Errata in the First and Second Printings
of Inside Early Music
by Bernard D. Sherman

(Oxford University Press, 1997)



p. 3, second paragraph: Rosen quote should have no comma after "musicians": it should read, "musicology is for musicians what ornithology is to the birds" .

p. 7, penultimate paragraph: Zuckerman quote should have ellipses (...) after the word "farce" and before the three asterisks

p. 7 footnote 21: Fanfare 14 (not 13), 1991 (not 1990)

p. 11, line 11, fourth word from the end add "the" before "principle": it should read, "..preconceptions; but the principle may have..."

p. 17 line 12-- "privilege" should be in past tense: the text should read, "privileged the evidence they liked"

p. 44, first question: Delete "it was Billboard's "Classical Disc of the Year" for 1994, as Ladymass had been for 1993"; end sentence with "Illusion]."

p. 90, last sentence: add the word "studied" at the end: "every culture so far studied."

p. 91, last complete bullet point (2nd line before footnotes}: after "mental modules" and before the closing period, add the following clause: "that can operate normally only when the associated genes do"

p. 180 "Proust's 'divine sewing machine'" - oops. Should be "Colette's" divine sewing machine. If we'd had Google back then, Oxford and I would have caught this one!

p. 236, first complete answer, "Tod" should be spelled "Tot."

p. 255, first paragraph, next-to-last line: "Ariodante" should be in italics with initial cap.

P. 289-90: Footnote 23 should be replaced with the following:

Rifkin’s logic can be expressed in a syllogism. The major premise is that a voice part of the type Bach provided his singers–a part that included all the movements, both solo and choral, for its particular range–was meant for a single performer only. The minor premise is that in all but a few of Bach’s surviving cantatas and similar works only one part was written out for each of the voice ranges. If both premises are accepted, the conclusion is obvious: Bach used a solo quartet to sing the choruses.

The minor premise, that Bach usually prepared only one part for each range, is the standard view among Bach scholars. It is Rifkin's major premise that is revolutionary. Scholars have long believed that Bach’s singers shared their parts, typically in groups of three–a principal singer, who sang everything in the part, and two supporting “ripienists,” who joined in the choruses and chorales. According to Rifkin, there is no real evidence for this practice, either in documents or in the parts, which consistently fail to provide reliable cues for when ripieno singers should enter and exit, even in situations that seem to demand such cues. He adds that a substantial number of parts show signs of having been intended for use by one singer only. Several bear character designations (“Anima,” “Jesus,” “Phoebus”), and some indicate solo singers in the list of forces on the wrapper in which Bach kept the parts (the vocal scoring for BWV 56 reads “S. A. T. &Basso Con[certato]”). Even the provision of special ripieno parts for some works reveals, says Rifkin, that single voices read from the principal parts–and in several instances, Bach added the ripieno parts at revivals of works that originally did not include them.

Butt, in his Bach: Mass in B Minor (p. 40), writes, “although [Rifkin’s] view continues to be opposed by some of the most important figures in Bach research, there have been no convincing arguments, based on meticulous source-study, actually to prove him wrong.” George Stauffer disputes this in the Journal of Musicological Research 12 (1993), pp. 257—72, but Rifkin replies in the same journal, 14, (1995), pp. 223-34. See also Robert Marshall’s “Bach’s Chorus: A Reply to Rifkin,” The Musical Times 124 (January 1983), pp. 19—22, and Rifkin’s response in the March, 1983 issue, pp. 161-62.

p. 333, last complete answer from Levin, third line, has a comma fault. Correction should remove the comma after the words "tell them the trick to doing" -- it should read "tell them the trick to doing it in five sentences,"

p. 334, only question from the interviewer, second line: "contributed in" should read "contributed to."

p. 350, musical example: add E-flat major key signature before "2/4", i.e. add "flat" symbols in the space between top and second staff-lines and on the middle staff-line and in the space right above the middle staff line.

p. 392, second paragraph, last sentence: remove the word "not": The sentence should read, "And his unapologetic conviction does bear on his artistic success."

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