Enoch was an itinerant salesman for the German company Littolf Publishers
when in 1853 he set up a music publishing business located in Paris, 27 boulevard
des Italiens. From the beginning, Carl brought his young children into his
business in order to introduce them to music publishing.
It was Carl’s eldest son, Wilhem, who succeeded his father in the
1880’s. He took over the firm in which he had already been collaborating
with Carl for twenty years. Wilhem created his own catalogue of musical works.At
the same time, Wilhem’s youngest brother, Charles Enoch migrated to
London, England where he set up the music publishing house Enoch and Sons.
Wilhem gave a new life to the business by launching a new publishing policy
which seemed both unusual and contradictory. He decided to split his catalogue
between on the one hand, serious works of symphonic or religious music (for
example Les Éolides by César Franck), España by Emmanuel
Chabrier or the Romanian rhapsodies by Georges Enesco) and on the other hand,
popular and light music like songs by Paul Delmet or operette by André
The reputation of Enoch & cie was also based on the educational tradition
and music teaching methods like, for example, the Traité de la fugue
by André Gedalge which has been one of the best references since its
publication in 1904.
quickly Enoch & cie established relations of trust and closeness with
their composers. Most of them remained faithful to the family ; Cécile
Chaminade is the best example of loyalty as 170 Opus were published by Enoch.
Besides publishing prestigious composers, Wilhem was on the look-out for young
talents. He eventually discovered Maurice Ravel, whose very first work, Menuet
antique, was published by Enoch & cie. As a matter of fact, Ravel’s
last composition, an orchestration of Chabrier’s Menuet pompeux in 1936,
was published by Wilhem’s son, Daniel.
the 1910’s Daniel Enoch was running the publishing house with his younger brother
Georges. Daniel perpetuated the educational tradition of the family by publishing
several instrument methods (piano, oboe, clarinet, violin, cello, timpani,
etc.) as well as music theory methods. L’Organiste, published after
César Franck’s death, or the 15 études de virtuosité
by Moritz Moszkowski are the best examples of these methods.
Daniel maintained his father’s particular edition policy by publishing
popular music like the Marche lorraine by Louis Ganne or songs by Francis
Poulenc as well as orchestral music like L’Angélus de la mer
by Gustave Goublier.
When World War II broke out, the business was stopped. Daniel Enoch and
his wife were killed in Auschwitz-Birkenau where they were deported in 1943.
1944, Jacques Enoch came back from Savoy where he had taken refuge during
the war. The firm was in bad shape but Jacques managed to rebuild it. He developed
the publications of his ancestors and gave a chance to young talented composers
such as Joseph Kosma and Darius Milhaud..
Jacques extended the traditional publishing policy by being faithful to
the poetic songs as well as to symphonic works. For several years he held
simultaneously the managerial functions of music publisher and the office
of managing director at the SACEM (French Society of music authors, composers
and publishers). Being a close friend to artists like Jacques Prévert
and Joseph Kosma, Jacques added popular songs and movie soundtracks to the
catalogue, such as Les portes de la nuit by Marcel Carné, which featured
the international hit Autumn Leaves. At the same time, the catalogue was strengthened
with classical works such as the Concerto pour marimba or the Suite concertante
by Darius Milhaud.
Janine Enoch succeeded her husband Jacques in 1990 as the new managing director.
She wishes to highlight the company’s centenary musical heritage and
works for the publication of 19th century composers like Emmanuel Chabrier
whose Lamento pour orchestre as well as a Prélude and a Marche française
for four-hands-piano were re-discovered and performed in 1995, 101 years after
the author’s death.
Nowadays, Enoch & cie keeps on protecting its large catalogue made up
of almost 1700 scores and has re-published a diverse set of forgotten works
from its catalogue such as La Czarine by Louis Ganne, le trio aubade by Georges
Enesco, as well as Le Portrait, L’Anneau d’Argent, Le Prélude
pour orgue, Les Noces d’argent for piano or the Sonate en ut mineur,
Opus 21 by Cécile Chaminade, or songs by Paul Delmet. Last but not
least, Antoine Mariotte’s opera Salomé has recently been acclaimed
at the Radio France Festival and at Montpellier’s opera.