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Providing comprehensive coverage of the keyboard music, this text surveys the rich diversity of the central keyboard repertory before Bach. It uses representative works to explore the styles, textures, genres, instruments and performance practices which characterize European keyboard music of the period.

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• Preface to the Second Edition(p. vii)
• Preface to the First Edition(p. ix)
• Acknowledgments(p. xii)
• Note on Citations(p. xii)
• Contributors(p. xv)
• 1. Introduction: The First Centuries of European Keyboard Music(p. 1)
• Notation
• The Early Repertory
• Genres and Their Contexts
• Guide to Literature and Editions
• 2. England(p. 23)
• The Background
• The Two Sixteenth
• Century Traditions
• William Byrd
• The Later Virginalists
• The Mid-Seventeenth Century
• The Age of Purcell
• Guide to Literature and Editions
• 3. France(p. 90)
• Organ Music: Plainchant; Liturgy; The Renaissance and Pre
• Classic Periods; The Classic Period
• Harpsichord Music: The Renaissance and Pre
• Classic Periods; The Classic Period
• Guide to Literature and Editions
• 4. Germany and the Netherlands(p. 147)
• Conrad Paumann and the Buxheim Organ Book
• The Early Sixteenth Century
• The Later Sixteenth-Century Tablatures
• Jan Pieterszoon Sweelinck and His German Pupils
• The Mid-Seventeenth Century
• The Later Seventeenth Century
• Guide to Literature and Editions
• 5. Italy(p. 235)
• Instruments
• The Liturgy
• The Music: The Earliest Evidence; The Early Sixteenth Century; 1540 to 1620; Girolamo Frescobaldi; 1630 to 1700
• Guide to Literature and Editions
• 6. Spain and Portugal(p. 312)
• The Iberian Organ
• The Nascent Literature and the Theorists
• Cabezon
• Aguilera de Heredia and the Aragonese School
• Coelho
• Correa de Arauxo
• Cabanilles
• Guide to Literature and Editions
• 7. Performance Practice(p. 359)
• Why Study Performance Practice? A Brief History
• The Instruments and How to Play Them
• Pitch Standards
• Tuning and Temperament
• Body and Hand Positions
• Articulation
• Fingering
• Accidentals
• Tempo
• Repeats and First and Second Endings
• Ornamentation
• Guide to Literature
• Index(p. 395)

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CHOICE Review

Although music has been written for keyboard instruments since the late 14th century, the literature for organ, harpsichord, and clavichord composed before 1700 is relatively unknown to present-day audiences. This is in part due to the pervasive Bach centrism among scholars, performers, and audiences, most of whom until recently regarded the earlier music as merely precursive to the culminating works of the great Johann Sebastian. With the present volume, Silbiger (Duke Univ.) takes some first steps toward forming a canon of pre-Bach keyboard music. The book's five sections, each written by a specialist in the music of a particular region (Alan Brown on England, Bruce Gustafson on France, John Butt on Germany, Robert Judd on Italy, and Robert Parkins on Spain and Portugal) focus on a selection of "the composers and pieces that we believe still have most to offer in terms of artistic interest and value." Silbiger avoids direct comparison with Willi Apel's monumental but somewhat dated survey The History of Keyboard Music to 1700 (1972), which Silbiger complements but does not replace. The more user-friendly Apel is better organized for quick reference--its table of contents is a model of clarity. Silbiger, however, is an essential purchase because its state-of-the-art scholarship approaches this wonderful music entirely on its own terms. All collections. E. Gaub Grinnell College