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Louis Couperin at the keyboard

defences during this period, and provides a lively, detailed account of the context in which Allegri’s music was performed. Discussing the surviving broadsheet engraving (‘The Medici arms supported by the celestial bodies’, suspended over a panoramic view of Florence) and the six Latin poems also printed for the occasion (entitled Sun, Saturn, Jupiter, Mercury, Moon and Mars—one for each of the palle on the Medici coat of arms), she convincingly argues that the planetary programme of the defence was conceived in response to the controversy surrounding Galileo’s outspoken support of Copernican heliocentrism. Antony John adds full editorial figures to the continuo part and reconstructs the instrumental parts implied by Latin rubrics appearing in the source, creating a clear text from which it would be easy to perform. One small objection to this edition is the insufficient attention it pays to all the surviving copies of Allegri’s music. Although we are told that the Biblioteca Casanatense example is bound next to the libretto of Latin poems it sets (suggesting that they were distributed together), at least four other copies of the work survive in Italian libraries. They too might provide valuable information on the circulation and ownership of this exceptional 17th-century publication.