses, motets, psalms, and Passions. His 111 surviving publications are rich in information about early 16th-century music.