Studies in the Printing, Publishing and Performance of Music in the 16th Century byStanley Boorman; Ottaviano Petrucci: Catalogue Raisonné by Stanley BoormanReview by: Susan Lewis HammondThe Sixteenth Century Journal, Vol. 39, No. 3 (Fall, 2008), pp. 759-761Published by: The Sixteenth Century JournalStable URL: http://www.jstor.org/stable/20479007 .

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Book Reviews 759

only the court at Elsinore, but also Shakespeare's England. Curran treats the major characters and scenes in Hamlet as representatives of both the

ologies. He examines how Hamlet's attempts to reconcile his obligation to exact revenge on the death of Hamlet Sr. with his desire to maintain the capacity to decide ultimately cause him to identify with the Protestant thinking that "that is the state of things" (61). Hamlet inevitably fulfills his "outrageous fortune" to be the common typical avenger.

The discussion of the playlet, the players, and stage performances is rich in literary, lin guistic, and theatrical analyses. By defining the way the Protestants view God-as "the ulti mate director and audience of the world's tragedy" (1 14)-Curran shows how Hamlet, who initially believed in the power of drama to influence people, eventually undercut the Cath olic doctrines of merit and free will.

The book concludes with a perceptive discussion of Ophelia and Gertrude as foils of Lady Fortuna. Enlarging the scope of the "Be" principle, Curran finds that "The adversarial nature of [Hamlet's] relationship with Gertrude and Ophelia is nothing less than the Be itself. The two women have become conflated in Hamlet's mind" (155). Gertrude's marriage to Hamlet Sr. and impetuous remarriage to Claudius cloud Hamlet's definition of the per fect marriage. Moreover, the way Hamlet treats Rosencrantz and Guildenstern showcases a markedly different Hamlet from the earlier Hamlet, a view that demonstrates a "total fixed ness to which Hamlet submits" (217). Shakespeare, however, did not espouse this fatalistic view, nor did he address the subject so pointedly in any other play.

In addition to providing a brief overview at the beginning of each chapter, a summary at the end of each chapter, and a brief preview of the upcoming chapter, Curran incorpo rates the reader by using "I" and "you," asking questions, and exemplifying his thesis that Shakespeare intentionally incorporates theology in this play.

This book is an integrative and multifaceted addition to Shakespeare studies that explains and applies Reformation perspectives to this famous drama, thereby furthering the appeal and universality of Hamlet.

Studies in the Printing, Publishing and Performance of Music in the 16th Century. Stanley Boorman. Variorum Collected Studies. Aldershot: Ashgate, 2005. 376 pp. $114.95. ISBN 978-0-86078-970-3.

Ottaviano Petrucci: Catalogue Raisonne. Stanley Boorman. New York: Oxford Univer sity Press, 2006. 1296 pp. $299.00. ISBN 978-0-19-514207-5.

REVIEWED BY: Susan Lewis Hammond, University of Victoria

Working in Venice at the turn of the sixteenth century, Ottaviano Petrucci (1446 1539) transformed the technique of printing music to bring polyphonic music from the desk of the composer to the hands of the performer more efficiently than ever before. Though it was not until 1528, when Pierre Attaingnant streamlined the process, that print ing music became viable as a commercial enterprise across Europe, Petrucci is recognized as a "founder" of music printing. Alongside a technical legacy, Petrucci left music books that contain the majority of the surviving repertoire of chansons, frottolas, masses, and

motets from the period. Stanley Boorman has devoted much of his career to examining the printing and publishing of music by Petrucci and his followers, contextualizing Petrucci's work within the tradition of manuscript production and circulation that came before him and continued thereafter. Central to Boorman's approach is a close reading of the biblio graphical details of early music books and their sources. In this respect, Boorman's work

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760 Sixteenth Century Journal XXXIX/3 (2008)

speaks most directly to specialists of music printing, manuscript, and source studies. Studies in the Printing, Publishing and Performance of Music in the 16th Century is a

selection of eleven essays which demonstrates Boorman's breadth of interest and knowledge of sixteenth- and seventeenth-century editions and manuscripts. The papers fall into three groups: (1) essays on printing-house procedure; (2) contributions to music publishing; and (3) studies that compare notation used in printed sources and manuscripts of the same rep ertoires. The volume opens, appropriately enough, with an essay from 1977 that compares extant copies of Petrucci's first music book, an anthology of 96 chansons and other secular pieces titled Harmonice musices odhecaton A (Venice, 1501). Boorman compares the nota tional habits of the volume's editor and typesetter(s), examining the print much in the way one would approach scribal practice in the study of manuscripts. Boorman builds on the mingling of print and manuscript in "Printed Music Books of the Italian Renaissance from the Point of View of Manuscript Study" (Essay 4). Though widely accepted now, Boorman was influential in demonstrating the value of studying music prints from the perspective of manuscripts, looking at the individual copy or edition as a "curious phenomenon" (4, 2587). The second group of essays, on music publishing, is likely of greatest interest to a nonmusic readership. Essay 6 tackles the intended market for music books, introducing the concept of a "using public" (Boorman's emphasis, 6, 227), of performers as distinct from a reading pub lic who accessed legal printing, to give Boorman's example, on a use-for-reference basis. Boorman isolates the 1530s, rather than the start of the sixteenth century, as the turning point for the production and circulation of music books, brought about largely by the new technique of casting type with both stave and note on it (a time-saver from the multiple impression method it soon replaced) and the activity of two major printing firms in Venice, Scotto and Gardane. The final essay in the section compares music publishers in Antwerp and Venice, the leading centers for the industry north and south of the Alps, respectively. In contrast to Venetian publishers, who catered largely to a sophisticated audience, northern publishers appealed to a more varied market of novices, domestic singers, and professional musicians. The final group of essays returns to issues of notation and scribal or editorial habit, but directs attention toward the implications for performance. While across the essays Boorman writes for a narrow audience of specialists, his methodology has implica tions for studies of the sociology of books, the nature of evidence, the interaction of printed and manuscript sources (and their subsequent scholarly study), and the role of the market in the production of texts.

Ottaviano Petrucci: Catalogue Raisonne' will be a valued reference tool for scholars of sixteenth-century music printing and bibliography for decades to come. Boorman precedes his descriptive bibliography of the output of the Petrucci presses with a series of eleven essays on the professional career of Petrucci, the house-style of his firm, and the dissemina tion of his books. Boorman begins by stripping away the aura surrounding Petrucci, chal lenging his popular image as "the Gutenberg" of music printing. Boorman updates our knowledge of Petrucci's biography, shedding light on the web of typesetters, editors, com posers, and patrons in his orbit. Building on his assessment of Petrucci's place in music his tory, Boorman examines Petrucci's request of 1498 to the Venetian Signoria for a twenty year privilege to be sole printer and publisher of polyphony in the Venetian territories, largely discounting Petrucci's claims of invention. Similarly, after a thorough description of Petrucci's paper, typographical materials, music staves, type, text fonts, ink, and printing press, Boorman concludes that the printer's materials were rarely unusual. Turning to the visual appearance of Petrucci's books, Boorman notes that they varied according to reper toire and date. Prior to 1520 Italian and French secular music books were printed in choir

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Book Reviews 761

book layout (a convention of manuscripts), in which one book contained all parts of the music. However after 1520, the two surviving secular books appear in part-book format, with one volume for each performer. Petrucci printed the vast majority of masses and motets in separate part-books as well. Drawing on Gerard Genette's concept of paratext, Boorman argues that Petrucci used the manner of impagination, the presentation of the title, layout, indexes, and related details to appeal to consumers. Alongside traditional patronage arrangements, whereby a patron provided the contents and funds for the edition, Boorman proposes that several volumes were speculative ventures backed by Petrucci, an editor (including Petrus Castellanus), or a composer. Petrucci's consumers included a var ied mixture of amateur performers, clergy, teachers, musicians, composers, religious and/or educational institutions, and nobility.

An assessment of the quantity of Petrucci's output is plagued by problems of chronol ogy. An edition might carry the false date of an earlier edition, sheets of one edition might be included behind a title page with another date, and craftsmen might make errors along the various stages of production. The situation requires careful consideration and compar ison of each page of every copy of a title with the same page of every other copy, a time-con suming process that distinguishes Boorman's work for its technical detail. Boorman discusses all such copies of an edition under a single entry for the earliest extant edition, of which there are sixty-nine in the bibliography. Any subsequent edition or partial reprinting is included in the same overall entry, a format that makes the bibliography accessible to a

wider scholarly community. Within each entry, Boorman follows standard bibliographical procedures developed by Fredson Bowers, with modifications that take into account the work of Thomas Tanselle and Donald Krummel. Boorman presents an impressive amount and precision of detail, including remarks on such complex matters as in-house corrections, provenance, and lost copies. The use of bold font for headings within each entry eases one's use of the bibliographical descriptions. The final part of Boorman's study lists concordances for all Petrucci's musical output and transcribes documents central to the printer's biogra phy and career. The 600 printed and manuscript concordant sources for Petrucci's works are listed by language of text (Latin, Italian, French, Dutch, German, and Spanish), followed by instrumental and untexted pieces.

The work of Stanley Boorman is familiar and "required reading" for all students and scholars of early music printing. His catalogue is an indispensable tool that will remain a

model of descriptive bibliography and scholarship for the field. Like the printer he studies, Boorman makes a lasting contribution that will shape future work in the discipline.

Critical Essays on Shakespeare's A Lover's Complaint: Suffering Ecstasy. E d. S h i rl ey Sharon-Zisser. Aldershot: Ashgate, 2006. x + 203 pp. $94.95. ISBN 978-0-7546-0345-0.

REVIEWED BY: Christopher Martin, Boston University

It shared the quarto (though not the billing) with his 1609 Sonnets, but Shakespeare's narrative poem A Lovers Complaint sports a critical history that never did run smooth. Its reception perhaps bottomed out, as Shirley Sharon-Zisser and Stephen Whitworth discuss in their opening overview, early in the twentieth century, when institutional distaste prompted serious interrogation even of authenticity. While a noticeable turnaround has taken place in the past twenty years, much work remains to be done. This slim volume adds significantly to a modern rehabilitation. The editor assembles a talented company who unfailingly deliver, even though the compendium disappoints where it might have broken the freshest ground.

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