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Bird of Time: The Music of Swan Hennessy by Axel Klein (review)

used by Murray, who covered the years 1942– 1991 (Murray, p. x), Parker includes much more information on each piece, such as the type of score and whether there are texts, translations, or explanatory notes. This is especially helpful when the same piece is covered in a variety of anthologies, so that users can choose whatever layout or arrangement best suits their needs at the time. Her time frame encompasses 1942– 2014 for printed collections of music, with the online anthology having more currency as it is being periodically updated. The cross-reference structure is helpful; one wonders, though whether the idea to place titles under the article beginning the title (e.g., The Star-Spangled Banner, p. 77), which all require references from their main first word, was the wisest choice, since most libraries would file under the first word following the article (e.g., under Star rather than The). Perhaps because she has so many languages to deal with, it was less cumbersome to make a blanket decision, but again there are so many references, sometimes right below or above the intended destination, which can make the text seem a bit cluttered. To be fair, Murray used this type of alphabetisation too. Parker’s inclusion of the A-R Online Music Anthology (ARMA) alongside the various print titles she indexes is appropriate, given that this anthology is one of the only current examples of a born-digital title within this subject area, and is a worthy representative of that format. One hopes its availability will induce more publishers to explore the possibilities of releasing music anthologies in this technologically-friendly way. A few fairly major composers are also missing, such as Amilcare Ponchielli, William Walton, and Alexander Zemlinsky, but perhaps they were not represented in anthologies to the extent that their works are still performed (nor are they treated in Murray). Parker’s background and scholarly pursuits have made this a worthy successor to her previous titles on the string quartet (e.g., String Quartets: A Research and Information Guide, 2d ed. [New York: Routledge, 2010]) and violoncello and eighteenth-century musics. Evidence of great care is everywhere noted and one searches vainly for egregious errors. The text is printed in a clear font in an easy-to-read contrast, with stark white pages in a fairly compact 9.5inch height. The two volumes are divided evenly with about half the total pagination in each, making them easy to manage (one drawback of many older titles was trying to cram so much into one volume that the binding would break fairly quickly, which is definitely not the case here). Parker is to be congratulated for this wonderful addition to the library reference shelf, which will serve readers for many years to come.