Works Performed by David Schulenberg

Most of these recordings are of solo works for historic keyboard instruments (harpsichord, clavichord, organ, fortepiano). Many are by composers whose music I have also written about, including Byrd, Froberger, members of the Bach family, and musicians at the court of King Frederick “the Great” of Prussia, especially Quantz and the Graun brothers. These recordings are from live performances and essentially unedited; I know they are imperfect, and I apologize for inconsistencies in sound quality, volume, even notes. My purpose in uploading them is to make available compositions that otherwise would remain unheard, and perhaps to provide suggestions for other musicians who are performing pieces that are already available. In addition, I feel that, having written about so many of these compositions, I owe it to readers to let them hear, if they are interested, how I play this music.

Works are listed by composer and title. This file and all linked audio files are copyright (c) 2021 by David Schulenberg, all rights reserved. Permission is granted to download these files for personal and classroom use.

Carl Philipp Emanuel Bach (1714–88)

The first few items below are from a recital that I performed as a 301st-birthday retrospective of C.P.E. Bach’s keyboard music for the Boston Clavichord Society (March 22, 2015, clavichord by Arnold Dolmetsch). For additional works, please scroll down!

Sonata in F-sharp minor, W. 52/4 (Berlin, 1744)
Allegro
Poco andante
Allegro assai

Sonata in C, W. 62/10 (Berlin, 1749)
Allegro
Andante un poco
Allegro di molto

Fantasia in D, W. 117/14 (Berlin, ca. 1761)
La Stahl, W. 117/25 (Berlin, 1755)
L’Aly Rupalich, W. 117/27 (Berlin, 1755)
Solfeggio in C minor, W. 117/2 (Potsdam, 1766)

Sonata in E minor, W. 52/6 (Zerbst, 1758)
Allegro
L’Einschnitt (Adagio)
Allegro di molto
A performance on fortepiano is listed below.

Sonata in C, W. 65/47 (Hamburg, 1775)
Allegro
Adagio assai – Andante
Another recording of this work with somewhat better audio is listed below.

From Clavier-Sonaten . . . für Kenner und Liebhaber, volume 2:
Rondo in A minor, W. 56/5 (Hamburg, 1778)
Sonata in A, W. 56/6 (Hamburg, 1780)

Carl Philipp Emanuel Bach (1714–88): additional works, listed by Wotquenne number

Sonata per il Cembalo solo in G, without Wotquenne or Helm number (University of North Carolina at Greensboro, 2014)
Allemande
[Courante]
Polonaise
Menuet

Fantasia in E-flat, without Wotquenne number (Helm no. 348)
performed on clavichord by Arnold Dolmetsch (broadcast on WGBH Boston, 2005)
performed on fortepiano after Silbermann by David Sutherland (Vermillion, S.D., 2000)

Concerto in D minor for keyboard and strings, W. 23 (Wagner College, Staten Island, N.Y., 2014)
Allegro
Poco andante
Allegro assai

Concerto in E minor for keyboard and strings, W. 24, early version (Wagner College, Staten Island, N.Y., 2017)
Allegretto
Largo
Allegretto

“Prussian” Sonata no. 6 in A, W. 48/6 (Cambridge, Mass., 2006)
Allegro
Adagio
Allegro

“Württemberg” Sonata no. 1 in A minor, W. 49/1
performed on harpsichord (Boston, 2009):
Moderato
Andante
Allegro assai
performed on clavichord (Cambridge, Mass., 2004):
Moderato
Andante
Allegro assai

“Württemberg” Sonata no. 3 in E minor, W. 49/3 (University of Texas at Austin, 1990)
Allegro
Adagio
Presto

“Württemberg” Sonata no. 6 in B minor, W. 49/6, with variations and cadenza from W. 68 (Stony Brook, 1980)
Moderato
Adagio non molto
Allegro
A more recent performance (University of North Carolina at Greensboro, 2014): Moderato – Adagio non molto – Allegro

Sonata in C, W. 51/1, with variations from W. 65/35 and 65/36, performed on harpsichord (Stony Brook, 1985)
Allegro moderato
Andante
Allegro

the same sonata (with variations), performed on fortepiano (Brandeis University, Waltham, Mass., 1991)
Allegro moderato
Andante
Allegro

Sonata no. 6 from Zweyte Fortsetzung von Sechs Sonaten fürs Clavier, W. 52/6 (University of North Carolina at Greensboro, 2014)
Allegro
Adagio: “L’Einschnitt”
Allegro di molto

Rondo in B-flat, W. 58/5 (Idaho Bach Festival, Moscow, 2014)

Sonata in E minor, W. 59/1 (Cambridge, Mass., 2004) (single file)
Presto
Adagio
Andantino

Fantasia in F, W. 59/5 (broadcast on Radio 4, Hong Kong, 2019)
with an interview in which Joyce Lindorff and I discuss this and other pieces

Fantasia in C, W. 59/6 (broadcast on WGBH Boston, 2005)

Sonata in B-flat, W. 62/1 (Cambridge, Mass., 2004; Dolmetsch clavichord courtesy of Peter Sykes)
Presto
Andante
Allegro assai

The same piece on harpsichord: Sonata in B-flat, W. 62/1 (Chapel Hill, 1993)
Presto
Andante
Allegro assai

Sonata no. 3 from the Probestücke, W. 63/3 (University of North Carolina at Greensboro, 2014)
Poco allegro ma cantabile (in A)
Andante lusingando (in A minor)
Allegro (in E)

Sonata no. 6 from the Probestücke, W. 63/6 (Cambridge, Mass., 2004)
Allegro di molto in F minor
Adagio affetuoso in A-flat
Fantasia in C minor (the “Hamlet” fantasia)

Sonata in E-flat, W. 65/7, early version, with varied repetitions from the revised version (Waltham, Mass., 1991)
Allegro (revised version: Allegro moderato)
Siciliano (revised version: Andante)
Vivace

Sonata in C, W. 65/16 (Chapel Hill, 1992)
Allegro – Adagio/Andante
Allegretto

Sonata in G minor, W. 65/17 (Stony Brook, N.Y., 1989)
Allegro
Adagio
Allegro assai

Sonata in B-flat, W. 65/20 (Cambridge, Mass., 1986)
Moderato
Adagio
Allegretto

Sonata in C, W. 65/47 (University of North Carolina at Greensboro, 2014)
Allegro
Adagio assai
Andante

Fantasia in F-sharp minor, W. 67 (University of North Carolina at Greensboro, 2014)

Sonata (Praeludium) in D, W. 70/7 (Bozeman-Gibson organ after Silbermann, Stony Brook, 1989) (one movement)

Sonata in C for keyboard and flute, W. 73 (Old State House, Iowa City, 2000)
Allegro di molto
Andante
Allegretto

Sonata in E for keyboard and flute, W. 84 (Durham, N.C., 1996)
Allegretto
Adagio di molto
Allegro assai

Quartet in D for keyboard, flute, and viola, W. 94 (Boston, 1992)
Allegretto – Sehr langsam und ausgehalten
Allegro di molto

Quartet in G for keyboard, flute, and viola, W. 95 (Stony Brook, 1983)
Allegretto
Adagio
Presto

Andantino from Sechs leichte Clavierstückgen, W. 116/23 (Cambridge, Mass., 2004)

Variations with Varied Reprises, W. 118/10 (Cambridge, Mass., 2004, on clavichord)
The same piece, on fortepiano (University of North Carolina at Greensboro, 2014)

Sonata in D for flute and basso continuo (performed on clavichord), W. 131 (broadcast on WGBH Boston, 2005)
Andante
Allegretto
Allegro

Sonata in C for flute, violin, and basso continuo, W. 149 (Dayton, 1999)
Allegro di molto
Andante
Allegretto

Trio Sonata in C minor, W. 161/1, known as the “Program Trio” or “Sanguineus and Melancholicus,” performed as a duo for obbligato keyboard and violin (Staten Island, 2016)
Allegretto/Presto – Adagio (movements 1 and 2 in one file)
Allegro

Johann Christian Bach (1735–1782)

Sonata in E-flat for fortepiano, flute, and cello, op. 2, no. 6 (Stony Brook, N.Y., 1981)
Allegro moderato
Rondeaux: Allegro assai

Sonata (Duetto) in F for four hands, op. 18, no. 6 (Hong Kong, Radio 4, 2019), with Joyce Lindorff (one file containing both movements)
Allegro
Rondeau: Allegro

Johann Christoph Friedrich Bach (1732–1795)

Sonata in E-flat for fortepiano and flute (Durham, N.C., 1996)
Allegro moderato
Andante cantabile
Tempo di menuetto

Johann Sebastian Bach (1685–1750), works listed by BWV number

Fantasia and Fugue in C minor BWV 562 (Stony Brook, N.Y., 1989)
Fantasia
Fugue (completed by David Schulenberg)

Sonata in D minor BWV 572, reconstruction of the second movement as part of a trio sonata for flute, violin, and continuo, with Mary Oleskiewicz (flute), Jude Ziliak (violin), and Katie Rietman (cello), New Haven, 2018
Adagio ma non tanto

Wenn wir in höchsten Nöten sein BWV 641 (Stony Brook, Bozeman-Gibson organ after Silbermann, March 21, 1985)

Wo soll ich fliehen ihn BWV 646 (Stony Brook, Bozeman-Gibson organ after Silbermann, March 21, 1985)

Jesu meine Freude BWV 753, fragment completed by DS (Chapel Hill, 1993)

Wie schön leuchtet der Morgenstern BWV 764, fragment completed by DS (Chapel Hill, 1993)

Invention no. 8 in F, BWV 779 (Cambridge, Mass., 2004)

Partita no. 2 in C minor, BWV 826 (Stony Brook, 1985)
Sinfonia
Allemande
Courante
Sarabande
Rondeaux
Capriccio

Partita no. 4 in D, BWV 828 (University of Texas at Austin, 1990)
Ouverture
Allemande
Courante
Aria
Sarabande
Menuet
Gique

Partita no. 5 in G, BWV 829 (Stony Brook, 1979)
Praeludium
Allemande
Corrente
Sarabande
Tempo di Menuetto
Passepied
Gigue

Partita no. 6 in E minor BWV 830 (Cambridge, Mass., 2006)
Toccata
Allemanda
Corrente
Air
Sarabanda
Tempo di gavotta
Giga
Giga (“tripeletized”): Some people think that Bach’s unusual notation for this movement means that he meant its duple rhythms to be converted to triplets. I no longer believe that, but I performed it that way at Stony Brook in 1982.

French Overture in B minor BWV 831 (Stony Brook, 1985)
Ouverture
Courante
Gavotte I and II
Passepied I and II
Sarabande
Bourrée I and II
Gigue
Echo

Praeludium et Partita in F BWV 833 (Chapel Hill, 1993)
Praeludium: Andante
Allemande
Courante
Sarabande – Double
Air

From the Well-Tempered Clavier (the “48”), part 1
Prelude and Fugue in C BWV 846 (Jamaica Plain, Mass., 2013)
Prelude and Fugue in C minor BWV 847 (Jamaica Plain, Mass., 2013)
Prelude and Fugue in C-sharp BWV 848 (Stony Brook, N.Y., 1982)
Prelude and Fugue in E-flat BWV 852 (Stony Brook, N.Y., 1982)
Prelude and Fugue in F minor BWV 857 (Stony Brook, N.Y., 1982)
Prelude and Fugue in F-sharp BWV 858 (Assumption College, Worcester, Mass., 2013)
Prelude and Fugue in G BWV 860 (Boston, Mass., 2008)
Prelude and Fugue in G minor BWV 861 (Chapel Hill, N.C., 1993)
Prelude and Fugue in A BWV 864 (Stony Brook, N.Y., 1982)

From the Well-Tempered Clavier (the “48”), part 2
Prelude and Fugue in C-sharp BWV 872 (Stony Brook, 1979)
Prelude and Fugue in C-sharp minor BWV 873 (Cambridge, Mass., 2006)
Prelude and Fugue in D-sharp minor BWV 877 (Stony Brook, 1982)
Prelude and Fugue in F-sharp minor BWV 883 (Stony Brook, 1979)
Prelude and Fugue in A-flat BWV 886 (Cambridge, Mass., 2006)

Praeludium and Fugue in A minor BWV 894. Two performances, both at museums of musical instruments:
(1) at the National Music Museum (Vermillion, S.D., 1999) harpsichord by Jose Calisto
Praeludium
Fugue
(2) at the Yale Collection of Musical Instruments (New Haven, Conn., 2018), harpsichord by William Hyman
Praeludium
Fugue

Chromatic Fantasia and Fugue in D minor BWV 903 (Chapel Hill, N.C., 1992)
Fantasia
Fugue

Fantasia and Fugue in A minor BWV 904 (Cambridge, Mass., 2006)
a more recent performance (broadcast on Radio 4, Hong Kong, 2019)

Fantasia and Fugue in C minor BWV 906 (Stony Brook, N.Y., 1989)
Fantasia
Fugue (completed by David Schulenberg)

Fantasia and Fugue in B-flat BWV 907 (realization by DS, Chapel Hill, N.C., 1993)

Fantasia and Fugue in D, BWV 908 (realization by DS, Chapel Hill, N.C., 1993)

Toccata in D, BWV 912 (Stony Brook, 1985)

Toccata in E minor, BWV 914 (two performances)
On harpsichord (University of Texas at Austin, 1990)
On organ (Brandeis University, Waltham, Mass. 1991). This performance was a response to a proposal by Brandeis professor Robert L. Marshall: that the word manualiter in certain manuscript copies of Bach’s music signified that the work was specifically for organ without pedals. On the same program I played an anonymous fugue from an Italian manuscript that shares its subject and other matter with the final section of Bach’s toccata.

Prelude in E minor BWV 932 (fragment completed by DS; Brandeis University, Waltham, Mass., 1991)

Fugue in B minor on a Theme by Albinoni BWV 951 (Cambridge, Mass., 1986)
Prelude (BWV 923)
Fugue

Fugue in B-flat on a Theme by Reinken BWV 954 (Chapel Hill, N.C., 1993)

Sonata in D, BWV 963 (Cambridge Harpsichords, Cambridge, Mass., 1992)

Sonata in A minor BWV 965, after Reinken, Hortus musicus, no. 1 (Cambridge, 1986)
Sonata
Allemande
Courante
Sarabande
Gigue

Concerto in G, BWV 973, after Vivaldi, op. 7, no. 8 = RV299 (Chapel Hill, N.C., 1997)
Allegro
Largo
Allegro

another performance in one file (Cambridge, Mass., 2006)

Concerto in G minor, BWV 985, after Telemann, TWV 51:g1 (Cambridge, Mass., 1986)
[Allegro]
Adagio
Allegro

Goldberg Variations BWV 988 (Stony Brook, N.Y., 1982)
Aria and Variations 1–3
Variations 4–6
Variations 7–9
Variations 10–12
Variations 13–15
Variations 16–18
Variations 19–21
Variations 22–24
Variations 25–27
Variations 28–30 and Aria da capo
Fourteen Canons on the bass of the Goldberg Variations BWV 1087, arranged by DS (performed Chapel Hill, N.C., 1996)

Capriccio sopra la lontananza de il fratro dilettissimo BWV 992 (“Capriccio on the absence  of a most beloved brother,” Cambridge, Mass., 2006)

Partita no. 2 in D minor for unaccompanied violin BWV 1004, arranged by DS (Chapel Hill, 1995)
Allemanda
Corrente
Sarabanda
Giga
Ciaccona

Sonata no. 3 in C for unaccompanied violin BWV 1005, arranged mainly by DS (Stony Brook, 1979)
Adagio (BWV  968, arranged by Bach)
Fuga: Alla breve
Largo
Allegro assai

Suite no. 2 in D minor for unaccompanied cello BWV 1008, arranged by DS (Stony Brook, 1982)
Prelude
Allemande
Courante
Sarabande
Menuets 1–2
Gigue

Suite no. 6 in A for unaccompanied cello BWV 1012, arranged by DS (Chapel Hill, 1995)
Prelude
Allemande
Courante
Sarabande
Gavottes 1–2
Gigue

Sonata no. 2 in A for violin and keyboard BWV 1015 (Staten Island, 2016)
Dolce
Allegro assai
Andante un poco
Presto

Sonata in A for flute and keyboard BWV 1032
with baroque flute (Durham, N.C., 1997):
Vivace (fragment completed by D. Schulenberg)
Largo e dolce – Allegro
with modern flute (Stony Brook, 1983):
Vivace (fragment completed by D. Schulenberg)
Largo e dolce – Allegro

Trio sonata in G for violin, viola, and basso continuo (arranged from BWV 1038). This is a reconstruction of a work thought to have been jointly composed by J.S. and C.P.E. Bach. It was recorded in 2019 in Boston for a CD, but after another piece was added to the program, there was no longer space for this one. With Augusta McKay Lodge, Georgina McKay Lodge, and Eva Lymenstull (recording and editing: Antonio Oliart). The CD appears on the Brilliant Classics label.
Largo
Vivace
Adagio
Presto

Concerto in A minor for harpsichord, flute, violin, and strings BWV 1044, with Mary Oleskiewicz (flute) and Jude Ziliak (violin). Performed at the Collection of Musical Instruments, Yale University, New Haven, Conn. (2018)
Allegro
Adagio ma non tanto e dolce
Alla breve

Brandenburg Concerto no. 5 in D, BWV 1050 (Wagner College, 2014)
Allegro
Affettuoso
Allegro (for technical reasons only the final section can be given here)

Concerto in C minor for two harpsichords and strings BWV 1060, with Ronald Cross, 2d harpsichord (Staten Island, N.Y., 2004)
Allegro
Adagio
Allegro

Concerto in C for two harpsichords BWV 1061a, with Zvi Meniker, 2d harpsichord (Chapel Hill, 1994)
Allegro
Adagio ovvero Largo
Fuga

From the Musical Offering BWV 1079 (Vermillion, S.D., 2000)
Ricercar a 3
Fuga canonica (performed on flute and fortepiano; Mary Oleskiewicz, baroque flute)
Ricercar a 6
Sonata in C minor (performed on flute and fortepiano)
Largo
Allegro
Andante
Allegro

From the Art of Fugue BWV 1080
Contrapunctus 1 (Stony Brook, 1979)
Contrapunctus 6 (“in French style”) (Stony Brook, 1979)
Contrapunctus 9 (counterpoint at the twelfth) (Stony Brook, 1979)
Contrapunctus 11 (triple fugue in four parts) (Stony Brook, 1979)
Fuga a 2 Clav. (Fugue for two keyboards) (Chapel Hill, 1994; 2d part: Zvi Meniker)
inversus (BWV 1080/18,2)
rectus (BWV 1080/18,1)
Fuga a 3 soggetti (fragment completed by D. Schulenberg) (Chapel Hill, 1993) talk

Alle Menschen müssen sterben BWV 1117 (Chapel Hill, 1993)

Wilhelm Friedemann Bach (1710–84)

Fantasia in E minor F. 21 (Cambridge, Mass., 2009)

Polonaises, F. 12 (Cambridge, Mass., 2004)
no. 1 in C    no. 2 in C minor    no. 5 in E-flat

Sonata in E-flat, F. 5 (Chapel Hill, N.C., 1996)
Allegro ma non troppo
Largo
Presto

Sonata in F, F. 202 (Claremont, Calif., 2011)
Allegro
Siciliana
Presto

Sonata in F for two harpsichords, F. 10 (Chapel Hill, 1994)
The first part is played by Zvi Meniker. Unfortunately, all three movements of this performance illustrate the observation in my book The Music of W. F. Bach that “modern performers . . . tend to play his music too fast” (p. 275).
Allegro e moderato
Andante
Presto

Sonata in E minor for flute and continuo (Cambridge, Mass., 2004)
Allegro ma non tanto (first half)    (second half)
Siciliano
Vivace

Ludwig van Beethoven (1770–1827)

Sonata in D minor, op. 31, no. 2 (Stony Brook, N.Y., 1980, fortepiano by Thomas and Barbara Wolf after Dulcken; mvt. 2 follows mvt. 1 without a break in the first of two files)
Largo–Allegro
Adagio
Allegretto

“Eroica” Variations, op. 35 (Stony Brook, N.Y., 1982)
Introduzione through Variation 3
Variations 4–14 (minore)
Variation 15 (maggiore) and Finale (fugue)

Sonata in A for piano and violin, “Kreutzer,” op. 47 (Stony Brook, N.Y., 1981; Roger Zahab, violin)
Adagio sostenuto – Presto
Andante con variazioni
Andante: Presto

Bernier, Nicolas

Le caffé (Sylvia Maisonet, soprano; Wagner College, Staten Island, N.Y., 2017)

William Byrd (1543–1623) (listed by “BK” numbers from Musica britannica, vols. 27–28)

Pavan and Galliard for Sir William Petre, BK 3 (Stony Brook, 1985)
Pavan
Galliard

Ground in g, BK 9 (Chapel Hill, 1996)

Alman in g, BK 11 (Chapel Hill, 1996)

Prelude in a, BK 12 (Wagner College, Staten Island, N.Y., 2005)
Fantasia in a, BK 13 (Wagner College, Staten Island, N.Y., 2005)

Pavan and Galliard in B-flat, BK 23 (Chapel Hill, 1996)
Pavan
Galliard

Prelude in C, BK 24 (Waltham, Mass., 1991)
Fantasia in C, BK 25 (Waltham, Mass., 1991)

Galliard Mary Brownlow, BK 34 (Waltham, Mass., 1991)

Callino casturame, BK 35 (Chapel Hill, 1996)

Lachrimae Pavan and Harding’s Galliard, BK 54–55 (Chapel Hill, 1992)
spoken remarks
Pavan (original by John Dowland)
Galliard (original by James Harding)

Pavan and Galliard in F, BK 60 (Wagner College, Staten Island, N.Y., 2005)
Pavan
Galliard

Ut re mi fa sol la, BK 64 (Chapel Hill, 1996)

Go From My Window, BK 79 (Wagner College, Staten Island, N.Y., 2005)

John Come Kiss Me Now, BK 81 (Chapel Hill, 1992)

Alman in G, BK 89 (Chapel Hill, 1996)

La Volta, BK 90 (Chapel Hill, 1996)

Praeludium, BK 115 (attributed doubtfully to Byrd) (Chapel Hill, 1993)

Juan Bautista José Cabanilles (1644–1712)

Pasacalles (from Barcelona, Bibl. de Cat., M.386). Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662–82, National Music Museum (Vermillion, S.D., 2000)

Giacomo Carissimi (1605–74)

Siam tre miseri piangenti (Members of the UNC Collegium Musicum, DS, hpd., Chapel Hill, 1996)

Nicholas Carleton (ca. 1570–1630)

A Verse [In nomine] for Two to Play (Chapel Hill, 1994)
One of two duets performed on a single keyboard instrument (for more information, see below under Thomas Tomkins). The second player is Zvi Meniker.

Marc-Antoine Charpentier (1643–1704)

Magnificat pour le Port Royal, H. 81 (Members of the UNC Collegium Musicum, DS, dir., Chapel Hill, 1996)

François Couperin (1668–1733)

Cinquième ordre (selections) (Albany, N.Y., 2011)
Allemande La Lovigière
Seconde courante
Sarabande
Les ondes

Vingt-unième ordre (selections) (Boston, 2008)
La reine des cœurs
La Couperin

Messe pour les paroisses
Offertoire sur les Grands Jeux (Stony Brook, N.Y., 1989)
[section 1]
[section 2: fugue]
[section 3]

Louis Couperin (ca. 1626–1661)

Pieces in F (Albany, N.Y., 2016)
Prélude (G.13)
Allemande grave (G. 67)
Courante (G. 69)
Sarabande (G. 74)
Gigue (G. 79)
Chaconne (G. 78)
Tombeau de Blancrocher (G. 81)

Johann Caspar Ferdinand Fischer (1656–1746)

From Ariadne musica: Prelude and Fugue in E-flat (Chapel Hill, 1993)

Girolamo Frescobaldi (1583–1643)

La Frescobalda, aria with variations from Il secondo libro di toccate (Albany, 2016)

Toccata 1 from Il secondo libro di toccate (Somerville, Mass., 2017)

Toccata 5 from Il secondo libro di toccate (Stony Brook, N.Y., 1989)

Canzon 3 from Il secondo libro di toccate (Stony Brook, N.Y., 1989)

Toccata 7 from Il secondo libro di toccate (Boston, 2008)

Toccata 9 from Il secondo libro di toccate (Stony Brook, 1983)

Toccata 11 from Il secondo libro di toccate (Stony Brook, 1985)

Canzon 1 from Fioretti di Frescobaldi (Chapel Hill, 1992; commentary here)

Three anonymous toccatas from Rome, Biblioteca Apostolica Vaticana, MS Chigi Q.IV.25, plausibly attributed to Frescobaldi (Somerville, Mass., 2017):
Toccata 1
Toccata 2
Toccata 3

From the Canzoni per sonare:
Canzon I, La bonvisia (1628) (Vermillion, 2000, performed on Renaissance flute with ottavino attributed to Guarracino)
Canzon I a basso solo (1634), called La tromboncina in the edition of 1628 (Stony Brook, 1983)
Canzon III a basso solo, La superba (1628) (Stony Brook, 1983)

Johann Jacob Froberger (1616–67)

Canzona 2 [on the ancient Greek chromatic tetrachord] (Somerville, Mass., 2017)

Suite 7 in E minor (Stony Brook, N.Y., 1980)
Allemande
Gigue
Courante
Sarabande

Suite 10 in A minor (Boston, 2004)
Allemande
Gigue
Courante
Sarabande

Suite 12 in C (Albany, N.Y., 2016)
Lamento sopra la dolorosa partita della real maestà di Ferdinando IV
Gigue
Courante
Sarabande

Suite 13 in D minor (Stony Brook, N.Y., 1989)
Allemande
Gigue
Courante
Sarabande

Suite 14 in g (Somerville, Mass., 2017)
Lamentation sur ce que j’ay esté volé
Courante
Sarabande
Gigue

Suite 20 in D (Boston, Mass., 2008)
Meditation sur ma mort future
Gigue
Courante
Sarabande

Suite 23 in e [with doubles played as varied reprises] (Somerville, Mass., 2017)
Allemande
Courante
Sarabande

Suite 27 in e (Wagner College, Staten Island, N.Y., 2005)
Allemande (“Wasserfall”) 
Gigue
Courante
Sarabande

Toccata 1 in a (Albany, N.Y., 2016)

Toccata 2 in d. Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662–82, National Music Museum (Vermillion, S.D., 2000)

Toccata 13 in e (Wagner College, Staten Island, N.Y., 2005)

Toccata 18 in F (Somerville, Mass., 2017)

Tombeau sur la mort de M. Blancrocher (Albany, N.Y., 2016)

Andrea Gabrieli (1532/33–1535)

Susanne un jour (after Lassus) (Chapel Hill, 1993)

Toccata del quinto tono (Chapel Hill, 1993)

Bernardo Gaffi (1667–1744)

Toccata in e (Chapel Hill, 1995)

Ennemond Gaultier (1575–1651)

From Perrine’s Pièces de luth en musique (Boston, 2008)
Courante L’immortelle
Allemande (Tombeau de Mesangeau)
Gigue La Poste

Orlando Gibbons (1583 – 1625)

Prelude in G (Stony Brook, 1980)

Johann Gottlieb Graun (1702 or 1703 – 1771)

Quartet in D for viola, two violins, and basso continuo, GraunWV A:14:1 (Wagner College, Staten Island, N.Y., 2017; Georgina McKay Lodge, viola)
Adagio
Fuga: Allegro
Allegro

Sonata in in A for keyboard and flute, GraunWV A:XV:13 (Wendt no. 8) (Durham, N.C., 1997)
Allegro
Amoroso
Allegro assai

Sonata in D for keyboard and flute, GraunWV C:XV:80 (Wendt no. 24) [possibly by Carl Heinrich Graun (1703 or 1704 – 1759)] (Durham, N.C., 1997)
Largo
Allegro non molto
Allegro

Sonata in D for keyboard and flute, GraunWV Cv:XV:98 (Wendt no. 36) [possibly by Carl Heinrich Graun (1703 or 1704 – 1759)] (Durham, N.C., 1996)
Largo
Allegro non molto
Allegro

Sonata in G for two violins and continuo, GraunWV A:15:11 (Wendt no. 59), performed as a duo for violin and harpsichord, with Jude Ziliak, violin (New York, 2015; recording courtesy of Paul Ross and Gotham Early Music Scene)
Affetuoso
Allegro non troppo
Allegro di molto

George Frideric Handel (1685–1759)

Armida abbandonata, HWV 105 (Wagner College, Staten Island, N.Y., 2017; Sylvia Maisonet, soprano)

Overture to Rodelinda (arranged by Handel?) (Chapel Hill, 1995)

Sonata in C for keyboard and viola da gamba (attributed to Handel, almost certainly not actually his) (Chapel Hill, 1996)
Adagio
Allegro
Adagio
Allegro

Suite in F, HWV 427 (Cambridge, Mass., 1985)
Adagio
Allegro
Adagio
Allegro: Fuga

Suite in E, HWV 430 (Chapel Hill, 1997)
Prelude
Allemande
Courante
Air with five variations (“The Harmonious Blacksmith”)

Suite in F minor, HWV 433 (New York University, 1985)
Prelude
Fugue
Allemande
Courante
Gigue

Suite in D minor, HWV 437 (Cambridge, Mass., 1985)
Prelude
Allemande
Courante
Sarabande
Gigue

Roger Hannay (1930–2006)

Scarlatti on Tour (composed 1986; recorded Chapel Hill, 1994)
Scarlatti Meets de Ribayez
Scarlatti Plays El Escorial
Scarlatti Leaves for Madrid

Lou Harrison (1917–2003)
From Six Sonatas for Cembalo (composed 1935/1943; recorded Claremont, Calif., 2011)
no. 1
no. 2

Franz Josef Haydn (1732–1809)

Sonata (Trio) in C for fortepiano, violin, and cello, Hob. XV:27 (Stony Brook, 1981)
Allegro
Andante
Finale: Presto

Elizabeth-Claude Jacquet de La Guerre (1665–1729)

Suite no. 1 in D minor (selections), from Pièces de clavecin (Waltham, Mass., 1991)
Prélude
Allemande
[1re] Courante
Sarabande
Chaconne l’inconstante

Suite no. 3 in A minor (selections), from Pièces de clavecin (Boston, 2004)
Prélude
Allemande
[Première] Courante
Sarabande
Gavotte
Chaconne

Betsy Jolas (b. 1926)

Autour (1973) (Chapel Hill, N.C., 1992)

Auprès (1980) (Wagner College, Staten Island, N.Y., 2005)

Jacob Friedrich Kleinknecht (1722-94)

Sonata in B Minor for flute and basso continuo (Iowa City, 2000)
Adagio
Allegro smanioso
Presto

Johann Philipp Krieger (1649-1725)

Passagaglia (1676). Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662–82, National Music Museum (Vermillion, S.D., 2000)

Lully, Jean-Baptiste de (1632-87)

Overture to Isis, arranged by Jean-Henri d’Anglebert (Chapel Hill, 1995)

Les sourdines d’Armide, arranged by Jean-Henri d’Anglebert (Chapel Hill, 1995)

Chaconne from Phaeton, arranged by Jean-Henri d’Anglebert (Chapel Hill, 1995)

Marin Marais (1656-1728)

Sarabande, arranged by Jean-Henri d’Anglebert (Chapel Hill, 1995)

Wolfgang Amadeus Mozart (1756-91)

Sonata in D, K. 576 (Waltham, Mass., 1985)
Allegro
Adagio
Allegretto

Johann Gottfried Müthel (1728-88)

Arioso in C minor with twelve variations (Cambridge, Mass., 1986)
Arioso and variations 1-3
Variations 4-7
Variations 8-9
Variations 10-12

Duetto in E-flat for two claviers (Chapel Hill, 1994)
The first part is played by Zvi Meniker.
Allegro moderato, e cantabile
Adagio mesto e sostenuto, con affetto
Allegretto

Georg Muffat (1653-1704)

Toccata VII (from Apparatus musico-organisticus, Salzburg, 1690). Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662–82, National Music Museum (Vermillion, S.D., 2000)

Bernardo Pasquini (1637-1701)

Basso Continuo Sonata in E minor (Chapel Hill, 1992; commentary here)
There are three short movements without designations, recorded as a single file (click on the title above).

Basso Continuo Sonata (for two harpsichords) in A minor (Chapel Hill, 1994)
The first part is played by Zvi Meniker. There are three short movements, recorded as a single file (click on the title above).
[Fuga: Allegro]
[Allegro]
Accompagnato

Suite no. 2 in D. Octave virginal by Onofrio Guarracino, Naples, 1694, National Music Museum (Vermillion, S.D., 2000)
Allemanda – [Corrente] – [Giga] – [Aria] (one file)

Toccata and Passagagli (University of Texas at Austin, 1990)
Toccata V (from Berlin, Staatsbibliothek, L.215, no. 25)
Passagagli (from ibid., no. 67)

Ercole Pasquini (fl. ca. 1600, d. 1608/1619)

Ancor che col partire (after Rore) (Chapel Hill, 1993)

Toccata and Canzona (University of Texas at Austin, 1990)
Toccata in e, Shindle no. 5
Canzona in a, Shindle no. 16

Toccata and Romanesca (Chapel Hill, 1994)
Toccata in g, Shindle no. 4
Romanesca, Shindle no. 24

Henry Purcell (1659-95)

Suite no. 2 (1689) in D minor (Chapel Hill, 1995)
Prelude
Almand
Corant
Saraband

Hornpipe from The Fairy Queen, arranged by (?) the composer (Chapel Hill, 1995)

Johann Joachim Quantz (1697-1773)

Sonata in E minor for keyboard and flute, QV 2:21 (Durham, N.C., 1996)
Adagio
Allegro
Grazioso
Vivace

Jean-Philippe Rameau (1683-1764)

Pieces in G from Nouvelles suites, ca. 1730 (Stony Brook, 1981)
Les triolets
Les sauvages
Air gratieux pour les amoures
L’egiptienne
L’enharmonique

La dauphine (Stony Brook, 1981)

From Pièces de clavecin en concerts (Chapel Hill, 1997)
Fugue La Forqueray
La Cupis
La Marais

Luigi Rossi (1598-1653)

Passacaille. Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662–82, National Music Museum (Vermillion, S.D., 2000)

Michelangelo Rossi (ca. 1602 – 1656)

Toccata 1. Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662–82, National Music Museum (Vermillion, S.D., 2000)

Toccata 7 (Stony Brook, 1983)

Corrente 6 (Chapel Hill, 1995)

Giovanni Salvatore (early 17th cent. – 1688)

Canzone francese II (1641). Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662–82, National Music Museum (Vermillion, S.D., 2000)

Domenico Scarlatti (1685-1757)

Sonatas (Stony Brook, 1982)
K. 546 in G minor
K. 547 in G

Sonatas (Wagner College, Staten Island, N.Y., 2005)
K. 206 in E
K. 447 in F-sharp minor
K. 282 in D
K. 499 in A
K. 296 in F
K. 386 in F minor

David Schulenberg (b. 1955)

Eis Artemin (Homeric Hymn to Artemis, originally for voice and clavichord, 1976; arranged for clarinet and harpsichord, 1996) (Chapel Hill, N.C., 1996)

Quintet for Ten Instruments (Eb/Bb clarinet, oboe/English Horn, violin/viola, guitar/lute [muted harpsichord in this performance], harpsichord/piano, 1979) (Stony Brook, N.Y., 1980)

Three Pieces for Harpsichord (1982, revised 1990) (Wagner College, Staten Island, N.Y., 2005)
no. 1
no. 2
no. 3

Sonata for Harpsichord (1982, revised 1991) (Chapel Hill, N.C., 1994)

Duetto for Harpsichord Four Hands (1986 , 1994) (Chapel Hill, 1995)
I (movement 1)
II (movement 2)

Rondeaux on Texts by Machaut (soprano, cello, harpsichord, 1995) (Chapel Hill, N.C., 1996)

Carlos de Seixas (1704–42)

Sonata in A. Portuguese harpsichord by Jose Calisto, 1780 (National Music Museum, Vermillion, S.D., 1999)
Allegro
Adagio
Allegro assai

Claudin de Sermisy (ca. 1490–1562)
Languir me fait (anonymous keyboard intabulation) (Chapel Hill, 1993)

Barbara Strozzi (1619–77)

From Il primo libro de madrigali (1644) (Members of the UNC Collegium Musicum, DS, hpd.)
Al battitor di bronzo
Libertà

Jan Pieterszoon Sweelinck (1562 (?) – 1621)

Echo Fantasia in C (Stony Brook, 1985)

Psalm 116 (variations on J’aime mon Dieu) (Chapel Hill, 1993)

Georg Philipp Telemann (1681–1767)

Concerto in B minor for flute and obbligato keyboard, TWV 42:h1 (Chapel Hill, 1998)
Adagio
Vivace
Gratioso
Presto

Concerto in G minor for violin and strings, TWV 51:g1, arranged for keyboard by J. S. Bach as BWV 985 (Cambridge, Mass., 1986)
[Allegro]
Adagio
Allegro

Sonata in A for violin and continuo, TWV 41:A4, from Musique de table, part 2, with Jude Ziliak, violin (New York, 2015; recording courtesy of Paul Ross and Gotham Early Music Scene); a video of the performance is online here.

Thomas Tomkins (1572–1656)

A Fancy for Two to Play (Chapel Hill, 1994)
One of two duets to be performed on a single keyboard instrument, preserved in a manuscript by Tomkins (the other was composed by Nicholas Carleton; see above). Whether they were originally composed as keyboard duets is not entirely clear; corrections in the manuscript and some awkward passages suggest that they might be arrangements of music for some other ensemble. The second player is Zvi Meniker.

Friedrich Wilhelm Zachow (1663–1712)

Suite in B minor (Chapel Hill, 1997)
Allemande
Courante
Sarabande
Fuga finalis

Roger Zahab (b. 1957)

Several Paths (composed 1995/1997; recorded Claremont, Calif., 2011)

Collaborating musicians