¹ Luca Marenzio, Sämtliche Werke, ed. Einstein, A., Publikationen Älterer Musik 4/i, 6 (Leipzig, 1929–1931; repr. 1967)Google Scholar.

² Luca Marenzio, Sämtliche Werke, Publikationen Älterer Musik 4/i, p. vii: ‘Der Revisionsbericht der Madrigale Marenzios gestaltet sich sehr einfach.’

³ First and Second Books of Madrigals, ed. Jackson, R., Marenzio, Luca, Omnia, Opera, ed. B. Meier and R. Jackson, 4 (n.p., American Institute of Musicology, 1978)Google Scholar; Madrigali a quattro, cinque el sei voci, libra primo (1588), Marenzio, Luca, The Secular Works 7, ed. Ledbetter, S. (New York, Broude Brothers, 1977)Google Scholar; Il settimo libra de madrigali a cinque voci, Le Opere Complete di Luca Marenzio 7, ed. Steele, John (New York, Les Editions Renaissantes, 1975)Google Scholar. For Einstein's edition see above, note 1. A valuable recent study of Marenzio's textual sources i s Chater, J., ‘Fond poetiche per i madrigali de Luca Marenzio’, Rivista Italiana di Musicologia, 13 (1978), pp. 60–103Google Scholar.

⁴ Marenzio's sacred music is being brought out, edited by Roland Jackson, in the American Institute of Musicology series Luca Marenzio, Opera Omnia; no duplication is planned here. Professor Steele has informed me in a recent letter that he does not expect his series to be continued.

⁵ In fairness I should say that the price of the volume under review is (or was, in November 1980) 128.00 to subscribers and $35.00 for the individual volume — not unreasonably high.

⁶ See Fenlon, I., Music and Patronage in Sixteenth-Century Mantua, I (Cambridge, 1981), p. 152Google Scholar. The closing piece of Marenzio's volume, Ombrose e care sehe, is the only one written in the kind of ‘public’, festive style used by Marenzio for his contributions to the Florentine intermedi of 1589.

⁷ On the very long concerts given by the musicians of Alfonso's musica secreta see Newcomb, A., The Madrigal at Ferrara, 1579–1597, i (Princeton, 1980), pp. 25–6Google Scholar.

⁸ See Powers, H. S., ‘Tonal Types and Modal Categories in Renaissance Polyphony’, Journal of the American Musicological Society, 34 (1981), pp. 428–70CrossRefGoogle Scholar; Powers, ‘Modal Representation in Polyphonic Offertories’, pp. 43–86 above.

⁹ Einstein, A., The Italian Madrigal (Princeton, 1949), n, p. 678Google Scholar.

¹⁰ No. 1, bars 40–1: B^bs in the cantus; no. 3, bar 49: B^b in the bass; no. 14, bar 26: E^b in the bass.

¹¹ All the sources agree on the reading Professor Myers changes; and in Professor Steele's edition of the piece the original reading is maintained.

¹² An example of this sort of edition, drawn from various prints of Marenzio's work, is Marenzio, Ten Madrigals, ed. Arnold, D. (London, 1966)Google Scholar.