DAVID LOUIS SCHULENBERG: curriculum vitae
address:
Department of Music
Wagner College
One Campus Road
Staten Island, NY 10301
tel.: (718) 420-4288
fax: (718) 390-3392
email: dschulen AT wagner.edu
Professional positions
Wagner College, Professor, Music Department (2001-, chair 2001-17)
Boston University, part-time faculty (spring 2015, 2016, and 2018)
Aaron Copland School of Music, Queens College, Visiting Associate Professor (spring 2011, part-time)
The Juilliard School, part-time faculty, Historical Performance (2010-17)
Rutgers The State University of New Jersey, Visiting Lecturer (fall 2005, spring 2008, fall 2009)
University of Notre Dame, Visiting Assistant Professor (2000-2001)
University of South Dakota, Visiting Assistant Professor (summer 2000), Research Associate (1999-2001)
University of North Carolina at Chapel Hill, Assistant Professor (1992-99)
Duke University, Visiting Assistant Professor (part-time, 1995-97, to direct the Duke Collegium Musicum)
University of Texas at Austin, Visiting Lecturer (spring 1990)
Columbia University, Assistant Professor (1987-89)
Baruch College of the City University of New York, Visiting Assistant Professor (spring 1986)
University of Virginia, Visiting Assistant Professor (Fall 1983)
State University of New York at Stony Brook, Lecturer (Fall 1982)
Professional and community service, grants, and fellowships
Board of Directors, Boston Clavichord Society (2002-); vice-president (2008-15)
Program Committee, Society for Seventeenth-Century Music (2020 meeting)
Guest editor, Early Music, August 2014 issue
Program Committee, Society for Eighteenth-Century Music (2012 meeting)
Committee on Performance, American Musicological Society (2009–11; chair for 2010)
Editorial Board, Early Keyboard Journal (2003-12)
William Scheide Research Grant Award Committee, American Bach Society (2002-3)
Invitation Fellow, Japan Society for the Promotion of Science (January 2002)
Program Committee, Society for Seventeenth-Century Music (2002 meeting)
William Scheide Research Grant, American Bach Society (2000)
Council Member, American Musicological Society (1998-99)
Editorial Board, Journal of the American Musicological Society (1996-99)
National Endowment for the Humanities, editing grant (Summer 1987)
American Council of Learned Societies, senior research fellowship (1986-87)
Andrew Mellon Post-Doctoral Fellowship, at New York University (1984-85)
Manuscript and grant proposal reader for Oxford University Press, Harvard University Press, Yale University Press, University of California Press, University of Rochester Press, Routledge, National Endowment for the Humanities, Music and Letters, Journal of the American Musicological Society, Journal of Seventeenth-Century Music, Journal of Eighteenth-Century Music, Music Theory Spectrum, Early Keyboard Journal, Music Theory Online, Music Theory Spectrum, Yale Journal of Music and Religion
Education
State University of New York at Stony Brook, 1978-82. Ph.D. in Music History, 1982; dissertation: “The Instrumental Music of Carl Philipp Emanuel Bach”
Ohio State University, 1977-78. Doctoral program in Music History
Stanford University, 1976-77. M.A. in Music, 1977
Harvard College, 1972-76. B.A. cum laude in Music, 1976
Study of harpsichord: John Gibbons (Boston, 1973-6), Martin Pearlman (Cambridge, Mass., 1974-6), Laurette Goldberg (Berkeley, 1977)
Study of early music: Baroque Performance Institute, Oberlin, Ohio (Summer 1974 and 1975)
Study of piano: Stanley Hummel (Albany, New York, 1963-72)
Teaching and institutional service
Courses for non-music majors: music appreciation; film music; music in the theater; music and poetry; music and gender; Bach and Handel; symphony; opera; keyboard music; Beethoven
Courses for music majors: period surveys: Renaissance-Baroque, Classical-Romantic, 20th Century; Classical chamber music; historical performance practice; tonal theory; counterpoint
Graduate courses: historical performance practice; music bibliography; 18th-century music; string repertory 1600-1950; advanced musicianship. Seminars: tonality in Baroque music; meaning in the Bach cantatas; trends in the interpretation of 17th- and 18th-century vocal music; genre in Bach instrumental works
Harpsichord, figured bass, chamber music; collegium musicum
Service at Wagner College: Music Department chair, Faculty Personnel Committee, Department Chairs Council, Senior Council, Teacher Education Policy Unit, Library Committee, First-Year Program
Other service: Committees overseeing undergraduate and graduate studies; dissertation committees; music library committee; strategic planning committee; scholarship committee; maintenance and tuning of early keyboard instruments; UNC Faculty Council
Publications
Books, recordings, and edited volumes
J. G. Graun: Chamber Music from the Court of Frederick the Great, CD recording: harpsichordist in six chamber works by J. G. Graun and others, recorded at WGBH studio, Boston (Brilliant Classics, 2021)
Bach, Master Musicians series (Oxford University Press, 2020)
C. P. E. Bach (editor). The Late Eighteenth-Century Composers series (Ashgate Publishing, 2015)
The Music of Carl Philipp Emanuel Bach (University of Rochester Press, 2014). Click here for the online supplement: text, music examples, audio files, and other links.
J.S. Bach: Organ Works, vols. 1-2 (editor): preludes and fugues (Breitkopf und Härtel, 2013-14)
Flute Music By Sons of Bach, CD recording: fortepianist in C.P.E. Bach, Sonata in D, W. 83, and J.C.F. Bach, Sonata in A, on TROY1490-91 (Albany Records, 2014)
Music of the Baroque and Music of the Baroque: An Anthology of Scores, third edition (New York: Oxford University Press, 2013; second edition, 2008; first edition, 2001). Click here for the textbook website and further information.
King Frederick “the Great” of Prussia: Seven Flute Sonatas, CD recording: fortepianist in seven works, recorded at Sanssouci Palace, Potsdam (Germany), HCD 32698 (Hungaroton, 2011). Click here for further information, or to order a copy.
Johann Joachim Quantz: Flute Sonatas, CD recording: harpsichordist in seven sonatas, HCD 32617 (Hungaroton, 2011). Click here for further information, or to order a copy.
The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010). Click here to order. For links to online audio files and musical examples, click here.
The Keyboard Music of J.S. Bach, second, revised edition (Routledge, 2006); first edition (Schirmer Books, 1992), xv + 475 pp.; revised edition translated into Japanese by Nozomi Sato and Sachiko Kimura (Tokyo: Shogakukan, 2001), 726 pp. Click here to order a copy.
Carl Philipp Emanuel Bach: The Collected Works (Los Altos: Packard Humanities Institute), vols. I/3 (keyboard sonatas W. 63/1-12, 53/1-6, and 54/1-6, 2005), III/9.2 (keyboard concertos W. 4–6, 2009), and III/9.8 (keyboard concerto W. 24, 2010) (editor). Click here for further information or to order.
Johann Joachim Quantz: Six Flute Quartets, CD recording: harpsichordist, Hungaroton HCD 32286 (2004). Click here for further information or to order a copy.
Johann Joachim Quantz: Flute Sonatas, CD recording: harpsichord and fortepiano in seven solo and trio sonatas on copies of period instruments, Naxos 8.555064 (HNH International, 2003). Click here for contents and ordering information.
Bach Perspectives, Volume 4: The Music of J. S. Bach: Analysis and Interpretiation, ed. David Schulenberg (Lincoln: University of Nebraska Press, 1999), x + 208 pp. (editor). Click here for contents and ordering information .
Carl Philipp Emanuel Bach: Keyboard Sonatas, 1744-1747 (Carl Philipp Emanuel Bach Edition, I/18) (Oxford University Press, 1995), xxi + 142 pp. (editor)
The Instrumental Music of Carl Philipp Emanuel Bach (revision of dissertation; UMI Research Press, 1984), xi + 192 pp. You can order this book through UMI’s Books on Demand program (order no. WB1-2070340-85).
Journal articles and book chapters
“Mozart, J. C. Bach, and the Bach Tradition,” forthcoming in Bach Perspectives, Volume 14 (Illinois University Press)
“Telemann as ‘General Capellmeister’ to the Bach Family,” forthcoming in Telemann Studies (Cambridge University Press)
“C.P.E. Bach’s Keyboard Music and the Question of Idiom,” in Bach Perspectives, Volume 11 (Illinois University Press, 2017), 83–112
“Introduction” and translation of Arnold Schering, “Carl Philipp Emanuel Bach and the ‘Rhetorical Principle’ in Music,” in C.P.E. Bach (Ashgate Publishing, 2015), xiii–xviii and 5–21
“A Tale of Two Brothers: Friedemann and Emanuel Bach,” in SECM in Brooklyn 2010: Topics in Eighteenth-Century Music I (Steglein Publishing, 2014), 78–102
“Carl Philipp Emanuel Bach: A Tercentenary Assessment,” Early Music 42 (2014): 335–45
“Printing the Probestücke: An Eighteenth-Century Music Publication by Carl Philipp Emanuel Bach,” Harvard Library Bulletin 24 (2013): 81–103
“What Is a Composer? Problems of Attribution in Keyboard Music from the Circle of Philips and Sweelinck.” In Networks of Music and Culture, edited by David J. Smith and Rachelle Taylor (Ashgate Publishing, 2013), 113–55. Click here to order.
“An Enigmatic Legacy: Organ Music and the Berlin Bach Traditions,” Keyboard Perspectives 4 (2012): 153–74
“Modifying the Da Capo? Through-Composed Arias in Vocal Works by Bach and Other Composers,” Eighteenth-Century Music 8 (2011): 21–51
“Editing Bach’s ‘Preludes and Fugues’ for Organ,” Organ Yearbook 39 (2010): 59–72
“An Enigmatic Legacy: Two Instrumental Works Attributed to Wilhelm Friedemann Bach,” in BACH: Journal of the Riemenschneider Bach Institute 41/2 (2010): 24–60
“J. S. Bach, C. P. E. Bach, and the Invention of the Concerto for Keyboard and Strings,” Early Keyboard Journal, 25/26 (2010): 29–59
“Crossing the Rhine With Froberger: Suites, Symbols, and Seventeenth-Century Musical Autobiography,” in Fiori musicali: Liber amicorum Alexander Silbiger (Harmonie Park Press, 2010), 271–302. Click here for further information or to order a copy.
“Fugues, Form, and Fingering: Sonata Style in Bach’s Preludes and Fugues,” in Variations on the Canon: Essays in Musical Interpretation from Bach to Boulez in Honour of Charles Rosen on his Eightieth Birthday (University of Rochester Press, 2008), 12–21. Click here to order the volume.
“Recent Editions and Recordings of Froberger and Other Seventeenth-Century Composers,” review article, Journal of Seventeenth-Century Music 13 (2007), online at http://sscm-jscm.org/jscm/v13/no1/schulenberg.html
“The Sonate auf Concertenart: A Postmodern Invention?,” in Bach Perspectives, Volume 7 (University of Illinois Press, 2008), 55–96. Click here to order the volume.
“Why We Know So Little About Bach’s Early Works: A Case Study (Two Keyboard Fugues),” in Music and Its Questions: Essays in Honor of Peter Williams (Organ Historical Society Press, 2007), 169–203. Click here to order the volume.
“C.P.E. Bach in Zerbst: The Six Sonatas of Fall 1758: With Contributions on the Early Biography and Compositions of Carl Fasch,” in Johann Friedrich Fasch als Instrumentalkomponist: Bericht über die Internationale Wissenschaftliche Konferenz am 8. und 9. April 2005 im Rahmen der 9. Internationalen Fasch-Festtage in Zerbst (Beeskow: Ortus Musikverlag, 2007), 131–152
“The Sonate auf Concertenart: A Postmodern Invention?,” in Bach Perspectives, Volume 7 (University of Illinois Press, 2008), 55–96. Click here to order the volume.
“Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe,” chapter 9 in The World of Baroque Music, ed. George Stauffer (Bloomington: Indiana University Press, 2006), 185-212. Click here to order the volume.
“Editing the Keyboard Music of Bull and Scheidemann,” review-essay, Journal of Seventeenth-Century Music 11/1 (2005), online at http://www.sscm-jscm.org/jscm/v11/no1/schulenberg.html
“‘Toward the Most Elegant Taste’: Developments in Keyboard Accompaniment from J.S. to C.P.E. Bach,” in The Keyboard in Baroque Europe: Keyboard Studies of the 17th and 18th Centuries, ed. Christopher Hogwood (Cambridge University Press, 2003), 157-68. Click here for contents, ordering information, and a view of the cover.
“Recent Bach Studies,” review article, Journal of Musicological Research 22 (2003): 387-402.
“When Did the Clavichord Become C.P.E. Bach’s Favourite Instrument? An Inquiry into Expression, Style, and Medium in Eighteenth-Century Music,” in De clavicordio IV: Proceedings of the IV International Clavichord Symposium, Magnano, 8-11 September 1999, ed. Bernard Brauchli et al. (Magnano: Musica Antica a Magnano, 2000), pp. 37-53; French translation by Jean-Claude Teboul as “Quand le clavicorde est-il devenu l’instrument favori de C. P. E. Bach? Quelques questions sur la pratique du clavier dans le cercle de Bach,” in Ostinato rigore 23 (2004): 139-57. Click here to read online.
“Versions of Bach: Performing Practice in the Keyboard Works,” in Bach Perspectives, Volume 4 (Lincoln: University of Nebraska Press, 1999), pp. 111-35. Click here for contents and ordering information.
“Tempo Relationships in the Prelude of Bach’s Sixth English Suite: A Performance-Studies Approach,” Journal of Musicological Research 18 (1999): 139-60
“Some Problems of Text, Attribution, and Performance in Early Italian Baroque Keyboard Music,” Journal of Seventeenth-Century Music 4/1 (1998), online at http://sscm-jscm.press.uiuc.edu/jscm/v4/no1/Schulenberg.html
“‘Musical Allegory’ Reconsidered: Representation and Imagination in the Baroque,” Journal of Musicology 13 (1995): 203-39 (read at AMS convention, Montreal, 1993)
“Composition and Improvisation in the School of J. S. Bach,” in Bach Perspectives, vol. 1 (University of Nebraska Press, 1995), 1-42 (read at AMS convention, Chicago, 1991). Click here to order the volume .
“Carl Philipp Emanuel Bach,” in Eighteenth-Century Keyboard Music, ed. Robert L. Marshall (Schirmer Books, 1994; reprinted, Routledge, 2003), 191-229. Click here to order the volume.
“The Keyboard Works of William Byrd: Some Questions of Attribution, Chronology, and Style,” Musica Disciplina 47 (1993): 99-121 (read Sept. 1991 at New England Chapter AMS meeting)
“La toccata del primo barocco e l’avvento della tonalità,” Rivista italiana di musicologia 27 (1992): 103-23
“C.P.E. Bach and Handel: A Son of Bach Confronts Music History and Criticism,” BACH Journal 23/2 (Fall/Winter, 1992): 5-30 (read at 1991 meeting of the American Handel Society)
“Expression and Rhetoric in the Harpsichord Works of J.S. Bach,” in Johann Sebastian: A Tercentenary Celebration (Greenwood Press, 1992), 95-109 (read at AMS convention, Vancouver, 1985).
“Expression and Authenticity in the Harpsichord Works of J.S. Bach,” Journal of Musicology 8 (1990): 449-76
“Performing C.P.E. Bach: Some Open Questions,” Early Music 16 (1988): 542-51
“C.P.E. Bach in the 1740s: The Growth of a Style,” in C.P.E. Bach Studies, ed. Stephen L. Clark (Oxford University Press, 1988), 217-31
“Modes, Prolongations, and Analysis,” Journal of Musicology 4 (1986): 303-29
“Composition Before Rameau: Harmony, Figured Bass, and Style in the Baroque,” College Music Symposium 24/2 (Fall 1984): 130-48
“Composition as Variation: Inquiries into the Compositional Procedures of the Bach Circle of Composers,” Current Musicology 33 (1982): 57-87
Reviews, notes, and other publications
Review article, recent research on Elizabethan keyboard music, forthcoming in Early Keyboard Journal
Review of “Avec discrétion”: Rethinking Froberger, ed. Andreas Vejvar and Markus Grassl, and Florian Bassani, Ein Gesangstraktat als Schlüssel zu Froberger: La belle methode von Jean Millet (1666), in Early Keyboard Journal 31/32 (2014–15): 165–73 (published in 2020)
“Review: Music for Anna Magdalena Bach?,” Bach Notes 32 (2020): 3–4
“‘Because They Could Never Have Equaled Their Father in His Style’: Creativity at the Keyboard in the Bach Family,” Harpsichord and Fortepiano Magazine 24 (2019): 4–7
“In memoriam E. Eugene Helm,” CPEBCW Newsletter 3 (2018): 1–2 (online)
Program note for Beyond Bach and Vivaldi: Rare Unaccompanied Works for the Baroque Violin, Augusta McKay Lodge, violinist (Naxos, 2018)
“Eighth J. S. Bach Dialogue Meeting” (conference report), Eighteenth-Century Music 15 (2018): 130–31
Review of De clavicordio XII, ed. Bernard Brauchli et al., in Galpin Society Journal 71 (2018): 255–56
Review of Peter Williams, J. S. Bach: A Musical Biography, in Journal of the British Institute of Organ Studies 41 (2017): 193–99.
“Consistency and Inconsistency in Historical Keyboard Fingering,” Tangents: The Bulletin of the Boston Clavichord Society, no. 42 (fall 2017), pp. 1, 5
Program note for W.F. Bach: Complete Harpsichord Music, Claudio Astronio, harpsichordist (Brilliant Classics, CD 94240, 2017)
Review of Interpreting Historical Keyboard Music, edited by Andrew Woolley and John Kitchen (Farnham: Ashgate, 2013), Early Keyboard Journal 30 (2013): 89–95
Review of Stanley Ritchie, The Accompaniment in “Unaccompanied” Bach: Interpreting the Sonatas and Partitas for Violin, in Performance Practice Review 21/1 (2017)
“Expression and Discrétion: Bach and Froberger,” in Bach Notes: The Newsletter of the American Bach Society, no. 26 (Spring 2017): 5–8
Review of Ercole Pasquini: Opere complete I, ed. Paul Kenyon, Notes 73 (2017): 591–95
Review of Siegbert Rampe, Generalbasspraxis 1600–1800, Music and Letters 97 (2016): 163–65
Letter on allemandes giguées, in EMAg: The Magazine of Early Music America, 20/4 (winter 2014): 4
“A. C.P.E. Bach Tercentenary Conference at Cornell,” Tangents: Newsletter of the Boston Clavichord Society, no. 37 (winter 2014), 2
“C. P. E. Bach in America,” Bach Notes: The Newsletter of the American Bach Society, no. 21 (Fall 2014): 4–6
Review of Johann David Heinichen’s Gründliche Anweisung (1711), translated by Benedikt Brilmayer and Casey Mongoven, Music and Letters 95 (2014): 278–80
“Editorial” (introduction to special C.P.E. Bach edition), Early Music 42 (2014): 333
“Hasse, Graun, and Graun” (review of ten CDs), Early Music 42 (2014): 496–9
“C.P.E. Bach (II): Another Year, Another Anniversary,” online, Musicology Now (Aug. 7, 2014)
“Tom Beghin at Houghton Library,” review of clavichord recital, Tangents: Newsletter of the Boston Clavichord Society, no. 36 (spring 2014): 3
Program note (uncredited) for J. J. Quantz: Flute Concertos, QV 5:38, 5:81, 5:165, 5:238 (CD recording, Mary Oleskiewicz, flute, with Concerto Armonico Budapest, directed by Miklós Spányi, Naxos no. 8.573120, 2013)
Liner note for Flute Music By Sons of Bach, Rebecca Troxler, flutist, CD recording, TROY1490-91 (Albany Records, 2014)
“Performing C. P. E. Bach: Questions Answered?,” Early Music 41 (2013): 119–22
Liner note for J.S. Bach: The Well-Tempered Clavier, Book 1, Arthur Villar, pianist (CD recording, CD BABY 8087401, 2013)
Continuo realizations for Frederick II: 4 Sonatas (four flute sonatas by King Frederick “the Great”), ed. Mary Oleskiewicz (Wiesbaden: Breitkopf und Härtel, 2012)
Review of Baroque Music, edited by Peter Walls, Performance Practice Review 17/1 (2012)
“Wilhelm Friedemann Bach at 302” (review of six CDs), Early Music 40 (2012): 155-8
“Bach’s Temperament” (letter), Early Music 40 (2012): 166-7
“An Eighteenth-Century Organ is Reconstructed at Cornell,” Society for Eighteenth-Century Music Newsletter, no. 18 (2011): 8-9
“Conference Report: Two Composers, Two Continents,” 17th-Century Music 21/1 (Fall 2011): 6-7
Review of C.P.E. Bach Studies, edited by Annette Richards, in Eighteenth Century Current Bibliography n.s., vol. 32 for 2006 (New York: AMS Press, 2010), 256–8
“Enigmatic Legacy: Music of Wilhelm Friedemann Bach,” Boston Music Intelligencer (Dec. 9, 2010), online publication (click here)
“The Sound of Royal Entry: Antwerp, 1635,” Seventeenth-Century Music 20/1 (winter 2010), 11
“Ursula Dütschler in Concert,” Tangents: The Bulletin of the Boston Clavichord Society, no. 29 (winter 2010), 2
“Wilhelm Friedemann Bach’s Keyboard Music,” Tangents: The Bulletin of the Boston Clavichord Society, no. 28 (spring 2010), 1–2, with edition of March in E-flat, F. 30 (2-page insert)
Review of Bruce Haynes, The End of Early Music, in Journal of the American Musicological Society 63 (2010): 169–78
“Playing the Clavichord in Chamber Music: Some Preliminary Considerations,” Tangents: The Bulletin of the Boston Clavichord Society, no. 26 (spring 2009), 1, 5
Review of Giulia Nuti, The Performance of Italian Basso Continuo: Style in Keyboard Accompaniment in the Seventeenth and Eighteenth Centuries, in Music & Letters 89 (2008): 476–80
Review of Christoph Henzel, Graun-Werkverzeichnis (GraunWV), and Tobias Schwinger, Die Musikaliensammlung Thulemeier und die Berliner Musiküberlieferung in der zweiten Hälfte des 18. Jahrhunderts (with Mary Oleskiewicz), in Notes 64 (2007–8): 722–7
Review of Pieter Dirksen, Heinrich Scheidemann’s Keyboard Music, in Notes 64 (2007–8): 493–6
“Connections in the Loeb Music Library,” Harvard Library Bulletin 18 (2007): 29–31
“Schluß der fragmentarische Fuge” (Reconstruction of the Unfinished Fugue), in Johann Sebastian Bach: Die Kunst der Fuge/The Art of Fugue, ed. Klaus Hofmann, 3. Auflage (Kassel: Bärenreiter, 2008)
Review of The Cambridge History of Seventeenth-Century Music (edited by Tim Carter and John Butt), in Music and Letters 88 (2007): 484–7
Entries on C.P.E. Bach, Concerto, and other topics, in The Harpsichord and Clavichord: An Encyclopedia, edited by Igor Kipnis (New York: Routledge, 2007). Click here to order.
“Autograph Manuscript by Froberger Emerges, Only to Disappear Again” and “Yearsley Joined by Sykes in Spring Clavichord Recital,” inTangents: The Bulletin of the Boston Clavichord Society, no. 22 (spring 2007), 1 and 6; 3
Letter, “Academic Input,” Early Music America 13/1 (spring 2007): 3
“Earliest Clavichord Piece Performed,” Tangents, no. 21 (fall 2006): 1
“C.P.E. Bach: The Complete Works” and “Andrus Madsen at Friends Meeting House, Cambridge,” Tangents: The Bulletin of the Boston Clavichord Society, no. 20 (spring 2006): 1-2 and 4
“Clavichord Symposium at the 2005 Boston Early Music Festival,” Tangents: The Bulletin of the Boston Clavichord Society, no. 19 (fall 2005): 3
Review of C.P.E. Bach: Matthäus-Passion 1769 (CD recording), Amsterdam Baroque Orchestra and Choir, directed by Ton Koopman,Eighteenth-Century Music 2/1 (2005): 167-70
Continuo realizations for Johann Joachim Quantz: Six Quartets for Flute, Violin, Viola, and Basso continuo, ed. Mary Oleskiewicz (Ann Arbor: Steglein Publishing, 2004)
Review of W. Dean Sutcliffe, The Keyboard Sonatas of Domenico Scarlatti, in Early Keyboard Journal 22 (2004): 100-104
“Lebedinsky Plays Iberian Program,” The Boston Clavichord Society Newsletter, no. 15 (fall 2003): 6
Review of The Oxford Companion to Music, in Music and Letters 84 (2003): 644-6
“Comments on Kirkpatrick,” The Boston Clavichord Society Newsletter, no. 13 (Fall, 2002): 3
Review of Neue Bach-Ausgabe, vols. V/9.1 (toccatas), V/9.2 (keyboard works), and V/11 (concerto transcriptions), Journal of the American Musicological Society 55 (2002): 353-65
Review of José de Torres’s Treatise of 1736: General Rules for Accompanying on the Organ, Harpsichord, and the Harp, translated by Paul Murphy, in Music Theory Spectrum 24/1 (Spring 2002): 154-8
“Performer’s View” column, Newsletter of the American Bach Society (Spring 2002), 3, 8-9
Review of Christoph Wolff, Johann Sebastian Bach: The Learned Musician, and Malcolm Boyd, Bach (3d ed.), MLA Notes 58 (2001-2): 59-63
Continuo realizations for Johann Joachim Quantz: Seven Trio Sonatas, ed. Mary Oleskiewicz, Recent Researches in Music of the Baroque Era, vol. 111 (Middleton, Wis.: A-R Editions, 2001)
“Ornamentation: German Baroque,” New Grove Dictionary of Music and Musicians, second edition (London: Macmillan, 2001), vol. 18, pp. 726-33, 745-6
Review of Joel Lester, Bach’s Works for Solo Violin: Style, Structure, Performance, in Music Library Association Notes 57 (2000-1): 127-31
“Conferences at America’s Shrine to Music Museum,” Early Music Review 62 (July 2000): 8-10
Oxford Composer Companions: J. S. Bach, ed. Malcolm Boyd (Oxford University Press, 1999): entries on Art of Fugue; C.P.E., J.C., and W.F. Bach; clavier; Clavierbüchlein; continuo; English Suites; French Suites; toccata; Cantatas 4, 12, 31, 56, 82, 106, 140, et al.
“European Art Music,” in The Garland Encyclopedia of World Music, vol. 8: Europe, ed. Tim Rice et al. (Garland Publishing, 1999), pp. 68-87
Five bibliographic review articles in Reader’s Guide to Music, ed. Murray Steib (Chicago: Fitzroy Dearborn Publishers, 1999): C.P.E. Bach, J.C. Bach, Baroque Keyboard Music, Continuo, Renaissance Keyboard Music
“From Renaissance to Baroque: NEMA Conference,” report on 1999 National Early Music Association conference at York (U.K.), in Early Music Review 53 (September 1999): 8-9
Review of Neue Bach-Ausgabe, vols. V/6.2 (Well-Tempered Clavier II) and VIII/2.1-2 (Art of Fugue), MLA Notes 55 (1998-9): 755-60
Review of Pieter Dirksen, The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance, and Influence, MLA Notes 55 (1998-9): 95-7
Program note for J.S. Bach: The Complete Harpsichord Concertos Christopher Hogwood, dir., Oiseau-Lyre 460 031-2, 1998
“Choosing an Edition,” Piano Magazine 6/3 (May-June 1998): 25-7 (on editions of J.S. Bach’s keyboard music)
Review of The Practice of Performance: Studies in Musical Interpretation, ed. John Rink, MLA Notes 53 (1996-7): 1137-40
Program note for J.S. Bach Harpsichord Concertos , vol. 2, Christopher Hogwood, dir., Oiseau-Lyre 448 178-2, 1997 (recordings of BWV 1042, 1052, 1054, and 1056)
Commentary on Channan Willner, “More on Handel and the Hemiola,” Music Theory Online 2.5 (July 1996)
Review of Peter Schleuning, Johann Sebastian Bachs “Kunst der Fuge”: Ideologien–Entstehung–Analyse, in MLA Notes 52 (1995-6): 460-1
Review of John Butt, Music Education and the Art of Performance in the German Baroque, in Performance Practice Review 8 (1995): 171-6
Review of A Bach Tribute: Essays in Honor of William H. Scheide, ed. Paul Brainard and Ray Robinson, in MLA Notes 52 (1995-6): 88-90
Review of Keyboard Music from the Andreas Bach Book and the Moeller Manuscript, ed. Robert Hill, in Bach Perspectives, vol. 1 (University of Nebraska Press, 1995), 205-14
Review of Hans Heinrich Eggebrecht, J.S. Bach’s The Art of Fugue, trans. Jeffrey L. Prater, and three other works, MLA Notes 51 (1994-5): 1317-21 and 1457-8
Review of Paul Badura-Skoda, Interpreting Bach at the Keyboard, Music and Letters 75 (1994): 605-9
Program note for The Young Beethoven, Igor Kipnis, fortepiano, Epiphany Records EP-1, 1994 (recordings of opp. 13, 27/2, 34, and other works)
Review of Eric Chafe, Tonal Allegory in the Vocal Music of J.S. Bach, in Historical Performance 5 (1992): 104-7
Continuo realization for Anonym (J.S. Bach?): Sonate für Violine und Basso continuo A-dur BWV Anh. II 153, ed. Russell Stinson (Breitkopf und Härtel, 1991)
Review of Authenticity and Early Music, ed. Nicholas Kenyon, in Current Musicology 48 (1991): 78-87
Program note for Charlotte Mattax, Harpsichord: Johann Sebastian Bach, Koch International Classics 3-7046-2 (1991) (recordings of BWV 828, 910, 912, and 964)
Review of The Collected Works for Solo Keyboard by Carl Philipp Emanuel Bach 1714-1788, ed. Darrell Berg, in Journal of the AMS 40 (1987): 105-12
Letters in New York Review of Books (October 25, 1990), Scientific American (August 1989)
Concert reviews and articles in the online Boston Musical Intelligencer
American Modern Opera Company (December 17, 2017)
C. P. E. Bach Tower Festival Music at King’s Chapel Boston (October 30, 2017)
A Far Cry at the Gardner Museum (February 13, 2017)
Virtuoso Entertainment from H + H Strings (February 11, 2017)
The Boston Camerata’s Play of Daniel (January 30, 2017)
Vivaldi’s Juditha at Longy (January 22, 2017)
Les Bostonades (January 22, 2017)
Fretwork with Suzie LeBlanc (October 8, 2016)
Saul by H & H (May 4, 2016)
William Christie and Les Arts Florissants (April 26, 2016)
“Collage Commemorates Carter” (March 16, 2016)
“Mostly Machaut From the Orlando Consort” (February 13, 2016)
“Finely Finished Fragments by Blue Heron” (February 7, 2016)
Seraphim Singers, 20th-century choral music (January 25, 2016)
Antico Moderno ensemble, new and 17th-century music (January 23, 2016)
Paul O’Dette and Ron McFarlane, lute duo (January 17, 2016)
Collage New Music: works by Amar, Rokowski, Czernowin, and Wyner (January 11, 2016)
Amanda Forsythe and Apollo’s Fire (November 21, 2015)
“Re-Imagined French Baroque?,” review of L’Académie (Nov. 8, 2015)
“Classical Echoes Exquisitely Sung and Played”: Emma Kirkby, Jakob Lindberg (Oct. 3, 2015)
“A Very Polished Concerto Soave” (June 10, 2015)
Musicians of the Old Post Road: Franz and Georg Benda (Apr. 13, 2015)
Grand Harmonie: Mozart and Mendelssohn (Apr. 11, 2015)
Tenet and Green Mountain Project: Monteverdi’s Vespers of 1610 (Jan. 14, 2015)
“A Bach Christmas? Bah, Humbug!,” Handel and Haydn Society (Dec. 19, 2014)
“Two 18th-Century Comedies From BEMF,” Pergolesi intermezzos (Dec. 1, 2014)
“Rameau Arranged for Harpsichord,” Kenneth Weiss recital (November 2, 2014)
“Diabolical Trills and Other Trickery,” Handel and Haydn Society (November 1, 2014)
“A Nameless Mass As Sweet As Any,” Blue Heron vocal ensemble (October 19, 2014)
“H & H Begins 200th Season,” Handel and Haydn Society (October 11, 2014)
“Newish Music for Oldish Instruments,” Juventas New Music ensemble (Sept. 19, 2014)
“Bass Sounds and More,” unaccompanied cello music by Bach and others (August 1, 2014)
“Bach Choral Works for Organist’s Guild,” music by J.S. and C.P.E. Bach (June 25, 2014)
“Not-So-Cavalier Consort Music,” 17th-century English works (June 20, 2014)
“Cuckoo Captured by Blue Heron”: lecture-performance with Thomas Forrest Kelley (February 25, 2014)
Handel and Haydn Society: Haydn and Beethoven (January 25, 2014)
“C.P.E. Bach Turns Three Hundred” (January 20, 2014)
A Far Cry and Urbanity Dance: dances to music of Bach and Stravinsky (January 12, 2014)
Canto Armonico: choral works by Biber and others (December 21, 2013)
Tallis Scholars: works of Victoria and others (December 15, 2013)
Handel and Haydn Society: Handel’s Messiah (November 30, 2013)
Rebel Baroque Ensemble: works of Handel, Telemann, and others (November 10, 2013)
Handel and Haydn Society: Haydn, Mozart, Beethoven (November 2, 2013)
Cambridge Concentus: Handel’s Resurrezione (October 28, 2013)
Viols and Friends: works of Kapsberger, Frescobaldi, et al. (October 26, 2013)
Boston Musica Viva: works by Schuller, Brody, and Rodgríguez (October 6, 2013)
Aston Magna: Marais and Bach (June 28, 2013)
The Play of Daniel (June 22, 2013)
Renaissance and early Baroque works played by The Royal Wind Music (June 17, 2013)
Boston Early Music Festival Organ “Mini-Fest” (June 14, 2013)
French Baroque chamber works performed by Duo Maresienne (May 20, 2013)
Works by Barbara Strozzi and others, performed by La Donna Musicale (May 18, 2013)
Renaissance choral music performed by Stile Antico (Apr. 6, 2013)
Songs by Lazar Weiner, performance directed by Yehudi Wyner (Mar. 5, 2012)
Haydn and Beethoven symphonies performed by the Handel and Haydn Society (Feb. 18, 2012)
Medieval vocal works performed by Anonymous 4 (Jan. 31, 2012)
Works of Purcell performed by The English Concert with countertenor Andreas Scholl (October 25, 2011)
Bach cantata performances at Emmanuel Church, Boston (Jan. 19, 2011)
“Enigmatic Legacy: Music of Wilhelm Friedemann Bach,” (Dec. 9, 2010)
Recent papers and presentations
Video, Bach, Sonata for keyboard and flute BWV 1030/1, with Mary Oleskiewicz; one of the American Bach Society’s “Tiny Bach Concerts” (released May 24, 2021, also on YouTube)
Paper, “Mozart and the Bach Tradition,” joint meeting of the American Bach Society and the Mozart Society of America, Stanford (Feb. 15, 2020)
Keynote talk, “C.P.E. Bach, Haydn, and the Evolving Keyboard Idioms of the Later Eighteenth Century,” North American Haydn Society, Boston (Oct. 31, 2019)
Invited keynote talk and performance, 2d International Conference on Performance and Creativity, Hong Kong Baptist University, Hong Kong (May 27–29, 2019)
Paper, “Bach, Biffi, and BWV 1023,” Bach Colloquium at Harvard University, Cambridge, Mass. (April 27, 2019)
Paper, “Bach and the Seventeenth Century,” Society for Seventeenth-Century Music, annual meeting, Duke University, Durham, N.C. (April 6, 2019)
Pre-concert lecture, “Haydn’s Stabat mater,” Church of St. Luke-in-the-Fields, New York (April 4, 2019)
Colloquium, “Historical Fingering, Articulation, and Ornamentation in Seventeenth-Century Keyboard Music: Does It Matter?” Princeton University (March 11, 2019)
Lecture-performance, “Bach’s ‘Triple Concerto’ BWV 1044 and Its Models,” American Bach Society, biennial conference, Yale University, New Haven (April 28, 2018), performance online (click here and scroll down for BWV 572, 894, and 1044)
“Telemann as ‘General Capellmeister’ to the Bach Family,” Georg Philipp Telemann: Enlightenment and Postmodern Perspectives conference, Temple University, Philadelphia (October 13, 2017)
“Bach and the Beaming of Small Note Values,” Bach Network Dialogue Meeting, Madingley Hall, Cambridge University (July 13, 2017)
“New Thoughts on an Old Topic: Consistency and Inconsistency in Historical Keyboard Fingering,” Historical Performance Institute conference, Indiana University (May 20, 2017)
“Expression and Discrétion: Froberger and the Invention of a New Keyboard Style,” lecture-recital, Society for 17th-Century Music, Providence, R.I. (April 22, 2017)
“Expression and Discrétion: Froberger, Bach, and Performance,” lecture-recital, 2016 International Conference on Performance and Creativity, Hong Kong Baptist University (Nov. 3, 2016)
“Expression and Discrètion: Froberger and Traditions of Freedom in Keyboard Performance,” paper American Musicological Society, Greater New York Chapter, New School (October 23, 2016)
“Four Hundred Years of Froberger: Science and Subjectivity in 17th-Century Keyboard Music,” paper, 17th Biennial International Conference on Baroque Music, Canterbury (July 15, 2016)
“Between Frescobaldi and Froberger: From Virtuosity to Expression,” American Musicological Society, New England Chapter, Massachusetts Institute of Technology (Apr. 9, 2016)
Recent performances
Harpsichord music by Ascanio Mayone and J.S. Bach, Robert Judd Memorial, American Musicological Society meeting, Boston (Nov. 1, 2019)
Soloist (second harpsichord), J.S. Bach, Quadruple Concerto BWV 1065, Hong Kong Baptist University (May 29, 2019); video of the first movement online
Invited keynote talk and performance, 2d International Conference on Performance and Creativity, Hong Kong (May 27–29, 2019, listed above)
Lecture-performance, “Bach’s ‘Triple Concerto’ BWV 1044 and Its Models,” Yale University (April 28, 2018, listed above)
Director and harpsichordist, C.P.E. Bach, Concerto W. 24 (New York premiere), Handel’s Armida abandonnata, and other works, Wagner College (Oct. 25, 2017)
Harpsichord recital, “Froberger and His Legacy,” The University at Albany, N.Y. (Sept. 16, 2016)
Harpsichordist in John Cage, Apartment House 1776, with Callithumpian Consort, directed by Stephen Drury, New England Conservatory, Boston (June 20, 2016)
Director, “Bach Family Dialogues,” with Wagner College students and faculty, joined by alumni of the Juilliard School program in Historical Performance, Wagner College (Mar. 30, 2016)
Miscellaneous
Interviews about W. F. Bach for Composer of the Week (BBC 3), aired Feb. 18–22, 2013
Interviewed by Linda Neil about W. F. Bach for Australian Broadcasting Corporation radio program Into the Music (Nov. 12, 2011), online here
Online cross-references editing, American National Biography (Oxford University Press)
Manuscript editing for Yale University Press and Schirmer Books
Compositions include: Rondeaux on Texts by Guillaume de Machaut for soprano, cello, and harpsichord; Duo for harpsichord (four hands); and Sonata for harpsichord
Keyboard transcription of Bach, Violin sonata in G minor BWV 1001, performed by Daniel van der Hoeven at St. Aegtenkapel, Amersfoort (Netherlands), May 20, 2020 (online video)
Edition of C.P.E. Bach, Harpsichord Concerto W. 6, performed by Joyce Lindorff, soloist, with the Baroque Camerata, Mei-Wen Lee, director, Nov. 7, 2007 (Shu-Te University, Kaohsiung), Nov. 9, 2007 (Kaohsiung City Concert Hall), and Nov. 11, 2007 (National Concert Hall, Taipei)
Reconstruction of J.S. Bach sonata BWV 1032 performed by James Winn, flute, and David Kopp, piano, Newton Free Library, Newton, Mass., February 5, 2017
Editions of Quantz, Flute Concertos QV 5:38, 5:81, 5:165, and 5:238, with cadenzas, recorded by Mary Oleskiewicz, soloist, with members of Concerto Armonico Budapest (Naxos, 2013)
Editions of recently identified works by W.F. Bach, recorded by Claudio Astronio, harpsichordist (Brilliant Classics, CD 94240, 2017)
last update: July 2, 2021