The materials listed below were submitted for review and are likely to be of interest to readers of JSCM, but because they do not relate primarily to seventeenth-century music they will not receive full reviews.
1.1 The Eighteenth-century French Cantata. By David Tunley. Oxford: Clarendon Press, 1997. [xvi, 278 pp. ISBN 0–19–816439–4. $65. Second edition.]
The first edition of this book appeared in 1974, and in the intervening years many relevant publications have appeared, not least a large series of facsimile editions of this repertory, edited by the author. This second edition incorporates both the citations and the information from the recent literature.
1.2 L'École de chant de l'Opéra (1672–1807) d'après des documents inédits (1895). By Constant Pierre. Geneva: Minkoff, 1996. [30 pp. ISBN 2–8266–0471–6 FF 130 ($23).]
Although the Opéra was founded in 1672, there was no singing school attached to it until 1713. Constant traces the institution from that point until its collapse in 1807.
1.3 La Musique universelle, contenant toute la pratique & toute la theorie (1658). By Antoine de Cousu. Geneva: Minkoff, 1972. [208 pp. ISBN 2–8266–0320–5. FF 433 ($78).]
This facsimile of a theoretical treatise, with a one page preface by François Lesure and a modern table of contents, has been out of print for a number of years, but was reprinted in 1997.
2.1 Carlo Graziani. Sonatas for Violoncello and Basso. Edited by Mara E. Parker. Recent Researches of the Classical Era, 49. Madison, WI: A-R Editions, 1997. [xiv, 99 pp. ISBN 0–89579–387–3 $52.80.]
These nine sonatas are selected from his larger output. Most of them were originally published in London, Paris, and Berlin, c.1760–80.
3.1 Giovanni Gabrieli. The 16 Canzonas and Sonatas from Sacrae Symphoniae, 1597. His Majestys Sagbutts and Cornetts; Timothy Roberts, "moderator." Hyperion, 1997. [CDA 66908.]
The canzonas and sonatas are performed with various mixtures of cornetti, sackbuts, violins, violas, and chamber organ. In addition, four toccatas and intonatione for organ are interspersed, performed by Timothy Roberts. The attributions of the organ works are uncertain, as is explained in extensive notes (with German and French translations) by Mr. Roberts.
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