Keyboard Music

Recent archival discoveries have begun to alter longstanding assumptions about the methods and materials of J. S. Bach’s pedagogy. Contrary to the widespread belief, it was not the ornate, four-part, vocal Choralgesang style that played the central role in Bach’s teaching. Rather, it was the Choralbuch style, where relatively simple thoroughbass chorale harmonizations were improvised at the keyboard. This two-volume series makes these findings accessible to scholars, teachers, and students by providing translations and modern editions of relevant sources from Bach’s circle.

Volume one provides a modern pedagogical edition of the thoroughbass chorales in C. P. E. Bach’s New Melodies for Some Chorales in the New Hamburg Chorale Book (1787), thoroughbass exercises from the anonymous “Precepts and Principles” (1738; attributed to Bach’s circle), the first English translation of David Kellner’s enormously popular treatise, True Instruction in Thoroughbass (2nd ed. 1737), a list of thoroughbass rules by J. S. Bach, and a newly created Thoroughbass Primer for Beginners. Volume two is a modern edition of the anonymous Sibley Chorale Book, which has been recently attributed to J. S. Bach’s circle of pupils in Dresden, c.1735.

Présentation

Douzième volet de l’intégrale Johann Sebastian Bach (1685-1750) pour clavier, le second volume du Clavier bien tempéré est présenté en deux récitals, chaque fois au clavecin, à savoir les préludes et fugues 1 à 12 (BWV 870 à 881), puis les préludes et fugues 13 à 24 (BWV 882 à 893), autrement dit la première moitié du recueil, de do majeur à fa mineur, puis la seconde moitié, de fa dièse majeur à si mineur.

In the course of Ferrari’s life clavichord, harpsichord, Tangentenflügel, spinet, clavichord, fortepiano in his various building traditions  coexisted and has changed significantly. The music of Giacomo Ferrari Gotifredo for keyboard instrument represents a rather conspicuous part of his executive and compositional activities: for training and for the professional needs and relationships the keyboard remained for the musician a constant. This study,  in Italian language, prepared for the First International Fortepiano Competition dedicated to Ferrari (2012), examines this aspect of the musician offering unpublished data, particularly in the field of concerts for piano and orchestra.

Resumen: El Libro de Torres de la colección Sánchez Garza, es uno de los documentos más polémicos de los últimos tiempos en la musicología hispánica. Esta polémica ha sido el resultado de dos factores fundamentales: por un lado el problema de la autoría, y por el otro, el aparente desorden del contenido musical del manuscrito, debido supuestamente, al trabajo inefi ciente de los copistas que le dieron forma. Esto último ha llevado a concluir, como opinión generalizada, que se trata de una copia corrompida de las obras para órgano que habrían sido compuestas por el prestigiado compositor, organista, teórico musical e impresor español, Joseph de Torres y Martínez Bravo (*1670c; †1738), en cuyo caso el copista del manuscrito sería el responsable de dicho desorden; lo que ha llevado a suponer, a otros investigadores, que incluso las obras en cuestión no sean de su autoría. A esto debemos agregar la confusa y a veces errónea transcripción ofrecida por el CENIDIM en 1993 1 , en cuyo caso las obras han sido adjudicadas a José de Torres y Vergara, un personaje mexicano, homónimo y contemporáneo de Torres y Martínez Bravo.

The German-born English composer William Babell (1688–1723) was regarded by his contemporaries as a virtuoso harpsichordist, a reputation he retained posthumously through his arrangements of opera arias by Handel and other composers; many of these arrangements, notable for their sometimes extravagant division-like passagework and cadenzas, were published in his lifetime. However, he was also a significant composer of original harpsichord music, most of which is unique to a manuscript in Bergamo that was identified as a source of his music only recently. Containing a set of eleven toccatas, two suites of dances, a series of seven preludes and a single allemande, this manuscript was apparently copied under Babell’s supervision towards the end of his short life and was perhaps intended as a collection of his original harpsichord music. The musical style recalls the virtuoso idiom of the arrangements, but it also reveals an impressive range of influences that reflected his cosmopolitan background and a marked ability to create exciting effects on the harpsichord through concerto-like idioms. With the exception of one of the suites (omitted for reasons explained in the introduction), this volume contains a complete edition of the manuscript together with two suites of aria arrangements taken from an autograph manuscript originating from the library of the Dukes of Leeds. Appendices containing alternative versions of some of the movements and vocal originals of three of the four aria arrangements in the main part of the volume are also included.

The article discusses a number of stylistic links between William Byrd and Jan Pieterszoon Sweelinck in their quality as keyboard composers, pointing out the particular importance of the former to the latter. Included is a complete transcription of Byrd's Pavan & Galliard in g (Sir William Petre) in the “Sweelinckian” version of the Düben Tablature.

In December 1993 news broke that six keyboard sonatas whose rediscovery was being hailed as “The Haydn Scoop of the Century” were, in fact, not by Haydn at all. It soon emerged that the compositions—initially believed to be the lost Hob. XVI:2a–e and 2g—were not simple misattributions, but rather something that has rarely been discussed in the music world: modern forgeries deliberately constructed to deceive scholars and listeners.

Adapting philosophical and art-historical writing on forgery to music, this article examines the six “Haydn” sonatas in the context of contemporary debates about expertise, postmodernism, and the author concept. Analyzing the stylistic content of the works in question sheds new light on musical forgeries as artifacts of aesthetic prejudice and anti-academic critique. More broadly, it suggests that the long-overlooked phenomenon of forgery poses questions about authorship, authority, and truth itself that have an important place in our shared history as musicologists.

Should our standards of evidence be rooted in historical sources, musical style, or some combination of the two? What kind of relationship do we believe exists between composers and their works? And is there any inherent reason—cultural, ethical, or otherwise—that we cannot write music like Haydn’s today? In posing such questions, the story of the forged Haydn sonatas provides us with a unique opportunity to reflect on the values and future of the field.

Complete publication available for purchase here: https://derekremes.com/teaching/historicalimprovisation/

In recent decades a growing number of musicians, scholars, and pedagogues have come to recognize the foundational importance of thoroughbass in eighteenth-century music. This has created a demand for historically informed teaching materials. Yet very often, historical treatises are too foreign, verbose, and abstract for today’s students. J. C. Kellner’s Grundriss des Generalbasses (Kassel: 1783) represents a notable exception. Since his target audience is absolute beginners, Kellner’s instruction is cogent, concise, and decidedly practical. The goal of this publication is thus threefold: first, to call attention to Kellner’s treatise; second, to make Kellner’s instruction accessible to English-speaking musicians; and finally, to provide historically informed models for the realization of Kellner’s exercises. Those readers seeking further instruction in thoroughbass are encouraged to consult my 2019 book and my 2020 dissertation. My website also contains many free materials.

For a complete performance recording and video see: https://www.youtube.com/watch?v=jZQWsroyKj0

This is a work for organ based on the open motiv of the medieval chant "Tantum Ergo." The work is in four sections, which may be played as independent pieces or subsets for liturgical use or as the complete set. The first performance was given by organist Matt Gender.

Organ tuning and temperament are essential elements of the soundscape of an organ.
It is commonly assumed today that organ temperament practice shifted away from the well-documented standard of meantone temperament toward circulating temperaments (well-tempered or equal) around 1700. Written records and evidence from extant instruments, however, strongly suggest that unmodified meantone temperament remained common practice in North German organs until the 1740s. Even advocates of the new temperament designs such as Andreas Werckmeister had to admit that organ builders did not follow their suggestions. There is no evidence that retunings resulted in well-tempered systems; only meantone and equal temperaments are mentioned in the sources for retunings.
The reason for suggesting new temperament systems was the requirements of ensemble accompaniment. The simultaneous use of instruments tuned at different pitches (Chorton, Kammerton) required extensive transposition, a practice that, due to the development of major-minor tonality, became increasingly difficult if not impossible with organs tuned in meantone temperament. Modifications of this temperament were suggested and sometimes carried out, but were generally not successful.
Re-tempering an existing organ was a time-consuming task: in a large organ it could take months of work even for an experienced builder. The circumstances under which the organs had to be tuned constituted an important impediment to the introduction of new temperaments. An analysis of payments to bellows-treaders as recorded in church account books shows that the organs of St. Marien, Lübeck, were not retuned during the tenures of Franz Tunder and Dieterich Buxtehude. Thus, some of their organ works could not have been played on the organs available to them during their lifetimes. At this time, however, playing from a score was not acceptable for a professional organist, who was expected to extemporize even complex contrapuntal music. Organ music seems to have been written down mainly for study purposes.

[Official presentation from the publisher]

Is there such a thing as the ideal technique? The past and present of musical performance constantly provide evidence that, among the multiple different ways available of using our body, plenty might prove equally efficient and musically convincing. Among all the possible options, however, one merits special attention: the technique employed by composers themselves while creating their works.

In this book, Italian-born pianist and scholar LUCA CHIANTORE sets out to examine the transformations undergone by piano technique, and how this overall history relates to the performative customs of those pianist-composers whose works we today consider the core repertoire of so-called Western classical music. The author illustrates the diversity of their bodily approaches to the keyboard, exploring their respective biomechanical inquiries amidst increasing hand and arm involvement in piano playing and the emergence of often contrasting pedagogical theories.

The result of intense, rigorous research, Tone Moves contains an impressive amount of documentation, including a vast number of theoretical works which had never before been studied thoroughly. Forty-five images, eight original drawings, and 161 musical examples illustrate the 755 pages of this unique book, whose bibliography spans 710 different references, thus enabling the reader to follow the progressive incorporation of anatomical resources involved in keyboard instrument technique from the 16th century onwards, as well as its relation with construction innovations and changes in musical taste.

Through all this, the author narrates a "history" that uncovers crucial parallels with the past three century's aesthetic revolutions. Chiantore spins a tale of widespread, lasting changes, a searching narrative brimming with strong personalities often steering in opposite directions, all in all an avowal of the stunning diversity of options available when expressing ourselves through an instrument.

Senza soffermermarci su aspetti stilistici e strumentali, né su aspetti dal carattere troppo storico e storiografico, viene presentatauna trattazione analitica semplice che metta in risalto la persistenza nel XVIII secolo (e anche dopo) di schemi, stilemi e formule ricorrenti.
Tali schemi dipingono e tratteggiano in maniera soddisfacente il periodo di interesse e permettono di possedere gli strumenti di base per condurre poi un’analisi sempre più esauriente ed esaustiva sui periodi
precedenti e successivi.
Lo stile galante, convitato di pietra del lavoro, si rivela quindi anello di congiunzione tra musiche solo apparentemente diverse e lontane, geograficamente e storicamente.

Having been thoroughly versed in Sweelinck’s novel approach to polyphonic keyboard composition with its emphasis on strict voice leading and integration of “line” and figuration, Scheidemann initally eschewed the (written-out) motet intavolation. However, he rather surprisingly did turn to it in the 1630s, after his own keyboard style had fully matured, and composed a remarkable collection of highly sophisticated examples. It was thus with a measure of historical awareness that he revived this obsolete genre.

Evaluates the current interpretation of the performing parts (keyboard and instrumental parts) of the 1702 edition of Dieupart's Six suittes published by Roger in Amsterdam. The author argues the that two impressions do not correlate to two distinct performing ensembles. This argument is based on the interpretation of the phrase mises en concerts and situates the suites within the context of the performing practice of music en concert from ca. 1650 to ca. 1750. Evidence supports the conclusion that Dieupart's Suittes were originally conceived as accompanied keyboard music and constitute the first true examples of the genre. (authored by Heather Brown, RILM)

J.S Bach’s Triple Concerto in A Minor is one of the composer’s least known and least appraised instrumental works. In this vastly expanded and updated study revised in 2021 from an original 1984 Oxford University thesis, Graham Dwyer looks at the work’s structure, sources, and comparators to shed some light on its murky origins.

Winner of the 2017 Otto Kinkeldey Award from the American Musicological Society, recognizing a musicological book of exceptional merit by a scholar who is past the early stages of his or her career.

How do keyboards make music playable? Drawing on theories of media, systems, and cultural techniques, Keys to Play spans Greek myth and contemporary Japanese digital games to chart a genealogy of musical play and its animation via improvisation, performance, and recreation. As a paradigmatic digital interface, the keyboard forms a field of play on which the book’s diverse objects of inquiry—from clavichords to PCs and eighteenth-century musical dice games to the latest rhythm-action titles—enter into analogical relations. Remapping the keyboard’s topography by way of Mozart and Super Mario, who head an expansive cast of historical and virtual actors, Keys to Play invites readers to unlock ludic dimensions of music that are at once old and new.

“Keys to Play is full of novel ideas, provocative observations, and brilliant aperçus. Whether our interests lie in audiovisual media, aesthetics, performance, improvisation, compositional technique, notation, theory, or historiography, Moseley shows us how much the field at large has to gain from taking play seriously. In a word: stunning.” —ALEXANDER REHDING, Harvard University

“Moseley’s game-changing book puts a new and versatile set of tools at our disposal. Wonderfully allusive and erudite, Keys to Play will open new horizons for music scholars of all kinds.” —ELISABETH LE GUIN, University of California, Los Angeles

"A dazzling and daring book: an intellectual symphony, a virtuosic boss run, a vigorous expedition in media-musical archaeology, and an exquisite love letter to the vitality of interdisciplinary play.” —WILLIAM CHENG, author of Sound Play: Video Games and the Musical Imagination

“Keys to Play offers a new approach to central episodes in the narrative of European art music refracted through histories of the keyboard, digital games, and improvisation. It is at once provocative, bracing and, yes, profoundly playful.” —BENJAMIN WALTON, University of Cambridge

Johann David Heinichen's treatise Der General-Bass in der Composition (Dresden, 1728) is the most comprehensive study of thoroughbass ever written, yet it has been continually overshadowed in historical accounts by works published in the same decade by Jean-Philippe Rameau (Traité de l'Harmonie) and J. J. Fux (Gradus ad Parnassum). Despite Heinichen's nuanced treatment of a wide variety of musical subjects, Der General-Bass has yet to receive wide acclaim, in large part because it lacks a reductive pedagogical framework that can rival Rameau's basse fondamentale or Fux's species in simplicity and immediate appeal. Yet fortunately, the 'partimento renaissance' of the last decade has brought renewed scholarly attention to the centrality of thoroughbass is the only acceptable break in eighteenth-century music-making. Thus the time is ripe for a reappraisal of Heinichen's monumental work. On at least one occasion, Heinichen does indeed outline a pedagogical method of eminent simplicity: his four-step instruction in how to improvise a prelude at the keyboard. According to Heinichen, this method, which seems to be completely unknown today, is to be understood not only as instruction in improvising, but also as training for beginning composers. In explicating the pedagogy of one of eighteenth-century Europe's leading composer-theorists, this article contributes to both the historically informed analysis and the practical teaching of baroque music today.

pp. 171–218. – Il nome di Sandro Dalla Libera (1912-1974) è legato a doppio filo a alcuni tra i più importanti progetti editoriali dedicati alla musica d’organo realizzati in Italia dopo la fine del secondo conflitto mondiale.  Il presente studio intende indagare il contesto che ha fatto da cornice all’attività di uno dei protagonisti della riscoperta del repertorio organistico italiano durante il periodo della ricostruzione postbellica. Il punto di partenza è rappresentato dai materiali conservati nell’archivio Sandro Dalla Libera, donato nel 2011 dagli eredi alla Fondazione Giorgio Cini di Venezia.  Lo spoglio e l’analisi delle carte del fondo – in particolare, delle lettere e dei materiali preparatori delle edizioni musicali – hanno permesso di individuare alcune feconde piste di ricerca. Una di esse ha un’importanza centrale per il tema che qui si intende affrontare: il rapporto con Renato Lunelli (1895-1967). L’ampio scambio epistolare ancor oggi conservato con il noto storico musicale di Trento, erudito di fama internazionale in materia di storia dell’organo e del suo repertorio, ha permesso di ricostruire alcuni episodi-chiave dei progetti editoriali ai quali Dalla Libera ha dato vita: prime fra tutti, le edizioni legate alla riscoperta della monumentale intavolatura d’organo in notazione tedesca conservata presso la Biblioteca Nazionale di Torino.

Reviews:
Informazione Organistica, nuova serie 44 (2018), pp. 263–265 (Pier Paolo Donati).
Rivista Italiana di Musicologia 54 (2019), pp. 226–231 (Siel Agugliaro).

A late nineteenth-century renaissance in French organ building partitioned organist, organ, and audience while expanding the instrument’s size and adding "swell" boxes shuttering pipes from public view. In theater, concert, and church organs, the organist is hidden behind the console or is seated in an adjoining chamber, under the floor, or high in a loft. Cary Howie’s book, "Claustrophilia" (2007), examines how hermetic cloisters might be understood as erotic spaces in medieval literature and practice. In this paper, I argue that the enclosure of the organ, along with its promise of campy power, made it attractive to gay men in the 20th century, inscribing it as an extension of the closet. According to Cameron Carpenter, "most American organists are gay or at least […] questioning," while Virgil Fox complained that organists have historically been "hiding behind the woodwork." Popular French literary depictions of the organ, notably Leroux’s "Le Fantôme de l’Opéra" (1910) and Verne’s "Vingt mille lieues sous les mers" (1870), portray it as an expressive mode of repressed, reclusive villains. Rops’s etching, "L’Organiste du Diable" (1886), shows a nude woman playing an organ bedecked with penises propped against each other in a homoerotic configuration, while the film adaptation of Jean-Claude Forest’s "Barberella" (1964), introduces the "Excessive Machine," an organ-like musical orgasmatron that houses victims in its bellows, dousing them with lethal sexual energy. These texts and images indicate toward a French-influenced rendering of the organ in the 20th century that registered it as an enclosure for queer mechanisms and episodes.

L'articolo esamina la presenza della musica nello studiolo di Leonello d'Este, costruito nella residenza di Belfiore a Ferrara negli anni Quaranta del Quattrocento. Lo studiolo, ideato con l'aiuto dell'umanista Guarino Veronese, ospitava dipinti delle Muse e un particolare organo a chiocciola, simbolo di armonia cosmica e rappresentativo dell'ideale umanistico di Leonello. L’organo, commissionato da Leonello e realizzato dal maestro Costantino Tantini da Modena, era apprezzato non solo per la sua estetica innovativa, ma anche per la sua sofisticata meccanica a tre mantici, che permetteva una costante emissione d’aria. Questo strumento serviva come simbolo filosofico e musicale, in armonia con l'immagine delle Muse e della cultura classica. Cavicchi collega questo organo a successive raffigurazioni pittoriche e sottolinea l'influenza in ambito ferrarese della filosofia neoplatonica, che attribuiva alla musica un ruolo catartico e speculativo nei rapporto fra microcosmo e macrocosmo.

Relating evidence from the mythological to the contemporary in both historical and media-archaeological registers, this article explores how techniques of sonic generation and representation shuttled between what might be defined as digital and analog domains long before the terms acquired their present meanings—and became locked in a binary opposition—over the latter half of the twentieth century. It proposes that such techniques be conceptualized via the “digital analogy,” a critical strategy that accounts for the nesting of techno-musical configurations. While the scope of digital analogies is expansive, the focus here falls on a particular interface and mode of engagement. The interface is the keyboard; the mode of engagement is the play, both ludic and musical, that the keyboard affords. Operations at the keyboard have been integral to ludic communication and computation as well as to the practices of composition, performance, and improvisation. To map out this genealogy and to show how it continues to inform loci of musical play from sound art to digital games, the article draws on an array of critical and theoretical texts including Friedrich Kittler’s media analyses, Vilém Flusser’s writings on technology, and post-Foucauldian discourses on cultural techniques.

The discovery of a new concordance within the manuscript Chigi Q.VIII.206 of the
Vatican Library provides the starting point of this study. Among the anonymous compositions transmitted in the manuscript, the first Kyrie of the Missa Apostolorum by
Claudio Merulo (1533-1604), published in 1568, can be identified. The presence of a
composition by Merulo in a source closely linked to the environment in which Girolamo
Frescobaldi (1583-1643) worked, allows to advance some considerations concerning
the context in which the manuscript was copied and, more generally, the role
that Merulo’s musical production played as ideal and formal model for Frescobaldi.

Keywords: Claudio Merulo, Girolamo Frescobaldi, Chigi Manuscripts, Organ Masses.

The Musical Archive of the Cathedrals of Zaragoza possesses an interesting early source for
the study of the music of Georg Friedrich Händel (*1685; †1759). It is a manuscript volume,
carefully copied and professionally and luxuriously bound in parchment, containing
a copy of the Suites de pièces pour le clavecin, which the Anglo-German musician would
print for the first time in London in 1720. This copy, made in Rome on 26 March 1727,
only seven years after his editio princeps, and owned by Francisco Xavier Nebra, bears witness
to the early knowledge of the best European music of the time in Spain as well as the
fluid musical connections between Italy and Spain.

Peu d'instruments nous sont parvenus de Joseph Anton Moser (1731-1792), facteur d'orgues et d'instruments à clavier originaire de Bischofszell, établi à Fribourg et fondateur d'une dynastie de facteurs suisses de l'importance des Scherrer, Speisegger et Bossart. De ce fait, la découverte d'un orgue positif de c. 1767 attribuable à Moser est une révélation. Cet instrument, seul orgue positif connu de ce facteur, a été décoré par le sculpteur ornemaniste fribourgeois Domenico Martinetti, auteur également du décor de l'orgue Potier à Yverdon (1767), dont Moser a réalisé la menuiserie du buffet. Avec l'orgue de l'église de St. Stephan BE (1778), il s'agit du seul instrument de Moser conservé presque intégralement. Par son esthétique visuelle et sa disposition sonore, il constitue une synthèse originale, unique parmi les positifs, des influences non seulement suisses orientales et allemandes méridionales, de Manderscheidt et de Bihler, mais aussi françaises (alsaciennes), des Silbermann et de Potier. C'est donc une oeuvre-clé pour la facture d'orgues en Suisse au 18ème siècle.

Critical edition (in two volumes) of the complete collection of the keyboard works composed by the Basque-Aragonese Maestro, Nicolás Ledesma (1791-1883) that integrates very heterogeneous materials transmitted both in print and handwritten. Editorial Series of the Institución Fernando el Católico, "Tecla Aragonesa", number XII.

This Volume 1 includes:
0. Cover, credits, index and Prolusion.
1. About Nicolás Ledesma and his work. Editing criteria. Critical notes to the music edition.
2. Musical edition (see here the whole Sheet Music pack, in the four attached files). (Works for piano or organ. 6 Sonatinas.
3. 6 Small Sonatas.
4. 6 Great Sonatas.
5. Other pieces.

Edición crítica (en dos volúmenes) de la colección completa de las obras para tecla compuestas por el aragonés Nicolás Ledesma (1791-1883), la cual reúne materiales muy heterogéneos transmitidos tanto de manera impresa como manuscrita. Volumen XII de la colección editorial de la Institución Fernando el Católico "Tecla Aragonesa".

Este Volumen 1 incluye:
0. Portada, créditos, índice y Prolusión.
1. Sobre Nicolás Ledesma y su obra. Criterios de edición. Notas críticas a la edición musical.
2. Edición musical  (véanse todas las partituras en los cuatro ficheros adjuntos). Obras para piano u órgano. 6 Sonatinas.
3. 6 Sonatas Pequeñas.
4. 6 Grandes Sonatas.
5. Otras piezas.

Almost all of Giovanni Gabrieli’s keyboard output has been transmitted in German sources, the most important of which are the German organ tablatures now held at the Biblioteca Nazionale Universitaria of Turin (I-Tn, Fondo Foà Giordano, Giordano 1-8, Foà 1-8). The lack of concordances and the way of transmission have led some scholars to consider many of these compositions as doubtful or even spurious works. In particular, in a group of ten toccatas in Giordano 2 only the first two works carry an attribution to Giovanni Gabrieli, but the second one clearly states that the following works are also to be considered of the same composer (Toccate di Giovan Gabriel. Toccata prima). The lack of attribution for the other works in the series, titled only Toccata, and a comparison of their characteristics with Gabrieli’s printed works in the same genre have brought Vincent Panetta and Richard Charteris to withdraw them from Gabrieli’s canon.
This article examines the characteristics of the Turin organ tablatures and the way of transmission of Gabrieli’s toccatas, in order to propose a reconsideration of their exclusion. While the attributions given in the indices are not reliable because they were added at a much later date in the eighteenth century, on the contrary those given by the original scribe are reliable and have only rarely been contradicted by other evidence. The absence of Gabrieli’s name in the titles of the toccatas following the first two works reflects the copyist’s normal approach in the case of groups of works by the same composer. Moreover, due to the small number of compositions in free style whose attribution to Gabrieli is without question (a toccata published in Diruta’s Il Transilvano and eleven short intonations preserved in the Intonationi d’organo of 1593), a stylistic evaluation of the Turin toccatas only through a comparison with these works seems particularly problematic.
The article proposes an analysis of the toccatas in question through the comparison with other pieces by Gabrieli, both vocal and instrumental, like those published in the Canzoni et sonate (1615), the Sacrae Symphoniae (1597) and the Symphoniae sacrae (1615): indeed, some of the Turin toccatas reveal strong similarities with late works by Gabrieli. Through both a philological and an analytical approach, the article proposes adding the Turin toccatas to the corpus of Gabrieli’s authentic works.

For a live recording see: https://www.youtube.com/watch?v=6AWnLR2cd7Y

Johann Heinrich Buttstett (1666-1727) is an under-recognized composer of the late 17th and early 18th century. His works were influential on the oeuvre of Johann Sebastian Bach, who transcribed a number of Buttstett's works into his own notebooks. Buttstett's fugal design is somewhat unique and idiomatic, often using rhythmically motoric themes with numerous repeated notes and fugal forms that have two distinct expositions.

Here is a performance edition of his quirky fugue in g-minor. The performance edition is based on the registrations of and performance by Jordan Alexander Key.

L'organologie est une discipline de la musicologie, traitant des instruments de musique et de leur histoire. Elle permet de retracer l'évolution des instruments de musique et de renouveler notre regard sur le répertoire qu'ils ont suscité et qui est à la base de la pratique musicale classique aujourd'hui. Il va sans dire que les sonates pour clavier de W. A. Mozart (1756-1791) n'ont pas été composées pour le Steinway de concert [Steinway Flügel] tel que nous le voyons aujourd'hui dans nos salles de concert et sur lequel nous avons pris l'habitude de les entendre. À l'époque de Mozart, au contraire, les instruments à clavier [Tasteninstrumente] étaient bien différents du piano [Klavier] moderne et infiniment plus différenciés entre eux, tant du point de vue de la mécanique et du toucher que des possibilités sonores. Ces instruments n'étaient pas des pis-aller en attendant le piano moderne et il vaut la peine de s'y intéresser pour avoir une approche éclairée de la musique du passé. Dans le cadre de cette contribution musicologique, nous nous pencherons sur les instruments à clavier produits par un atelier en particulier, celui des frères Hellen à Berne.

Preface to the facsimile edition of the book originally edited by the son of the blind organist of Felipe II of Spain Antonio de Cabezón, Hernando de Cabezón, in 1578, and now published by the Benemérita Universidad Autónoma de Puebla (School of Arts - Commission for Protection and Preservation of the University Cultural Heritage - H. University Council), under the care of Miguel Limón González and Gustavo Mauleón Rodríguez.

Prólogo a la edición facsímil del libro originalmente editado por el hijo del organista ciego de Felipe II de España Antonio de Cabezón, Hernando de Cabezón, en 1578, ahora publicado por la Benemérita Universidad Autónoma de Puebla (Escuela de Artes - Comisión de Protección y Preservación del Patrimonio Cultural universitario - H. Consejo Universitario), al cuidado de Miguel Limón González y de Gustavo Mauleón Rodríguez.

These are Soler's　unpublished keyboard works, which are included in the manuscript "Cary 703", the Morgan Library & Museum, New York (http://www.themorgan.org/music/manuscript/316355).

The editor numbered the sonatas. The numbering follows Enrique Igoa (No. 154 - 159), and Samuel Rubio (No. 1 - 153).

For a complete performance recording and video of this interpretation see: https://www.youtube.com/watch?v=rUijelsYWOw

A performance edition of Johann Pachelbel's Chorale Fugue and Fantasia on "Vom Himmel Hoch," following the interpretation of Jordan Alexander Key.

Les Variations Goldberg BWV 988 tirent leur appellation d’une anecdote bien connue, mais probablement apocryphe, rapportée en 1802 par Johann Nicolaus Forkel (1749-1818), premier biographe de Johann Sebastian Bach. D’après lui, l’œuvre serait une commande du comte Hermann Carl von Keyserlingk (1696-1764), ancien ambassadeur de Russie à la cour de l’électeur de Saxe.

An article that reveals a link between the famous harpsichord makers Girolamo Zenti and Giovan Battista da Cortona, who married Girolamo's aunt Elisabetta Zenti. Zenti did born in Viterbo, as documents say, but as soon as he learnt to build harpsichords, he moved to Rome, introduced by his new uncle and master to the Barberini's family.

The impetus for this three-day symposium on historical improvisation was twofold: the emergence of an important new source and the release of a new publication. The new source, discovered by researchers at the
Bach-Archiv in Leipzig, is the only known copy of the ‘Anweisung zum Fantasieren’ by Jacob Adlung (1699–1762). This manuscript treatise, which probably dates from the 1720s, contains thirty-four voice-leading
models for keyboard improvisation, all intended for the beginner and illustrated with numerous examples. The new publication is a collection of essays by staff of the Schola Cantorum Basiliensis and members
of the Forschungsgruppe Basel für Improvisation (founded in 1996 and jokingly dubbed the FBI) entitled Compendium Improvisation: Fantasieren nach historischen Quellen des 17. und 18. Jahrhunderts, edited by Markus Schwenkreis (Basel: Schwabe, 2018). The Compendium was originally intended to compile teaching materials used at the Schola. But in the fifteen years since its inception, the project has grown into a wideranging overview of recent scholarship and pedagogy concerning historical improvisation and music theory of the seventeenth and eighteenth centuries. The symposium provided an enticing foretaste of the fruits of the FBI’s labours as found in the Compendium.