* Rebecca Cypess ( is Assistant Professor of Music at the Mason Gross School of the Arts, Rutgers University. Her publications have appeared in Early Music, the Journal of Musicology, Music and Letters, The Musical Quarterly, Recercare, and the Journal of Musicological Research, among other venues. Her book, Curious and Modern Inventions: Instrumental Music as Discovery in Galileo’s Italy, was published by the University of Chicago Press in 2016.

[1] Brewer’s work in this archive has also led to his publication of a modern edition of instrumental music, published as Charles E. Brewer, ed., Solo Compositions for Violin and Viola da Gamba with Basso Continuo from the Collection of Prince-Bishop Carl Liechtenstein-Castelcorn in Kroměříž, Recent Researches in Music of the Baroque Era 82 (Middletown, Wis.: A-R Editions, 1997). Another recent study of the Kroměříž archive is Jiri Sehnal, Pavel Vejvanovsky and the Kroměříž Music Collection: Perspectives on Seventeenth-Century Music in Moravia (Olomouc: Palacký University in Olomouc, 2008). See also Tassilo Erhardt, “‘Senza che il Maestro di Capella ne sappia cosa alcuna’: Some New Light on Imperial Court Repertory in the Collection of Karl von Liechtenstein-Castelcorno at Kroměříž,” Early Music 40, no. 4 (November 2012): 593–604.

[2] There are a few exceptions; for example, Brewer does provide a brief discussion of Froberger’s famous “hexachord” fantasy, transcribed in the Musurgia (28). And he implies a connection with the Italian repertoire by adopting Peter Allsop’s term “patchwork” to describe the construction of the sonatas in Schmeltzer’s Duodena selectarum sonatarum (1659), writing that “For the most part, the twelve works in the collection are constructed from interlinked sections that vary in tempo, meter, and texture, and in this they seem typical of the Venetian tradition of sonatas” (62).

[3] Peter Allsop’s book on the Italian trio sonata in the seventeenth century—a volume that Brewer cites numerous times in his study—provides a model for the application of Kircher’s descriptions of musical affect and ecstasy to this earlier Italian repertoire. Peter Allsop, The Italian “Trio” Sonata from Its Origins Until Corelli (Oxford: Clarendon Press, 1992), 57 and passim.

[4] In a separate section of the book Brewer refers to Chew’s distinction between “the triple-meter ‘Italian’ type … and a duple-meter ‘Austrian’ type” (191).

[5] On the possible connections between Farina’s “Capriccio stravagante” and the “Sonata rappresentativa,” see Aurelio Bianco, ‘Nach englischer und frantzösischer Art’: Vie et oeuvre de Carlo Farina avec l’édition des cinq recueil de Dresde (Turnhout: Brepols, 2010), 123–49.

[6] An account of Paganini from The Musical World of 1838 recounts that “On some occasions, during an access [sic] of fever, or any other extraordinary excitement, Paganini has produced on his instrument the different cries of animals in the most perfect manner. At one of his last concerts in London, he went through a whole farm-yard of animal sounds, with all the truth of nature, electrifying his audience with wonder and delight.” See “Paganini,” The Musical World, A Weekly Record of Musical Science, Literature and Intelligence 8 (Jan. 5–Apr. 26, 1838), 131.

[7] William Newman, The Sonata in the Baroque Era, 4th edition (New York: W.W. Norton, 1983).

[8] Gregory Barnett, “Form and Gesture: Canzona, Sonata, and Concerto,” in The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt (Cambridge: Cambridge University Press, 2005), 480.

[9] Gregory Barnett, Bolognese Instrumental Music, 1660–1710: Spiritual Comfort, Courtly Delight, and Commercial Triumph (Aldershot: Ashgate, 2008), Chapter 4, “Da chiesa and da camera.”

[10] Heinrich Ignaz Franz Biber, Sechzehn Violinsonaten, ed. Erwin Luntz, Denkmäler der Tonkunst in Österreich 25 (Vienna: Universal, 1905; reprint, Graz: Akademische Druck- und Verlagsanstalt, 1959), 3n10.

[11] A significant lacuna in Brewer’s discussion of the Rosary works has already been pointed out by James Clements: he was apparently unaware of the recent rediscovery of the handbook for the confraternity of the Rosary that includes the same fifteen engravings as those pasted onto Biber’s manuscript, which were published in 2008 together with a new facsimile of Biber’s collection. See James Clements’s review of Brewer’s book, published as “Instrumental Fantasy in the Habsburg Lands,” Early Music 39, no. 4 (November 2011): 612; and Heinrich Ignaz Franz Biber, Rosenkranz-Sonaten: Bayrische Staatsbibliothek München: Mus. Mss. 4123, ed. Manfred Hermann Schmid. Denkmäler der Musik in Salzburg 14 (Munich: Strube Verlag, 2008). The Rosary pamphlet included in the volume is entitled “Kurze Unterweisung für alle Brüder und Schwestern dess H. Rosenkrantzes Bruderschaffen.”