ISSN: 1089-747X
Copyright © 1995–2012 by the Society for Seventeenth-Century Music

Volume 6, no. 2:

Briefly Noted

Bruce Gustafson,* Reviews Editor

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 or are re-issues of previously available works they will not receive full reviews.

1. Books

2. Edition

3. Video



1.1 The Registration of Baroque Organ Music. By Barbara Owen. Bloomington: Indiana University Press, 1997. [ix, 284 pp. ISBN 0-253-21085-2. $19.95 (paperback).]

The first hard-bound printing of this book was reviewed in vol. 4, no. 1 (December, 1998) of this Journal by Lawrence Archbold: <>. This is an unrevised paperback edition.

1.2 Analyzing Bach Cantatas. By Eric Chafe. New York: Oxford University Press, 2000. [viii, 286 pp. ISBN 0-19-512099-x. $55.]

The book deals in detail with cantatas 2, 9, 18, 46, 60, 77, 109, 121, 153, and is divided into nine chapters:

The Hermeneutic Matrix
The Lutheran "Metaphysical" Tradition in Music and Music Theory
Cantata 21, "Ich hatte viel Bekümmernis"
Modal Questions
Bach’s Reflection on the Past: Modal Chorales in Cantata Designs
Two Chorale Cantatas
Cantata 77: TheTheological Background
"Du sollst Gott, deinen Herren, lieben": An analysis of Cantata 77
Cantata 60: "O Ewigkeit, du Donnerwort"

1.3 Music and the Cultures of Print. Edited by Kate van Orden. Afterword by Roger Chartier. New York: Garland Publishing, 2000. [xxi, 354 pp. ISBN 0-8153-2574-6 $70.]

The book deals with cultures in which printing was a significant means of dissemination of music, from the advent of music printing in 1501 through the rise of the phonographic recording. Two chapters treat seventeenth-century topics: "Printing the New Music" by Tim Carter, and "Bénigne de Bacilly and the Recueil des plus beaux vers, qui ont esté mis en chant of 1661" by Lisa Perella. The other chapters are by Katherine Bergeron, Thomas Christensen, Robert R. Holzer, James Haar, Martha Feldman, Thomas Bauman, and Kate van Orden.


2.1 Marin Marais. Pi¸ces de viole, Quatri¸me livre: Livre pour la viole; Livre pour la basse continue (1717) (facsimile edition). La Musique fran¨aise classique de 1650 à 1800, 5648. Courlay: Fuzeau, 1999. 4 fascicles. [ISMN M-2306-5637-5. FF 363.98 ($63).]

This pair of volumes continues the publication of the complete instrumental works of Marais in the Fuzeau series. The viol part is a reproduction of the exemplar held by the Biblioth¸que municipale in Lyons; the continuo part is based on the exemplar in the Biblioth¸que municipale in Versailles. The last of the three large sections is for three viols.


3.1 The History of the Pianoforte: A Documentary in Sound. By Eva Badura-Skoda. Bloomington: Indiana University Press, 1999. [90 mn. ISBN 0-253-33582-5. $49.95.]

Paul Badura-Skoda and others demonstrate pianos by Cristofori (1720), Ferrini (1746), Socher (1742), J. H. Silbermann (n.d.), G. Silbermann (1746), Stein (ca. 1790), Walter (ca. 1800), Schantz (n.d.), Broadwood (1795), Hasska (ca. 1818), Graf (ca. 1825)


*Bruce Gustafson (, past President of the Society for Seventeenth-Century Music, is Charles A. Dana Professor of Music at Franklin & Marshall College.
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