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Daniel Lagkhner.(Flores Jessaei (1606): Florum Jessaeorum (1607))(Flosculus vernalis (1621))(Harmonia concertans (1623))

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Daniel Lagkhner. Flores Jessaei (1606); Florum Jessaeorum (1607). Transcription and revision by Joze Sivec. Ljubljana: Slovenska akademija znanosti in umetnosti, Znanstvenoraziskovalni center SAZU, Muzikoloski institut, 1998. (Monumenta artis musicae Sloveniae, 34.) [Introd., editorial notes in Slov., Eng., p. ix-xvi; facsims., p. xvii-xx; score, p. 1-56. ISMN M-709004-00-3. [euro]23.]

Gabrijel Plavec [Gabriel Plautzius]. Flosculus vernalis (1621). Transcription and revision by Tomaz Faganel. Ljubljana: Slovenska akademija znanosti in umetnosti, Znanstvenoraziskovalni center SAZU, Muzikoloski institut, 1997. (Monumenta artis musicae Sloveniae, 33.) [Introd., editorial notes in Slov., Eng., p. ix-xix; facsims., p. xx-xxiii; score, p. 1-317. ISMN M-709004-03-4. [euro]102.50.]

Isaac Posch. Harmonia concertans (1623). Transcription and revision by Metoda Kokole. Ljubljana; Slovenska akademija znanosti in umetnosti, Znanstvenoraziskovalni center SAZU, Muzikoloski institut, 1998. (Monumenta artis musicae Sloveniae, 35.) [Editorial notes, texts of compositions with translations in Slov., Eng., p. ix-xlii; facsims., p. xliii-xlvi; score, p. 1-162. ISMN M-709004-04-1. [euro]52.]

Since 1983, the Slovenian Academy of Arts and Sciences has made available a valuable cross-section of early modern musical repertory from Slovenia in its series Monumenta artis musicae Sloveniae. The bulk of the existing volumes are devoted to a complete edition of the works of Jacobus Handl (Gallus, 1550-1591), a leading composer of Latin sacred music in the Hapsburg lands of the late sixteenth century and one whose works enjoyed a wide circulation in manuscript, individual editions, and anthologies (see reviews in Notes by John Kmetz, vol. 52, no. 3 [March 1996]: 1017-20, and Stephen Rose, vol. 58, no. 1 [September 2001]: 183-86). With the publication of these editions we are beginning to come to terms with a significant repertory that historians have long neglected, a consequence, perhaps, of its very suitability for a wide range of potential consumers in the sixteenth and seventeenth centuries. Central and eastern European composers' espousal of an international style of polyphonic composition--embracing neither the chorale-based explorations of Protestant Germany nor the most virtuosic, affective aspects of modern Italian music--and their retention of the Latin language have...