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Let's set the record straight, folks
on January 19, 2005
"Anonymous IV" has a right, of course, to dislike Richard Taruskin's magnificent Oxford History of Western Music, and to express that opinion - however unfathomable it may seem -- on amazon.com.
But inaccuracies, especially at the core of so damning a response to a new book, must not remain unchallenged.
Let's start with Anonymous IV's insinuation that Taruskin lacks expertise in music before 1800. (According to Anonymous IV, Taruskin's "superficial" and "sketchy" first two volumes summarize "the extent of what the author knows about music before 1800"; he is "obviously... on home turf" only in the 19th and 20th centuries.)
Perhaps Anonymous IV cannot imagine a musicologist being on home turf in more than one period. But Taruskin is just such a rare being: a formidable scholar of 19th- and 20th-century Russian music, he is equally celebrated in the realm of early music. His influential book, Text and Act (1995), contains numerous essays on pre-19th-century music. And even the brief author's biography on the back cover of that book informs us that Taruskin has published "numerous editions of Renaissance music, including a complete edition with commentary of the sacred music of [the 15th-century composer] Antoine Busnoys," and that while teaching at Columbia University, Taruskin had a distinguished performing career in early music. (Among other activities, he conducted the Cappella Nova, a New York-based choir specializing in medieval and Renaissance music; as a viola da gambist he recorded and toured with the Aulos ensemble.)
Anonymous IV's whining that Taruskin "rushes through more than 1000 years of music history" is no less mystifying. Hello! Taruskin devotes 1,612 pages to the first 1000 years of notated music in the Western world - rather more than the 843 pages in which Grout/Palisca, to which Anonymous IV repeatedly compares Taruskin, covers the entire history of Western music.
But most importantly: if Anonymous IV has indeed read Taruskin's History of Western Music, he/she will have found, in its opening paragraphs, (pp. xxi and xxii), a clear statement of the book's aim. It is not, Taruskin explains, a survey à la Grout. Rather, it is "an attempt at a true history" - that is, an attempt "to explain why and how things happened as they did" - in short, not the usual laundry list that has too often passed for music history. To compare Taruskin to Grout on this count is rather like faulting a cognac for not being a beer.
Taruskin fulfills his stated aim exhilaratingly. His book is a towering achievement of scholarship and intellect; a challenge to complacency; a joy to read.
As to the accusation that Oxford's production of Taruskin's book is shoddy: well, I do not know what Anonymous IV has been doing with his/her copy. I have been reading mine, for some weeks now, and have had no problem whatsoever with its binding.