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Editing Music in Early Modern Germany by ProQuest

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In relating the sixteenth-century procedure to a much earlier manuscript tradition, she draws on the work of musicologist Emma Dillon, who in working with fourteenthcentury sources "has demonstrated the attention given to page layout and finding aids such as alphabetization, marginalia, and letter size, to locate and retrieve information in the Roman de Fauvel " (p. 35). Some of the translators, notably Cesare de Zacharia, a native Italian active in Munich in the last decade of the sixteenth century, placed the German text directly under the Italian for the first verse and included side-by-side translations for subsequent verses.\n (p. 155).

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									500                                                                     Notes, March 2009

contingent on his willingness to perform          German anthologies of music, particularly
on command and before an audience of              the madrigal, in the decades around 1600.
strangers. In the end, this was too high a        These anthologies become important vehi-
price to pay.                                     cles for the distribution and dissemination
   In his introduction, Wistreich is at pains     of the Italian madrigal in German-speaking
to stress the individuality of Brancaccio’s       lands. Lewis Hammond includes a well-
biography, and this is no more than we            known quote from one of, if not the most
should expect from any good biographer.           famous etiquette books of the Renaissance,
But while appreciating the individuality of       Baldassare Castiglione’s Il libro del cortegiano
its subject we should not downplay the im-        (“The Book of the Courtier”), published in
portance of this story as a window on the         Venice in 1528. This passage contains ad-
period. Brancaccio’s struggle to live accord-     vice to a student on how to select, gather,
ing to the code of his upbringing, in a world     imitate, judge, and transform the best
that was abandoning that code in favor of         qualities learned from his or her teacher.
professionalism and sensation, tells us much      Oddly, of the many translations of this
about the culture of the late sixteenth cen-      work, the one in German did not appear
tury and the way that music influenced and         until 1566 in Munich, preceded by one
was influenced by that culture.                    in Spanish (1534), in French (1537), in
                             Laura Macy           English (1561) and in Latin (printed in
                        Oxford University Press   Wittenberg) in 1561. An interest in things
                                                  Italian and in Italian humanism had devel-
                                                  oped in a number of European countries
                                                  before it spread to German-speaking lands,
Editing Music in Early Modern                     and edited anthologies appeared in Europe
Germany. By Susan Lewis Hammond.                  long before the first publications in
Burlington, VT: Ashgate, 2007. [xvii,             Germany. Lewis Hammond contends, how-
265 p. ISBN-13: 9780754655732.                    ever, that despite the earlier presence of
$99.95.] Illustrations, bibliographic             anthologies such as Petrucci’s Harmonice
references, index.                                musice Odhecaton A, published in Venice in
                                                  1501, or those by Pierre Attaingnant begin-
   Editing Music in Early Modern Germany is       ning in the 1520s in France, or even those
arguably the first full-length study that ex-      in the 1530s in Germany, edited by Hans Ott
amines the role of northern editors in            and printed by the Petreius firm in Nurem-
adapting and collating Italian madrigals for      berg, none gave recognition to the editor on
use by readers in German-speaking lands.          the title page. Rather, it was the printer
The author, Susan Lewis Hammond, high-            and/or composer whose names dominated
lights the importance of editors within a         those pages. At the same time, she empha-
network that included composers, perform-         sizes the tension between editor and author;
ers, printers, publishers, and patrons. She       these are revealed especially in the conflict
states that “the inspiration for the project      between an author’s intentions and the
dates back to Anthony Grafton’s graduate          economic constraints of the print shop.
seminar [at Princeton University] on early           In chapter 1, “The Anthology and the
modern print culture, which sparked my in-        Birth of the Professional Music Edit
								
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