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The Instrumental Music of Schmeltzer, Biber, Muffat and Their Contemporaries.
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Music and Riddle Culture in the Renaissance. The Birth of the Orchestra. Giovanni Pierluigi da Palestrina. Keyboard Music Before The Cambridge Companion to Mozart. Although Brewer makes reference to Bertali and Uccellini, he does not sufficiently explain his decision to begin the bulk of his history with Schmeltzer, rather than these other composers. In two cases, Brewer offers interpretations of correspondence, proposing connections between letters and the musical compositions to which he thinks the letters refer.
Brewer disputes this identification, arguing instead that the letter must have been referring to another instrumental work by Schmeltzer that bears the same title: More problematic, however, are the conclusions that Brewer arrives at based upon this evidence.
The problem here is that even in cases where instrumental works have a clear vocal model, it is difficult to state with certainty that the meanings of those works—or their intended performance venues—would have remained consistent after the transfer of medium. The ways that early instrumental music accrued meaning are complex. The same topoi , absent the sacred text, might revert to the general associations of the pastoral.
Citing other cases of misattribution, Brewer proposes that Biber was only the copyist. This claim seems tenuous.