878 jonathan glixon
possible sources for the repertory he provided petrucci for Odhecaton and
successive publications. For the 500th anniversary of the publication of
the Odhecaton, the Fondazione levi in Venice organized a conference
bringing together many significant musicologists and other specialists, the
proceedings of which were subsequently published. scholars discussed the
cultural and publishing context in Venice, petrucci’s biography (in Venice
and Fossombrone), his role as a printer (James Haar offers a fascinating
overview of his position within the book publishing world, his relation-
ships with other craftsmen and musicians, and the decisions he made
that had consequences for the music printing business for the decades to
come), on the repertory he issued, and on the distribution and reception
of the books. As well as offering much that is new, this book illustrates
the wide variety of methodologies now employed by scholars of Venetian
renassaince music: archival research, bibliographic and textual criticism,
musical analysis, liturgical studies, and the like. the crowning achieve-
ment of research on this most important music printer is the 2006 cata-
logue raisonné by stanley Boorman, where he brings together the fruits of
decades of research. this is far more than a catalogue, offering as complete
and detailed a biography as possible, with transcriptions of all relevant
documents, an extraordinary account of petrucci’s working methods and
materials, and invaluable discussions of the world of Venetian printing.
the catalogue itself, which distinguishes editions never before recognized,
is a model of modern bibliographic description and analysis.
petrucci is not, of course, the only Venetian printer to have received the
attention of musicologists. His successors, most notably Antonio gardano
and girolamo scotto, utilized, rather than petrucci’s multiple-impression
process, the much quicker, although less elegant, single-impression tech-
nique. their reasonably priced editions garnered extraordinary success,
and both publishing houses produced a large number of very varied pub-
lications over an extended period of time. Mary s. lewis authored the
first of the great bibliographies of a Venetian music printer, with a path-
breaking three-volume catalogue and study that describes the nearly 450
music books gardano issued in Venice between 1538 and 1569. Antonio
gardano was succeeded by his sons, and their production (nearly 1000 edi-
tions) from 1569 through 1611, has been studied and catalogued by richard
Agee. gardano’s great rival, who did not hesitate to pirate some editions
from his contemporary, was girolamo scotto, who issued about 400 books
between 1539 and 1572 (in total, nearly half of all renaissance music pub-
lications came off Venetian presses). Jane Bernstein’s exemplary catalogue