Caccini is one of the most important figures in music history, especially in relation to the birth of opera. He is attributed with creating the stile recitativo. His collection of songs titled Le nouve musiche is both a musical and musicological landmark. This whole magic process of the birth of the new style is explained in Daniel Zuluaga’s excellent essay.

Music for Spanish minstrels during the 16th century is the subject of the second article, written by Juan Ruiz Jiménez, one of the most important scholars working on this repertoire. Independent bands of minstrels can be traced back to the early Middle Ages and were especially active during the 16th century, once they had gained the stability of a steady income after being hired by the most important ecclesiastic institutions and, to a lesser extent, by royal houses, nobility or city councils. Ruiz Jiménez’s article focuses on this repertoire in extant books and those in which it can be documented. For many 18th-century music lovers, Handel, not Bach, was the most famous organist in Europe, even though he didn’t compose many works for the solo organ. Today, despite the fact that the organ concertos have enjoyed considerable popularity and were admired in their time, they are often considered minor works in his output. For Pierre Dubois, one of the most respected organ music specialists, Handel’s concertos should be considered an essential part of the composer’s art and eminently personal. Dubois’ well-documented essay revindicates and acknowledges the importance of Handel’s organ works.

“Visigothic Illusion” is the title of the article written by the musicologist Professor Susana Zapke, in which she sheds new light on the history of the Spanish-Visigothic church and its music. Its history is divided into intermittent episodes marked by movements of resistance, restoration and reformation, which occurred from the 6th century until well into the 13th century: an overview of one of the most precious gems in the heritage of Spanish music.

Brigitte Lesne is a worthy candidate to be interviewed in this issue, because over the last two decades her name has been synonymous with medieval music, both as a performer and scholar. Her work in both fields became a concrete reality in the form of the ensembles Discantus and Alla Francesca, as well as the Centre de musique médiévale de Paris, which she also did much to help create. Brian Robins conducts an incisive and in-depth conversation with her, bringing us closer, as always, to the more human, as well as the more professional nature, of our featured artist.