Libro primo de canzoni... a quattro voci (Brescia, 1584) by Florentio Maschera; Robert Judd;Capricci, overo canzoni à quattro... libro terzo (Milan, 1594) by Ottavio Bariolla; JamesLadewig; Fantasie overo canzoni alla francese per suonare dell'organo et altri stromentimusicali, a quattro voci (Venice, 1603); And Ascanio Mayone. Primo libro di ricercari a tre voci(Naples, 1606) by Adriano Banchieri; F. Sumner; Il primo ...Review by: Giulio M. OngaroNotes, Second Series, Vol. 53, No. 2 (Dec., 1996), pp. 617-619Published by: Music Library AssociationStable URL: http://www.jstor.org/stable/900158 .

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Music Reviews Music Reviews

for most of these composers the introduc- tions provide the most complete biogra- phies to date. Each volume includes fac- similes of the original title page and of the dedication (translated in the introduction) if there was one. It is wonderful to have these reproductions for both teaching and study.

As series editor, Owens reflects her spe- cialized interest by including a list of each madrigal's final and cleffing: two indicators of tonal and modal organization that form a topic of continuing debate and to which Owens has contributed significantly. While this information will not be of interest to every user of the volumes, it does make readily available a pool of data for students of the controversy.

A browse through the editions them- selves convinces me of their overall accu-

for most of these composers the introduc- tions provide the most complete biogra- phies to date. Each volume includes fac- similes of the original title page and of the dedication (translated in the introduction) if there was one. It is wonderful to have these reproductions for both teaching and study.

As series editor, Owens reflects her spe- cialized interest by including a list of each madrigal's final and cleffing: two indicators of tonal and modal organization that form a topic of continuing debate and to which Owens has contributed significantly. While this information will not be of interest to every user of the volumes, it does make readily available a pool of data for students of the controversy.

A browse through the editions them- selves convinces me of their overall accu-

racy. The generous size and clarity of the typeface will make these scores easy to use for both performance and study. They are a necessary addition to any music research collection. On this subject, I would like to close with a plea to Garland Publishing. These series of sixteenth-century music are greatly expanding the repertory known to us. But as the prices stand, they are pro- hibitive for most private collections. I sug- gest a compromise: a paper-bound com- pilation including selected volumes from each series, priced to be affordable on an academic salary. Valuable as these editions are, they cannot do the job they need to do until they are in the hands of individual performers, scholars, and teachers.

LAURA MACY Penn State University

racy. The generous size and clarity of the typeface will make these scores easy to use for both performance and study. They are a necessary addition to any music research collection. On this subject, I would like to close with a plea to Garland Publishing. These series of sixteenth-century music are greatly expanding the repertory known to us. But as the prices stand, they are pro- hibitive for most private collections. I sug- gest a compromise: a paper-bound com- pilation including selected volumes from each series, priced to be affordable on an academic salary. Valuable as these editions are, they cannot do the job they need to do until they are in the hands of individual performers, scholars, and teachers.

LAURA MACY Penn State University

Florentio Maschera. Libro primo de canzoni ... a quattro voci (Brescia, 1584). Edited by Robert Judd. (Italian Instrumental Music of the Six- teenth and Early Seventeenth Centuries, 9.) New York: Garland, 1995. [Gen. introd., editorial methods, vol. introd., p. vii-xvi; plates, 2 pp.; score, p. 1-156. Cloth; acid-free paper. ISBN 0-8240-4508-4. $75.00.] Ottavio Bariolla. Capricci, overo canzoni a quattro ... libro terzo (Mi- lan, 1594). Edited by James Ladewig. (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 12.) New York: Garland, 1995. [Gen. introd., editorial methods, vol. introd., p. vii-xxi; plates, 3 pp.; score, p. 1-186. Cloth; acid-free paper. ISBN 0-8240-4511-4. $80.00.]

Adriano Banchieri. Fantasie overo canzoni alla francese per suonare dell'organo et altri stromenti musicali, a quattro voci (Venice, 1603); and Ascanio Mayone. Primo libro di ricercari a tre voci (Naples, 1606). Ed- ited by F. Sumner. (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 18.) New York: Garland, 1995. [Gen. in- trod., editorial methods, vol. introd., p. vii-xviii; plates, 4 pp.; score, p. 1-218. Cloth; acid-free paper. ISBN 0-8240-4517-3. $85.00.] Lorenzo Allegri. II primo libro delle musiche (Venice, 1618). Edited by Andrew Dell'Antonio (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 27.) New York: Garland, 1995. [Gen. in- trod., editorial methods, vol. introd., p. vii-xv; plates, 2 pp.; score, p. 1-98. Cloth; acid-free paper. ISBN 0-8240-4526-2. $65.00.] Canzonas and Capriccio: from the Seconda aggiunta alli concerti rac- colti dal molto reverendo Don Francesco Lucino a due, tre, e quattro voci, di diversi eccellenti autori, . . . novamente raccolta, & data in luce

Florentio Maschera. Libro primo de canzoni ... a quattro voci (Brescia, 1584). Edited by Robert Judd. (Italian Instrumental Music of the Six- teenth and Early Seventeenth Centuries, 9.) New York: Garland, 1995. [Gen. introd., editorial methods, vol. introd., p. vii-xvi; plates, 2 pp.; score, p. 1-156. Cloth; acid-free paper. ISBN 0-8240-4508-4. $75.00.] Ottavio Bariolla. Capricci, overo canzoni a quattro ... libro terzo (Mi- lan, 1594). Edited by James Ladewig. (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 12.) New York: Garland, 1995. [Gen. introd., editorial methods, vol. introd., p. vii-xxi; plates, 3 pp.; score, p. 1-186. Cloth; acid-free paper. ISBN 0-8240-4511-4. $80.00.]

Adriano Banchieri. Fantasie overo canzoni alla francese per suonare dell'organo et altri stromenti musicali, a quattro voci (Venice, 1603); and Ascanio Mayone. Primo libro di ricercari a tre voci (Naples, 1606). Ed- ited by F. Sumner. (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 18.) New York: Garland, 1995. [Gen. in- trod., editorial methods, vol. introd., p. vii-xviii; plates, 4 pp.; score, p. 1-218. Cloth; acid-free paper. ISBN 0-8240-4517-3. $85.00.] Lorenzo Allegri. II primo libro delle musiche (Venice, 1618). Edited by Andrew Dell'Antonio (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 27.) New York: Garland, 1995. [Gen. in- trod., editorial methods, vol. introd., p. vii-xv; plates, 2 pp.; score, p. 1-98. Cloth; acid-free paper. ISBN 0-8240-4526-2. $65.00.] Canzonas and Capriccio: from the Seconda aggiunta alli concerti rac- colti dal molto reverendo Don Francesco Lucino a due, tre, e quattro voci, di diversi eccellenti autori, . . . novamente raccolta, & data in luce

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NOTES, December 1996

da Filippo Lomazzo (Milan, 1617); and Nicolo Corradini. I1 primo libro de canzoni francese a 4. & alcune suonate (Venice, 1624). Edited by James Ladewig. (Italian Instrumental Music of the Sixteenth and Early Seventeenth Centuries, 29.) New York: Garland, 1995. [Gen. introd., editorial methods, vol. introd., p. vii-xxv; plates, 4 pp.; score, p. 1-208. Cloth; acid-free paper. ISBN 0-8240-4528-9. $78.00.]

The period spanning the late sixteenth and early seventeenth centuries is a crucial one for the development of instrumental music as a separate genre largely indepen- dent of vocal models. Every music student who passes the required music history courses knows (or ought to know) some- thing about the rise of the canzona and sonata in the late sixteenth century as well as the ensemble ricercar. But the truth is that the greater part of this repertory is not well known, even to the specialists of the period. Until relatively recently, for in- stance, recordings of Italian instrumental ensemble music of the late Renaissance and early Baroque, from around 1570 to 1630, were, with the exception of the omnipres- ent Giovanni Gabrieli, rather poorly rep- resented in sound recording catalogues. Reliable editions of this repertory have also been slow in coming: while virtually all Re- naissance polyphonic composers of any stature have their own complete works or other critical editions, early Baroque com- posers are riot nearly as well served. The Garland series to which the volumes under review belong was established precisely to present to scholars and performers a much broader range of Italian instrumental en- semble music than was previously available, thus allowing us to gain a better under- standing of the development of the genre.

Since the series does cast a wide net, one would naturally expect a certain amount of diversity in the repertory presented. The five volumes covered by this review offer a good example of this variety: original dates of publication range from 1584, for II primo libro de canzoni a 4 voci of Florentio Maschera (the first example of a collection entirely composed of ensemble canzonas), to 1624, for Nicolo Corradini's Primo libro de canzoni francese a 4. & alcune suonate; these collections include examples of all the types of ensemble compositions-canzonas, sonatas, and ricercars-cultivated by Italian composers of the period. The music of

Maschera and Corradini held the most in- terest for me. The canzonas of Maschera- probably composed in the 1570s-are among the first to be independent of vocal models. Some of Maschera's compositional procedures look forward to Giovanni Ga- brieli's output in the genre, and an acquain- tance with Maschera's works provides the foundation for a better understanding of the early history of the genre. Corradini's collection is a mixture of sonatas and can- zonas, and it is noteworthy that, while the composer does separate the two genres, the virtuosic writing of the sonatas has mi- grated into the polyphonic texture of the canzonas: a good example is Corradini's "Canzona seconda, La Sartirana," in which long sections feature technically challeng- ing duets.

Each volume includes two introductory sections. The first, a general introduction to the series by James Ladewig, discusses the editorial methods applied to all vol- umes, while the second-written by the individual volume editor-tells us more about the composer, his music, and the spe- cific editorial problems of the volume in question. In general, the editorial practices outlined by the series editor are simple and clear, and seem to conform to the stated aim of the series: to present the music "in clear modern editions that are both prac- tical and faithful to the original sources" (p. ix, all vols.). Obviously, any editorial policy for an edition of this type will include some compromises between the needs of the scholar and those of the performer, and sometimes one can quibble with certain ed- itorial decisions. While I like the general policy of preserving original note values and pitch, for instance, I am slightly un- comfortable with the decision not to indi- cate editorial accidentals in the score. In- stead, the general editor offers a short and clear discussion of the basic principles of musica ficta, adding a few references for further reading on the subject. This leaves

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Music Reviews

the performers to make important deci- sions on their own, and diminishes the use- fulness of these volumes. The policy does avoid a proliferation of editorial markings, preserving the overall clean and attractive appearance of these editions, but it might prove problematic for those modern per- formers who wish to approach this music but do not have the necessary facility with late-Renaissance performance practices. For Ottavio Bariolla's Capricci, overo canzoni a quattro, the policy presents a particular problem: here the edition is a conflation of the two surviving canto and alto partbooks of the original edition with the tenor and bass parts reconstructed from the Turin keyboard tablature. Since tablature nota- tion indicates accidentals unambiguously, while the original partbooks do not, the editorial policy has resulted in an edition where tenor and bass are copied from a source with more notated accidentals than the other two voices. The editor, Robert Judd, does suggest using the lower voices as a guide for adding accidentals to the upper parts, but a judicious use of editorial accidentals would have been preferable, and would not have significantly altered the look of the edition.

Another editorial policy for this series is to omit the indication of variant readings among concordant sources. This is a rel- atively minor omission for this repertory, since the music survives primarily in printed sources with few, if any, problems of this type. When concordances clash-as in the case of the Bariolla collection-the editorial notes do, in fact, amount to a list of variant readings and should satisfy the needs of the user.

Original clefs are given only in the in- troductory section to each volume. It would have been more practical to print these clefs in a short incipit; an indication of the total range of each part at the beginning of the piece would also be of great help to performers. According to the general in- troduction, corrected errors in pitch and rhythm found in the original edition are noted in the introduction to each volume without acknowledgment in the musical text. While sympathetic to the reasoning behind this decision, I find this approach at times to be cumbersome and misleading: without searching too hard, I found in- stances where the omission of an accidental

(deemed a mistake by the editor) might actually be debatable. The reader might well overlook a section simply labeled as a list of corrected errors and omissions when, in fact, it contains options for a different version. Even though in the vast majority of the cases I do agree with the editorial choices, I would still encourage the users of this series to check this list carefully against the musical text. One last point: in this age of computerized page setting, I wonder whether Garland Publishing might consider making available on demand sep- arate parts for this music. The score format and the price for these volumes (which, while not exorbitant, is high enough to dis- courage the purchase of multiple copies) force performers to rely on extensive pho- tocopying or transcribing before tackling the music.

The forewords to the individual volumes are clear and to the point. The editors of- ten provide important new or previously overlooked information about lesser- known composers, updating and correcting secondary literature on the subject. They also provide a commentary that helps place the contents of a particular volume within a broader perspective. A section of each foreword discusses the sources used for the edition. Each volume also includes facsim- ile reproduction from the original prints: these are usually limited to the title page and the dedication and do not include any musical texts. Although there are excep- tions (for instance, the volume of Bariolla's Capricci, overo canzoni a quattro includes a facsimile of the tablature from the Turin keyboard manuscript), I would have pre- ferred a more varied selection of facsimiles, especially since several of the dedicatory letters are routine and uninformative.

All in all, my complaints are about minor matters -I like the look of the printed page and the spacious feeling of the editions. In general, the series admirably fulfills its role, providing us with clear, thoughtful editions of a repertory of Italian instrumental music that rewards exploration by scholars and performers alike. This series is an indis- pensable acquisition for music research li- braries.

GIULIO M. ONGARO University of Southern California

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