Several surveys of Baroque music have appeared on our shelves in recent years: David Schulenburg's Music of the Baroque (New York, 2001), George Buelow's A history of Baroque music (Bloomington, IN, 2004) and John Walter Hill's Baroque music (New York, 2005). Few books, however, have concentrated specifically on that extraordinarily varied century of music between the deaths of Palestrina and Lasso and the appearance of Rameau, Bach and Handel. The New Oxford History of Music divides up the century between The age of humanism, 1540–1630 and Opera and church music, 1630–1750, while Lorenzo Bianconi's Music in the 17th century (Cambridge, 1987; originally published as Il Seicento in 1982) offers an important but at the same time imbalanced overview of music in the period. The present volume is the fifth instalment in the ambitious Cambridge History of Music series, a series of reference books inaugurated in 1998. Much of the success of a multi-authored volume such as this depends in large measure on the skill of its editor or, in this case, editors—Tim Carter and John Butt. Published conference proceedings, Festschriften and collections of essays by multiple authors are highly variable in quality, and often the whole is less than the sum of its parts. This is not necessarily the failing of the authors: scholars who contribute to such collections must write in a vacuum much of the time, they may not know the editor, their co-contributors, or even who the targeted reader is meant to be. Carter and Butt, however, have done a superb job of making the 14 chapters of this volume a coherent and important history of 17th-century music and its cultural contexts. The 12 contributing authors, all experts in their fields, evidently abide by carefully drawn guidelines. They seem to understand clearly what role their individual contributions will play in the volume, and the cross-references between chapters similarly suggest an awareness of the roles played by others. The writing is at a very high level, and only occasionally do authors vary in their expectations of the intended reader and what he or she should know. Even the way in which the volume is assembled allows the reader to follow a natural sequence from cover to cover, starting with Carter's consideration of general style in ‘Renaissance, mannerisms, Baroque’ and Butt's interrogation of ‘The 17th-century musical work’, through to Gregory Barnett's study of ‘Form and gesture: canzona, sonata and concerto’. At the same time, because chapters are thematically self-contained rather than linked chronologically, the reader can with equal comfort start at the beginning of any chapter without having to backtrack or to pursue an argument into the following chapter. Each chapter ends with a bibliography of sources, predominantly in English, which gives the book even broader appeal as a reference work and encouragement for further exploration. The book itself concludes with three appendices—‘Chronology’, ‘Places and institutions’ and ‘Personalia’—assembled by Stephen Rose.
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