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• Ludwig Senfl (c.1490–1543): A Catalogue Raisonné of the Works and Sources. Volume 1: Catalogue of the Works. Volume 2: Catalogue of the Sources–Abbreviations, Bibliography, Indexes by Stefan Gasch and Sonja Tröster, in collaboration with Birgit Lodes
• Joseph Sargent

For more than a decade now, scholars associated with the University of Vienna (Stefan Gasch, Sonja Tröster, Birgit Lodes) have undertaken a multipronged effort to re-examine the life, music, and historical significance of Ludwig Senfl. To date this ambitious endeavour has included three volumes of essays (Senfl-Studien [Tutzing: Hans Schneider; Wien: Hollitzer, (2012)–]), an ongoing new critical edition, and an online catalogue (http://www.senflonline.com). To these efforts can now be added a magisterial two-volume catalogue raisonné, devoted entirely to Senfl's works and their sources. Sweeping in scope, this project masterfully corrals a sprawling array of primary, secondary, and tertiary source materials into a single, easy-to-use repository, offering the fullest portrait yet of one of sixteenth-century Germany's most important musical figures.

Volume 1 of the catalogue raisonné comprises a full catalogue of Senfl's works. The catalogue listing itself is preceded by a wealth of introductory material: a detailed preface, a lengthy explanatory guide showing how to navigate both the works and sources catalogues, and several charts listing various technical details (abbreviations, correspondences between RISM and Census-Catalogue sigla, former shelfmarks of select manuscripts, a particular listing of sources in Ratsschulbibliothek Zwickau, a list of contrafacta with catalogue numbers, cross-references of several motets that could also be categorised as Mass proper settings).

Gasch and Tröster begin their preface with some historiography, outlining at various stages what was known about Senfl's repertory, how it was interpreted, and the history of efforts to create a complete works edition. They vividly describe historical biases under which scholars have traditionally emphasised certain genres (Lieder) above others (motets, Mass propers), and have overly privileged Senfl's nationalist and Lutheran connections. Though Senfl's importance to sixteenth-century Germany has certainly been understood to a considerable extent, Gasch and Tröster assert that the catalogue's up-to-date source tracking now enables a more thoroughgoing appreciation of his pervasive influence. Senfl emerges through this portrait as something of a cultural nexus, a figure whose music deeply penetrated the major courtly, civic, and theological currents of his time.

Among the more intriguing discoveries from Gasch and Tröster's catalogue [End Page 180] research are several previously unknown compositions, either definitively or possibly by Senfl, as well as more than a dozen motets and songs whose attribution to Senfl must now be questioned. In cases of anonymous works where a connection to Senfl has been proposed, Gasch and Tröster have opted to include these for the sake of prompting further research, but with signs indicating their level of confidence with the attribution. Also of great importance are a number of new concordances, which for several Senfl works have led to proposals of new dating. One dramatic instance of this is Senfl's cycle of Magnificats, published in 1537; these pieces have now been dated to the early 1520s, thanks to a notation indicating the year '1523' above one of the settings in a single surviving partbook (D-WGlh ss 2181). Besides pushing back Senfl's composition date for these pieces, this discovery has important implications for our larger sense of the eight-tone Magnificat cycle's development as a genre, moving Senfl into a more pioneering position than before.

Entries for the catalogue are arranged by genre, with appropriate cross-references for cases where genre might be ambiguous (as is often the case with Senfl, particularly with distinctions between Proper settings and motets, or motets and songs). Pieces are given a catalogue...

审核人：

• Ludwig Senfl (c.1490–1543)：作品和来源目录。第 1 卷：作品目录。第 2 卷：来源目录——缩写、参考书目、索引，由 Stefan Gasch 和 Sonja Tröster 与 Birgit Lodes 合作
• 约瑟夫·萨金特

十多年来，与维也纳大学有关的学者（Stefan Gasch、Sonja Tröster、Birgit Lodes）进行了多方面的努力，以重新审视 Ludwig Senfl 的生活、音乐和历史意义。迄今为止，这项雄心勃勃的努力已包括三卷论文（Senfl-Studien [Tutzing: Hans Schneider; Wien: Hollitzer, (2012)–]）、正在进行的新评论版和在线目录 (http://www.senflonline .com）。现在可以为这些努力添加一个权威的两卷目录 raisonné，完全致力于 Senfl 的作品及其来源。该项目涵盖范围广泛，巧妙地将大量一级、二级和三级来源材料集中到一个单一、易于使用的存储库中，提供了 16 世纪德国最重要的音乐人物之一的最完整的肖像。

目录 raisonné 的第 1 卷包含 Senfl 作品的完整目录。目录列表本身是由丰富的介绍材料之前：详细的序言，展示如何导航两个工程和源目录，和几个图表上市RISM和之间的各种技术细节（缩写，对应一个漫长的指引说明人口普查目录sigla ，选定手稿的前书架标记，Ratschulbibliothek Zwickau 中的特定来源列表，带有目录号的反事实列表，也可以归类为质量正确设置的几个经文的交叉引用）。

Gasch 和 Tröster 以一些历史编纂开始了他们的序言，概述了在不同阶段对 Senfl 的剧目的了解、它是如何被解释的，以及创造一个完整作品版本的努力的历史。他们生动地描述了历史偏见，在这种偏见下，学者们传统上强调某些流派（Lieder）高于其他流派（经文、大众属性），并过度重视 Senfl 的民族主义和路德教联系。尽管 Senfl 对 16 世纪德国的重要性肯定在相当程度上得到了理解，但 Gasch 和 Tröster 断言，该目录的最新来源追踪现在可以更彻底地了解他的普遍影响。Senfl 通过这幅肖像画成为一种文化纽带，他的音乐深深地渗透到了主要的宫廷、公民、

Gasch 和 Tröster 目录中更有趣的发现[End Page 180]研究了几个以前未知的作品，无论是确定的还是可能是 Senfl 的，还有十多首颂歌和歌曲，它们的归属现在必须受到质疑。对于提议与 Senfl 有联系的匿名作品，Gasch 和 Tröster 选择将这些包括在内，以促进进一步的研究，但有迹象表明他们对归属的信心程度。同样重要的是一些新的索引，对于一些 Senfl 作品来说，这导致了新的约会建议。一个戏剧性的例子是 Senfl 的 Magnificats 循环，出版于 1537 年；这些作品现在已经可以追溯到 1520 年代初，这要归功于在一本幸存的零件手册 (D-WGlh ss 2181) 中的一个设置上方标有“1523”年份的符号。除了推回 Senfl'

目录的条目按流派排列，并在流派可能不明确的情况下提供适当的交叉引用（Senfl 通常就是这种情况，特别是适当的设置和歌词之间的区别，或者歌词和歌曲之间的区别）。作品有目录...