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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).
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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