{"id":894,"date":"2012-12-02T22:33:57","date_gmt":"2012-12-02T22:33:57","guid":{"rendered":"http:\/\/faculty.wpengine.com\/david-schulenberg\/?page_id=894"},"modified":"2021-07-02T21:07:20","modified_gmt":"2021-07-02T21:07:20","slug":"curriculum-vitae","status":"publish","type":"page","link":"https:\/\/faculty.wagner.edu\/david-schulenberg\/curriculum-vitae\/","title":{"rendered":"Curriculum vitae"},"content":{"rendered":"

DAVID LOUIS SCHULENBERG:<\/span>\u00a0curriculum vitae<\/em><\/h3>\n
\n

address:<\/p>\n

Department of Music
\nWagner College
\nOne Campus Road
\nStaten Island, NY 10301
\ntel.: (718) 420-4288
\nfax: (718) 390-3392
\nemail: dschulen AT wagner.edu<\/p>\n

Professional positions<\/strong><\/h4>\n

Wagner College<\/a>, Professor,\u00a0Music Department<\/a>\u00a0(2001-, chair 2001-17)<\/p>\n

Boston University, part-time faculty (spring 2015, 2016, and 2018)<\/p>\n

Aaron Copland School of Music, Queens College, Visiting Associate Professor (spring 2011, part-time)<\/p>\n

The Juilliard School, part-time faculty, Historical Performance (2010-17)<\/p>\n

Rutgers The State University of New Jersey, Visiting Lecturer (fall 2005, spring 2008, fall 2009)<\/p>\n

University of Notre Dame, Visiting Assistant Professor (2000-2001)<\/p>\n

University of South Dakota, Visiting Assistant Professor (summer 2000),\u00a0Research Associate (1999-2001)<\/p>\n

University of North Carolina at Chapel Hill, Assistant Professor (1992-99)<\/p>\n

Duke University, Visiting Assistant Professor (part-time, 1995-97, to direct the Duke Collegium Musicum)<\/p>\n

University of Texas at Austin, Visiting Lecturer (spring 1990)<\/p>\n

Columbia University, Assistant Professor (1987-89)<\/p>\n

Baruch College of the City University of New York, Visiting Assistant Professor (spring 1986)<\/p>\n

University of Virginia, Visiting Assistant Professor (Fall 1983)<\/p>\n

State University of New York at Stony Brook, Lecturer (Fall 1982)<\/p>\n

Professional and community service, grants, and fellowships<\/strong><\/h4>\n

Board of Directors, Boston Clavichord Society<\/a>\u00a0(2002-); vice-president (2008-15)<\/p>\n

Program Committee,\u00a0Society for Seventeenth-Century Music<\/a>\u00a0(2020 meeting)<\/p>\n

Guest editor, Early Music<\/em>, August 2014 issue<\/p>\n

Program Committee,\u00a0Society for Eighteenth-Century Music<\/a>\u00a0(2012 meeting)<\/p>\n

Committee on Performance,\u00a0American Musicological Society<\/a>\u00a0(2009\u201311; chair for 2010)<\/p>\n

Editorial Board,\u00a0Early Keyboard Journal<\/em><\/a>\u00a0(2003-12)<\/p>\n

William Scheide Research Grant Award Committee,\u00a0American Bach Society<\/a>\u00a0(2002-3)<\/p>\n

Invitation Fellow, Japan Society for the Promotion of Science (January 2002)<\/p>\n

Program Committee,\u00a0Society for Seventeenth-Century Music<\/a>\u00a0(2002 meeting)<\/p>\n

William Scheide Research Grant, American Bach Society (2000)<\/p>\n

Council Member,\u00a0American Musicological Society<\/a>\u00a0(1998-99)<\/p>\n

Editorial Board,\u00a0Journal of the American Musicological Society<\/em>\u00a0(1996-99)<\/p>\n

National Endowment for the Humanities, editing grant (Summer 1987)<\/p>\n

American Council of Learned Societies, senior research fellowship (1986-87)<\/p>\n

Andrew Mellon Post-Doctoral Fellowship, at New York University (1984-85)<\/p>\n

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<\/em><\/p>\n

Education<\/strong><\/h4>\n

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”<\/p>\n

Ohio State University, 1977-78. Doctoral program in Music History<\/p>\n

Stanford University, 1976-77. M.A. in Music, 1977<\/p>\n

Harvard College, 1972-76. B.A.\u00a0cum laude<\/em>\u00a0in Music, 1976<\/p>\n

Study of harpsichord: John Gibbons (Boston, 1973-6), Martin Pearlman (Cambridge, Mass., 1974-6), Laurette Goldberg (Berkeley, 1977)<\/p>\n

Study of early music: Baroque Performance Institute, Oberlin, Ohio (Summer 1974 and 1975)<\/p>\n

Study of piano: Stanley Hummel (Albany, New York, 1963-72)<\/p>\n

Teaching and institutional service<\/strong><\/h4>\n

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<\/p>\n

Courses for music majors: period surveys: Renaissance-Baroque, Classical-Romantic, 20th Century; Classical chamber music; historical performance practice; tonal theory; counterpoint<\/p>\n

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<\/p>\n

Harpsichord, figured bass, chamber music; collegium musicum<\/p>\n

Service at Wagner College: Music Department chair, Faculty Personnel Committee, Department Chairs Council, Senior Council, Teacher Education Policy Unit, Library Committee, First-Year Program<\/p>\n

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<\/a><\/p>\n

Publications<\/strong><\/h4>\n

<\/a>Books, recordings, and edited volumes<\/em><\/strong><\/p>\n

J. G. Graun: Chamber Music from the Court of Frederick the Great,<\/em> CD recording: harpsichordist in six chamber works by J. G. Graun and others, recorded at WGBH studio, Boston (Brilliant Classics<\/a>, 2021)<\/p>\n

Bach,<\/em> Master Musicians series (Oxford University Press<\/a>, 2020)<\/p>\n

C. P. E. Bach<\/em> (editor). The Late Eighteenth-Century Composers series (Ashgate Publishing<\/a>, 2015)<\/p>\n

The Music of Carl Philipp Emanuel Bach<\/em> (University of Rochester Press, 2014<\/a>). Click here for the online supplement: text, music examples, audio files, and other links<\/a>.<\/p>\n

J.S. Bach: Organ Works<\/em>, vols. 1-2 (editor): preludes and fugues (Breitkopf und H\u00e4rtel<\/a>, 2013-14)<\/p>\n

Flute Music By Sons of Bach<\/em>, CD recording: fortepianist in C.P.E. Bach, Sonata in D, W. 83, and J.C.F. Bach, Sonata in A, on \u00a0TROY1490-91 (Albany Records<\/a>, 2014)<\/p>\n

Music of the Baroque<\/em>\u00a0and\u00a0Music of the Baroque: An Anthology of Scores<\/em>, third edition (New York: Oxford University Press, 2013; second edition, 2008; first edition, 2001).\u00a0Click here for the textbook website and further information.<\/a><\/p>\n

<\/a>King Frederick \u201cthe Great\u201d of Prussia: Seven Flute Sonatas<\/em>, CD recording: fortepianist in seven works, recorded at Sanssouci Palace, Potsdam (Germany), HCD 32698 (Hungaroton, 2011).\u00a0Click here for further information, or to order a copy.<\/a><\/p>\n

Johann Joachim Quantz: Flute Sonatas<\/em>, CD recording: harpsichordist in seven sonatas, HCD 32617 (Hungaroton, 2011).\u00a0Click here for further information, or to order a copy.<\/a><\/p>\n

The Music of Wilhelm Friedemann Bach<\/em>\u00a0(University of Rochester Press, 2010).\u00a0Click here to order.<\/a>\u00a0For links to online audio files and musical examples,\u00a0click here.<\/a><\/p>\n

The Keyboard Music of J.S. Bach<\/em>, 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.\u00a0Click here to order a copy.<\/a><\/p>\n

Carl Philipp Emanuel Bach: The Collected Works<\/em>\u00a0(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\u20136, 2009), and III\/9.8 (keyboard concerto W. 24, 2010) (editor).\u00a0<\/a>Click here for further information or to order<\/a>.<\/a><\/p>\n

Johann Joachim Quantz: Six Flute Quartets<\/em>, CD recording: harpsichordist, Hungaroton HCD 32286 (2004).\u00a0Click here for further information or to order a copy<\/a>.<\/p>\n

Johann Joachim Quantz: Flute Sonatas<\/em>, CD recording: harpsichord and fortepiano in seven solo and trio sonatas on copies of period instruments, Naxos 8.555064 (HNH International, 2003).\u00a0Click here for contents and ordering information.<\/a><\/p>\n

Bach Perspectives, Volume 4: The Music of J. S. Bach: Analysis and Interpretiation<\/em>, ed. David Schulenberg (Lincoln: University of Nebraska Press, 1999), x + 208 pp. (editor).\u00a0Click here for contents and ordering information<\/a>\u00a0.<\/a><\/p>\n

Carl Philipp Emanuel Bach: Keyboard Sonatas, 1744-1747<\/em>\u00a0(Carl Philipp Emanuel Bach Edition, I\/18) (Oxford University Press, 1995), xxi + 142 pp. (editor)<\/p>\n

The Instrumental Music of Carl Philipp Emanuel Bach<\/em>\u00a0(revision of dissertation; UMI Research Press, 1984), xi + 192 pp. You can order this book through UMI’s\u00a0Books on Demand program<\/a>\u00a0(order no. WB1-2070340-85).<\/p>\n

Journal articles and book chapters<\/em><\/strong><\/p>\n

\u201cMozart, J. C. Bach, and the Bach Tradition,\u201d forthcoming in Bach Perspectives<\/em>, Volume 14 (Illinois University Press)<\/p>\n

\u201cTelemann as \u2018General Capellmeister\u2019 to the Bach Family,\u201d forthcoming in Telemann Studies<\/em> (Cambridge University Press)<\/p>\n

\u201cC.P.E. Bach\u2019s Keyboard Music and the Question of Idiom,\u201d in Bach Perspectives, Volume 11<\/em> (Illinois University Press, 2017), 83\u2013112<\/p>\n

\u201cIntroduction\u201d and translation of Arnold Schering, \u201cCarl Philipp Emanuel Bach and the \u2018Rhetorical Principle\u2019 in Music,\u201d in C.P.E. Bach<\/em>\u00a0(Ashgate\u00a0Publishing<\/a>, 2015),\u00a0xiii\u2013xviii and 5\u201321<\/p>\n

\u201cA Tale of Two Brothers: Friedemann and Emanuel Bach,\u201d in SECM in Brooklyn 2010: Topics in Eighteenth-Century Music I<\/em> (Steglein Publishing, 2014), 78\u2013102<\/p>\n

\u201cCarl Philipp Emanuel Bach: A Tercentenary Assessment,\u201d Early Music<\/em> 42 (2014): 335\u201345<\/p>\n

\u201cPrinting the Probest\u00fccke: An Eighteenth-Century Music Publication by Carl Philipp Emanuel Bach,\u201d Harvard Library Bulletin<\/em> 24 (2013): 81\u2013103<\/p>\n

\u201cWhat Is a Composer? Problems of Attribution in Keyboard Music from the Circle of Philips and Sweelinck.\u201d In Networks of Music and Culture,<\/em> edited by David J. Smith and Rachelle Taylor (Ashgate Publishing, 2013), 113\u201355. Click here to order.<\/a><\/p>\n

\u201cAn Enigmatic Legacy: Organ Music and the Berlin Bach Traditions,\u201d\u00a0Keyboard Perspectives<\/em>\u00a04\u00a0(2012): 153\u201374<\/p>\n

\u201cModifying the Da Capo? Through-Composed Arias in Vocal Works by Bach and Other Composers,\u201d\u00a0Eighteenth-Century Music\u00a0<\/em>8 (2011): 21\u201351<\/p>\n

\u201cEditing Bach’s ‘Preludes and Fugues’ for Organ,\u201d\u00a0Organ Yearbook<\/em>\u00a039 (2010): 59\u201372<\/p>\n

\u201cAn Enigmatic Legacy: Two Instrumental Works Attributed to Wilhelm Friedemann Bach,\u201d in\u00a0BACH:\u00a0Journal of the Riemenschneider Bach Institute\u00a041\/2 (2010): 24\u201360<\/p>\n

\u201cJ. S. Bach, C. P. E. Bach, and the Invention of the Concerto for Keyboard and Strings,\u201d\u00a0Early Keyboard Journal<\/em>, 25\/26 (2010): 29\u201359<\/p>\n

\u201cCrossing the Rhine With Froberger: Suites, Symbols, and Seventeenth-Century Musical Autobiography,\u201d in\u00a0Fiori musicali: Liber amicorum Alexander Silbiger\u00a0(Harmonie Park Press, 2010), 271\u2013302.\u00a0Click here for further information or to order a copy.<\/a><\/p>\n

\u201cFugues, Form, and Fingering: Sonata Style in Bach’s Preludes and Fugues,\u201d in\u00a0Variations on the Canon: Essays in Musical Interpretation from Bach to Boulez in Honour of Charles Rosen on his Eightieth Birthday\u00a0(University of Rochester Press, 2008), 12\u201321.\u00a0Click here to order the volume.<\/a><\/p>\n

\u201cRecent Editions and Recordings of Froberger and Other Seventeenth-Century Composers,\u201d review article,\u00a0Journal of Seventeenth-Century Music\u00a013 (2007), online at\u00a0http:\/\/sscm-jscm.org\/jscm\/v13\/no1\/schulenberg.html<\/a><\/p>\n

\u201cThe Sonate auf Concertenart: A Postmodern Invention?,\u201d in\u00a0Bach Perspectives, Volume 7\u00a0(University of Illinois Press, 2008), 55\u201396.\u00a0Click here to order the volume.<\/a><\/p>\n

\u201cWhy We Know So Little About Bach’s Early Works: A Case Study (Two Keyboard Fugues),\u201d in\u00a0Music and Its Questions: Essays in Honor of Peter Williams\u00a0(Organ Historical Society Press, 2007), 169\u2013203.\u00a0Click here to order the volume.<\/a><\/p>\n

\u201cC.P.E. Bach in Zerbst: The Six Sonatas of Fall 1758: With Contributions on the Early Biography and Compositions of Carl Fasch,\u201d in\u00a0Johann Friedrich Fasch als Instrumentalkomponist: Bericht \u00fcber die Internationale Wissenschaftliche Konferenz am 8. und 9. April 2005 im Rahmen der 9. Internationalen Fasch-Festtage in Zerbst\u00a0(Beeskow:\u00a0Ortus Musikverlag<\/a>, 2007), 131\u2013152<\/p>\n

\u201cThe\u00a0Sonate auf Concertenart:<\/em>\u00a0A Postmodern Invention?,\u201d in\u00a0Bach Perspectives, Volume 7<\/em>\u00a0(University of Illinois Press, 2008), 55\u201396.\u00a0Click here to order the volume.<\/a><\/p>\n

“Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe,” chapter 9 in\u00a0The World of Baroque Music<\/em>, ed. George Stauffer (Bloomington: Indiana University Press, 2006), 185-212.\u00a0Click here to order the volume.<\/a><\/p>\n

“Editing the Keyboard Music of Bull and Scheidemann,” review-essay,\u00a0Journal of Seventeenth-Century Music<\/em>\u00a011\/1 (2005), online at\u00a0http:\/\/www.sscm-jscm.org\/jscm\/v11\/no1\/schulenberg.html<\/a><\/p>\n

“‘Toward the Most Elegant Taste’: Developments in Keyboard Accompaniment from J.S. to C.P.E. Bach,” in\u00a0The Keyboard in Baroque Europe: Keyboard Studies of the 17th and 18th Centuries<\/em>, ed. Christopher Hogwood (Cambridge University Press, 2003), 157-68.\u00a0Click here for contents, ordering information, and a view of the cover<\/a>.<\/p>\n

“Recent Bach Studies,” review article,\u00a0Journal of Musicological Research<\/em>\u00a022 (2003): 387-402.<\/a><\/p>\n

“When Did the Clavichord Become C.P.E. Bach’s Favourite Instrument? An Inquiry into Expression, Style, and Medium in Eighteenth-Century Music,” in\u00a0De clavicordio IV: Proceedings of the IV International Clavichord Symposium, Magnano, 8-11 September 1999<\/em>, ed. Bernard Brauchli et al. (Magnano:\u00a0Musica Antica a Magnano<\/a>, 2000), pp. 37-53; French translation by Jean-Claude Teboul as \u201cQuand 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,\u201d in\u00a0Ostinato rigore<\/em>\u00a023 (2004): 139-57.\u00a0Click here to read online.<\/a><\/p>\n

“Versions of Bach: Performing Practice in the Keyboard Works,” in\u00a0Bach Perspectives, Volume 4\u00a0<\/em>(Lincoln: University of Nebraska Press, 1999), pp. 111-35.\u00a0Click here for contents and ordering information.<\/a><\/p>\n

“Tempo Relationships in the Prelude of Bach’s Sixth English Suite: A Performance-Studies Approach,”\u00a0Journal of Musicological Research<\/em>\u00a018 (1999): 139-60<\/p>\n

“Some Problems of Text, Attribution, and Performance in Early Italian Baroque Keyboard Music,”\u00a0Journal of Seventeenth-Century Music<\/em>\u00a04\/1 (1998), online at\u00a0http:\/\/sscm-jscm.press.uiuc.edu\/jscm\/v4\/no1\/Schulenberg.html<\/a><\/p>\n

“‘Musical Allegory’ Reconsidered: Representation and Imagination in the Baroque,”\u00a0Journal of Musicology<\/em>\u00a013 (1995): 203-39 (read at AMS convention, Montreal, 1993)<\/p>\n

“Composition and Improvisation in the School of J. S. Bach,” in\u00a0Bach Perspectives<\/em>, vol. 1 (University of Nebraska Press, 1995), 1-42 (read at AMS convention, Chicago, 1991).\u00a0Click here to order the volume<\/a>\u00a0.<\/a><\/p>\n

“Carl Philipp Emanuel Bach,” in\u00a0Eighteenth-Century Keyboard Music<\/em>, ed. Robert L. Marshall (Schirmer Books, 1994; reprinted, Routledge, 2003), 191-229.\u00a0Click here to order the volume.<\/a><\/p>\n

“The Keyboard Works of William Byrd: Some Questions of Attribution, Chronology, and Style,”\u00a0Musica Disciplina<\/em>\u00a047 (1993): 99-121 (read Sept. 1991 at New England Chapter AMS meeting)<\/p>\n

“La toccata del primo barocco e l’avvento della tonalit\u00e0,”\u00a0Rivista italiana di musicologia<\/em>\u00a027 (1992): 103-23<\/p>\n

“C.P.E. Bach and Handel: A Son of Bach Confronts Music History and Criticism,”\u00a0BACH Journal<\/em>\u00a023\/2 (Fall\/Winter, 1992): 5-30 (read at 1991 meeting of the American Handel Society)<\/p>\n

“Expression and Rhetoric in the Harpsichord Works of J.S. Bach,” in\u00a0Johann Sebastian: A Tercentenary Celebration<\/em>\u00a0(Greenwood Press, 1992), 95-109 (read at AMS convention, Vancouver, 1985).<\/p>\n

“Expression and Authenticity in the Harpsichord Works of J.S. Bach,”\u00a0Journal of Musicology<\/em>\u00a08 (1990): 449-76<\/p>\n

“Performing C.P.E. Bach: Some Open Questions,”\u00a0Early Music<\/em>\u00a016 (1988): 542-51
\n“C.P.E. Bach in the 1740s: The Growth of a Style,” in\u00a0C.P.E. Bach Studies<\/em>, ed. Stephen L. Clark (Oxford University Press, 1988), 217-31<\/p>\n

“Modes, Prolongations, and Analysis,”\u00a0Journal of Musicology<\/em>\u00a04 (1986): 303-29<\/p>\n

“Composition Before Rameau: Harmony, Figured Bass, and Style in the Baroque,”\u00a0College Music Symposium<\/em>\u00a024\/2 (Fall 1984): 130-48<\/p>\n

“Composition as Variation: Inquiries into the Compositional Procedures of the Bach Circle of Composers,”\u00a0Current Musicology<\/em>\u00a033 (1982): 57-87<\/p>\n

Reviews, notes, and other publications
\n<\/em><\/strong><\/p>\n

Review article, recent research on Elizabethan keyboard music, forthcoming in Early Keyboard Journal<\/em><\/p>\n

Review of \u201cAvec discr\u00e9tion\u201d: Rethinking Froberger<\/em>, ed. Andreas Vejvar and Markus Grassl, and Florian Bassani, Ein Gesangstraktat als Schl\u00fcssel zu Froberger: La belle methode von Jean Millet (1666)<\/em>, in Early Keyboard Journal<\/em> 31\/32 (2014\u201315): 165\u201373 (published in 2020)<\/p>\n

\u201cReview: Music for Anna Magdalena Bach?,\u201d Bach Notes 32<\/a> (2020): 3\u20134<\/p>\n

\u201c\u2018Because They Could Never Have Equaled Their Father in His Style\u2019: Creativity at the Keyboard in the Bach Family,\u201d Harpsichord and Fortepiano Magazine<\/em> 24 (2019): 4\u20137<\/p>\n

\u201cIn memoriam E. Eugene Helm,\u201d CPEBCW Newsletter 3 (2018): 1\u20132 (online<\/a>)<\/p>\n

Program note for Beyond Bach and Vivaldi: Rare Unaccompanied Works for the Baroque Violin<\/em>, Augusta McKay Lodge, violinist (Naxos, 2018)<\/p>\n

\u201cEighth J. S. Bach Dialogue Meeting\u201d (conference report), Eighteenth-Century Music 15 (2018): 130\u201331<\/p>\n

Review of De clavicordio XII<\/em>, ed. Bernard Brauchli et al., in Galpin Society Journal<\/em> 71 (2018): 255\u201356<\/p>\n

Review of Peter Williams, J. S. Bach: A Musical Biography<\/em>, in Journal of the British Institute of Organ Studies<\/em> 41 (2017): 193\u201399.<\/p>\n

\u201cConsistency and Inconsistency in Historical Keyboard Fingering,\u201d Tangents: The Bulletin of the Boston Clavichord Society<\/a><\/em>, no. 42 (fall 2017), pp. 1, 5<\/p>\n

Program note for W.F. Bach: Complete Harpsichord Music<\/em>, Claudio Astronio, harpsichordist (Brilliant Classics<\/a>, CD 94240, 2017)<\/p>\n

Review of Interpreting Historical Keyboard Music<\/em>, edited by Andrew Woolley and John Kitchen (Farnham: Ashgate, 2013), Early Keyboard Journal<\/em> 30 (2013): 89\u201395<\/p>\n

Review of Stanley Ritchie, The Accompaniment in \u201cUnaccompanied\u201d Bach: Interpreting the Sonatas and Partitas for Violin<\/em>, in Performance Practice Review<\/em><\/a> 21\/1 (2017)<\/p>\n

\u201cExpression and Discr\u00e9tion: Bach and Froberger,\u201d in Bach Notes: The Newsletter of the American Bach Society<\/em><\/a>, no. 26 (Spring 2017): 5\u20138<\/p>\n

Review of Ercole Pasquini: Opere complete I<\/em>, ed. Paul Kenyon, Notes<\/em> 73 (2017): 591\u201395<\/p>\n

Review of Siegbert Rampe, Generalbasspraxis 1600\u20131800<\/em>, Music and Letters<\/em> 97 (2016): 163\u201365<\/p>\n

Letter on allemandes gigu\u00e9es<\/em>, in EMAg: The Magazine of Early Music America<\/em>, 20\/4 (winter 2014): 4<\/p>\n

\u201cA. C.P.E. Bach Tercentenary Conference at Cornell,\u201d Tangents: Newsletter of the Boston Clavichord Society<\/em>, no. 37 (winter 2014), 2<\/p>\n

“C. P. E. Bach in America,” Bach Notes: The Newsletter of the American Bach Society<\/em>, no. 21 (Fall 2014): 4\u20136<\/p>\n

Review of Johann David Heinichen\u2019s Gr\u00fcndliche Anweisung (1711)<\/em>, translated by Benedikt Brilmayer and Casey Mongoven, Music and Letters<\/em>\u00a095 (2014): 278\u201380<\/p>\n

\u201cEditorial\u201d (introduction to special C.P.E. Bach edition), Early Music<\/em> 42 (2014): 333<\/p>\n

\u201cHasse, Graun, and Graun\u201d (review of ten CDs), Early Music<\/em> 42 (2014): 496\u20139<\/p>\n

\u201cC.P.E. Bach (II): Another Year, Another Anniversary,\u201d online, Musicology Now<\/em><\/a> (Aug. 7, 2014)<\/p>\n

\u201cTom Beghin at Houghton Library,\u201d review of clavichord recital, Tangents: Newsletter of the Boston Clavichord Society<\/a><\/em>, no. 36 (spring 2014): 3<\/p>\n

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 Mikl\u00f3s Sp\u00e1nyi, Naxos no. 8.573120<\/a>, 2013)<\/p>\n

Liner note for Flute Music By Sons of Bach<\/em>, Rebecca Troxler, flutist, CD recording, TROY1490-91 (Albany Records<\/a>, 2014)<\/p>\n

\u201cPerforming C. P. E. Bach: Questions Answered?,\u201d Early Music<\/em> 41 (2013): 119\u201322<\/p>\n

Liner note for J.S. Bach: The Well-Tempered Clavier<\/em>, Book 1, Arthur Villar, pianist (CD recording, CD BABY 8087401<\/a>, 2013)<\/p>\n

Continuo realizations for Frederick II: 4 Sonatas (four flute sonatas by King Frederick \u201cthe Great\u201d), ed. Mary Oleskiewicz (Wiesbaden: Breitkopf und H\u00e4rtel<\/a>, 2012)<\/p>\n

Review of\u00a0Baroque Music<\/em>, edited by Peter Walls,\u00a0Performance Practice Review 17\/1 (2012)<\/a><\/p>\n

“Wilhelm Friedemann Bach at 302” (review of six CDs),\u00a0Early Music<\/em>\u00a040 (2012): 155-8<\/p>\n

“Bach’s Temperament” (letter),\u00a0Early Music<\/em>\u00a040 (2012): 166-7<\/p>\n

“An Eighteenth-Century Organ is Reconstructed at Cornell,”\u00a0Society for Eighteenth-Century Music Newsletter<\/em>, no. 18 (2011): 8-9<\/p>\n

“Conference Report: Two Composers, Two Continents,”\u00a017th-Century Music<\/em>\u00a021\/1 (Fall 2011): 6-7<\/p>\n

Review of\u00a0C.P.E. Bach Studies<\/em>, edited by Annette Richards, in Eighteenth Century Current Bibliography n.s., vol. 32 for 2006 (New York: AMS Press, 2010), 256\u20138<\/p>\n

\u201cEnigmatic Legacy: Music of Wilhelm Friedemann Bach,\u201d\u00a0Boston Music Intelligencer<\/em>\u00a0(Dec. 9, 2010), online publication (click here<\/a>)<\/p>\n

\u201cThe Sound of Royal Entry: Antwerp, 1635,\u201d Seventeenth-Century Music 20\/1 (winter 2010), 11<\/p>\n

\u201cUrsula D\u00fctschler in Concert,\u201d\u00a0Tangents: The Bulletin of the\u00a0<\/em>Boston Clavichord Society<\/a><\/em>, no. 29 (winter 2010), 2<\/p>\n

\u201cWilhelm Friedemann Bach’s Keyboard Music,\u201d\u00a0Tangents: The Bulletin of the\u00a0Boston Clavichord Society<\/a><\/em>, no. 28 (spring 2010), 1\u20132, with edition of March in E-flat, F. 30 (2-page insert)<\/p>\n

Review of Bruce Haynes,\u00a0The End of Early Music<\/em>, in\u00a0Journal of the American Musicological Society\u00a0<\/em>63 (2010): 169\u201378<\/p>\n

\u201cPlaying the Clavichord in Chamber Music: Some Preliminary Considerations,\u201d\u00a0Tangents: The Bulletin of the\u00a0Boston Clavichord Society<\/a><\/em>, no. 26 (spring 2009), 1, 5<\/p>\n

Review of Giulia Nuti,\u00a0The Performance of Italian Basso Continuo: Style in Keyboard Accompaniment in the Seventeenth and Eighteenth Centuries<\/em>, in\u00a0Music & Letters<\/em>\u00a089 (2008): 476\u201380<\/p>\n

Review of Christoph Henzel,\u00a0Graun-Werkverzeichnis (GraunWV)<\/em>, and Tobias Schwinger,\u00a0Die Musikaliensammlung Thulemeier und die Berliner Musik\u00fcberlieferung in der zweiten H\u00e4lfte des 18. Jahrhunderts<\/em>\u00a0(with Mary Oleskiewicz), in\u00a0Notes<\/em>\u00a064 (2007\u20138): 722\u20137<\/p>\n

Review of Pieter Dirksen,\u00a0Heinrich Scheidemann’s Keyboard Music<\/em>, in\u00a0Notes<\/em>\u00a064 (2007\u20138): 493\u20136<\/p>\n

\u201cConnections in the Loeb Music Library,\u201d\u00a0Harvard Library Bulletin<\/em>\u00a018 (2007): 29\u201331<\/p>\n

\u201cSchlu\u00df der fragmentarische Fuge\u201d (Reconstruction of the Unfinished Fugue), in\u00a0Johann Sebastian Bach: Die Kunst der Fuge\/The Art of Fugue<\/em>, ed. Klaus Hofmann, 3. Auflage (Kassel: B\u00e4renreiter, 2008)<\/p>\n

Review of\u00a0The Cambridge History of Seventeenth-Century Music<\/em>\u00a0(edited by Tim Carter and John Butt), in\u00a0Music and Letters<\/em>\u00a088 (2007): 484\u20137<\/p>\n

Entries on C.P.E. Bach, Concerto, and other topics, in\u00a0The Harpsichord and Clavichord: An Encyclopedia<\/em>, edited by Igor Kipnis (New York: Routledge, 2007).\u00a0Click here to order<\/a>.<\/p>\n

\u201cAutograph Manuscript by Froberger Emerges, Only to Disappear Again\u201d and \u201cYearsley Joined by Sykes in Spring Clavichord Recital,\u201d inTangents: The Bulletin of the\u00a0<\/em>Boston Clavichord Society<\/a><\/em>, no. 22 (spring 2007), 1 and 6; 3<\/p>\n

Letter, \u201cAcademic Input,\u201d\u00a0Early Music America<\/em>\u00a013\/1 (spring 2007): 3<\/p>\n

\u201cEarliest Clavichord Piece Performed,\u201d\u00a0Tangents<\/em>, no. 21 (fall 2006): 1<\/p>\n

“C.P.E. Bach: The Complete Works” and “Andrus Madsen at Friends Meeting House, Cambridge,”\u00a0Tangents: The Bulletin of the\u00a0Boston Clavichord Society<\/a><\/em>,<\/a>\u00a0no. 20 (spring 2006): 1-2 and 4<\/p>\n

“Clavichord Symposium at the 2005 Boston Early Music Festival,”\u00a0Tangents: The Bulletin of the\u00a0Boston Clavichord Society<\/a>,<\/em>\u00a0no. 19 (fall 2005): 3<\/p>\n

Review of\u00a0C.P.E. Bach: Matth\u00e4us-Passion 1769\u00a0(CD recording), Amsterdam Baroque Orchestra and Choir, directed by Ton Koopman,Eighteenth-Century Music<\/em>\u00a02\/1 (2005): 167-70<\/p>\n

Continuo realizations for\u00a0Johann Joachim Quantz: Six Quartets for Flute, Violin, Viola, and Basso continuo, ed. Mary Oleskiewicz (Ann Arbor:\u00a0Steglein Publishing<\/a>, 2004)<\/p>\n

Review of W. Dean Sutcliffe,\u00a0The Keyboard Sonatas of Domenico Scarlatti, in\u00a0Early Keyboard Journal\u00a022 (2004): 100-104<\/p>\n

“Lebedinsky Plays Iberian Program,”\u00a0The Boston Clavichord Society Newsletter<\/em>, no. 15 (fall 2003): 6<\/p>\n

Review of\u00a0The Oxford Companion to Music<\/em>, in\u00a0Music and Letters<\/em>\u00a084 (2003): 644-6<\/p>\n

“Comments on Kirkpatrick,”\u00a0The Boston Clavichord Society Newsletter<\/em>, no. 13 (Fall, 2002): 3<\/p>\n

Review of\u00a0Neue Bach-Ausgabe<\/em>, vols. V\/9.1 (toccatas), V\/9.2 (keyboard works), and V\/11 (concerto transcriptions),\u00a0Journal of the American Musicological Society<\/em>\u00a055 (2002): 353-65<\/p>\n

Review of\u00a0Jos\u00e9 de Torres’s Treatise of 1736: General Rules for Accompanying on the Organ, Harpsichord, and the Harp<\/em>, translated by Paul Murphy, in\u00a0Music Theory Spectrum<\/em>\u00a024\/1 (Spring 2002): 154-8<\/a><\/p>\n

“Performer’s View” column,\u00a0Newsletter of the American Bach Society<\/em>\u00a0(Spring 2002), 3, 8-9<\/a><\/p>\n

Review of Christoph Wolff,\u00a0Johann Sebastian Bach: The Learned Musician<\/em>, and Malcolm Boyd,\u00a0Bach<\/em>\u00a0(3d ed.),\u00a0MLA Notes<\/em>\u00a058 (2001-2): 59-63<\/p>\n

Continuo realizations for\u00a0Johann Joachim Quantz: Seven Trio Sonatas<\/em>, ed. Mary Oleskiewicz,\u00a0Recent Researches in Music of the Baroque Era, vol. 111<\/a>\u00a0(Middleton, Wis.: A-R Editions, 2001)<\/p>\n

“Ornamentation: German Baroque,”\u00a0New Grove Dictionary of Music and Musicians<\/a><\/em>, second edition (London: Macmillan, 2001), vol. 18, pp. 726-33, 745-6<\/p>\n

Review of Joel Lester,\u00a0Bach’s Works for Solo Violin: Style, Structure, Performance<\/em>, in\u00a0Music Library Association Notes<\/em>\u00a057 (2000-1): 127-31<\/p>\n

“Conferences at America’s Shrine to Music Museum,”\u00a0Early Music Review<\/em>\u00a062 (July 2000): 8-10<\/p>\n

Oxford Composer Companions: J. S. Bach<\/em>, ed. Malcolm Boyd (Oxford University Press, 1999): entries on\u00a0Art of Fugue<\/em>; C.P.E., J.C., and W.F. Bach; clavier;\u00a0Clavierb\u00fcchlein<\/em>; continuo; English Suites; French Suites; toccata; Cantatas 4, 12, 31, 56, 82, 106, 140, et al.<\/p>\n

“European Art Music,” in\u00a0The Garland Encyclopedia of World Music<\/em>, vol. 8:\u00a0Europe<\/em>, ed. Tim Rice et al. (Garland Publishing, 1999), pp. 68-87<\/p>\n

Five bibliographic review articles in\u00a0Reader’s Guide to Music<\/em>, ed. Murray Steib (Chicago: Fitzroy Dearborn Publishers, 1999): C.P.E. Bach, J.C. Bach, Baroque Keyboard Music, Continuo, Renaissance Keyboard Music<\/p>\n

“From Renaissance to Baroque: NEMA Conference,” report on 1999 National Early Music Association conference at York (U.K.), in\u00a0Early Music Review<\/em>\u00a053 (September 1999): 8-9
\nReview of\u00a0Neue Bach-Ausgabe<\/em>, vols. V\/6.2 (Well-Tempered Clavier<\/em>\u00a0II) and VIII\/2.1-2 (Art of Fugue<\/em>),\u00a0MLA Notes<\/em>\u00a055 (1998-9): 755-60<\/p>\n

Review of Pieter Dirksen,\u00a0The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance, and Influence<\/em>,\u00a0MLA Notes<\/em>\u00a055 (1998-9): 95-7<\/p>\n

Program note for\u00a0J.S. Bach: The Complete Harpsichord Concertos<\/em>\u00a0Christopher Hogwood, dir., Oiseau-Lyre 460 031-2, 1998<\/p>\n

“Choosing an Edition,”\u00a0Piano Magazine<\/em>\u00a06\/3 (May-June 1998): 25-7 (on editions of J.S. Bach’s keyboard music)<\/p>\n

Review of\u00a0The Practice of Performance: Studies in Musical Interpretation<\/em>, ed. John Rink,\u00a0MLA Notes<\/em>\u00a053 (1996-7): 1137-40<\/p>\n

Program note for\u00a0J.S. Bach Harpsichord Concertos<\/em>\u00a0, vol. 2, Christopher Hogwood, dir., Oiseau-Lyre 448 178-2, 1997 (recordings of BWV 1042, 1052, 1054, and 1056)<\/p>\n

Commentary on Channan Willner, “More on Handel and the Hemiola,”\u00a0Music Theory Online<\/em>\u00a02.5 (July 1996)<\/a><\/p>\n

Review of Peter Schleuning,\u00a0Johann Sebastian Bachs “Kunst der Fuge”: Ideologien–Entstehung–Analyse<\/em>, in\u00a0MLA Notes<\/em>\u00a052 (1995-6): 460-1<\/p>\n

Review of John Butt,\u00a0Music Education and the Art of Performance in the German Baroque<\/em>, in\u00a0Performance Practice Review<\/em>\u00a08 (1995): 171-6<\/p>\n

Review of\u00a0A Bach Tribute: Essays in Honor of William H. Scheide<\/em>, ed. Paul Brainard and Ray Robinson, in\u00a0MLA Notes<\/em>\u00a052 (1995-6): 88-90<\/p>\n

Review of\u00a0Keyboard Music from the Andreas Bach Book and the Moeller Manuscript<\/em>, ed. Robert Hill, in\u00a0Bach Perspectives<\/em>, vol. 1 (University of Nebraska Press, 1995), 205-14<\/p>\n

Review of Hans Heinrich Eggebrecht,\u00a0J.S. Bach’s The Art of Fugue<\/em>, trans. Jeffrey L. Prater, and three other works,\u00a0MLA Notes<\/em>\u00a051 (1994-5): 1317-21 and 1457-8<\/p>\n

Review of Paul Badura-Skoda,\u00a0Interpreting Bach at the Keyboard<\/em>,\u00a0Music and Letters<\/em>\u00a075 (1994): 605-9<\/p>\n

Program note for\u00a0The Young Beethoven<\/em>, Igor Kipnis, fortepiano, Epiphany Records EP-1, 1994 (recordings of opp. 13, 27\/2, 34, and other works)<\/p>\n

Review of Eric Chafe,\u00a0Tonal Allegory in the Vocal Music of J.S. Bach<\/em>, in\u00a0Historical Performance<\/em>\u00a05 (1992): 104-7<\/p>\n

Continuo realization for\u00a0Anonym (J.S. Bach?): Sonate f\u00fcr Violine und Basso continuo A-dur BWV Anh. II 153<\/em>, ed. Russell Stinson (Breitkopf und H\u00e4rtel, 1991)<\/p>\n

Review of\u00a0Authenticity and Early Music<\/em>, ed. Nicholas Kenyon, in\u00a0Current Musicology<\/em>\u00a048 (1991): 78-87<\/p>\n

Program note for\u00a0Charlotte Mattax, Harpsichord: Johann Sebastian Bach<\/em>, Koch International Classics 3-7046-2 (1991) (recordings of BWV 828, 910, 912, and 964)<\/p>\n

Review of\u00a0The Collected Works for Solo Keyboard by Carl Philipp Emanuel Bach<\/em>\u00a01714-1788<\/em>, ed. Darrell Berg, in\u00a0Journal of the AMS<\/em>\u00a040 (1987): 105-12<\/p>\n

Letters in\u00a0New York Review of Books<\/em>\u00a0(October 25, 1990),\u00a0Scientific American<\/em>\u00a0(August 1989)<\/p>\n

Concert reviews and articles in the online Boston Musical Intelligencer<\/em><\/a><\/strong><\/p>\n

American Modern Opera Company (December 17, 2017)
\nC. P. E. Bach Tower Festival Music at King\u2019s Chapel Boston (October 30, 2017)
\nA Far Cry at the Gardner Museum (February 13, 2017)
\nVirtuoso Entertainment from H + H Strings (February 11, 2017)
\nThe Boston Camerata\u2019s Play of Daniel (January 30, 2017)
\nVivaldi\u2019s Juditha at Longy (January 22, 2017)
\nLes Bostonades (January 22, 2017)
\nFretwork with Suzie LeBlanc (October 8, 2016)
\nSaul by H & H (May 4, 2016)
\nWilliam Christie and Les Arts Florissants (April 26, 2016)
\n\u201cCollage Commemorates Carter\u201d (March 16, 2016)
\n\u201cMostly Machaut From the Orlando Consort\u201d (February 13, 2016)
\n\u201cFinely Finished Fragments by Blue Heron\u201d (February 7, 2016)
\nSeraphim Singers, 20th-century choral music (January 25, 2016)
\nAntico Moderno ensemble, new and 17th-century music (January 23, 2016)
\nPaul O\u2019Dette and Ron McFarlane, lute duo (January 17, 2016)
\nCollage New Music: works by Amar, Rokowski, Czernowin, and Wyner (January 11, 2016)
\nAmanda Forsythe and Apollo\u2019s Fire (November 21, 2015)
\n\u201cRe-Imagined French Baroque?,\u201d review of L\u2019Acad\u00e9mie (Nov. 8, 2015)
\n\u201cClassical Echoes Exquisitely Sung and Played\u201d: Emma Kirkby, Jakob Lindberg (Oct. 3, 2015)
\n\u201cA Very Polished Concerto Soave\u201d (June 10, 2015)
\nMusicians of the Old Post Road: Franz and Georg Benda (Apr. 13, 2015)
\nGrand Harmonie: Mozart and Mendelssohn (Apr. 11, 2015)
\nTenet and Green Mountain Project: Monteverdi\u2019s Vespers of 1610 (Jan. 14, 2015)
\n\u201cA Bach Christmas? Bah, Humbug!,\u201d Handel and Haydn Society (Dec. 19, 2014)
\n\u201cTwo 18th-Century Comedies From BEMF,\u201d Pergolesi intermezzos (Dec. 1, 2014)
\n\u201cRameau Arranged for Harpsichord,\u201d Kenneth Weiss recital (November 2, 2014)
\n\u201cDiabolical Trills and Other Trickery,\u201d Handel and Haydn Society (November 1, 2014)
\n\u201cA Nameless Mass As Sweet As Any,\u201d Blue Heron vocal ensemble (October 19, 2014)
\n\u201cH & H Begins 200th Season,\u201d Handel and Haydn Society (October 11, 2014)
\n\u201cNewish Music for Oldish Instruments,\u201d Juventas New Music ensemble (Sept. 19, 2014)
\n\u201cBass Sounds and More,\u201d unaccompanied cello music by Bach and others (August 1, 2014)
\n\u201cBach Choral Works for Organist\u2019s Guild,\u201d music by J.S. and C.P.E. Bach (June 25, 2014)
\n\u201cNot-So-Cavalier Consort Music,\u201d 17th-century English works (June 20, 2014)
\n\u201cCuckoo Captured by Blue Heron\u201d: lecture-performance with Thomas Forrest Kelley (February 25, 2014)
\nHandel and Haydn Society: Haydn and Beethoven (January 25, 2014)
\n\u201cC.P.E. Bach Turns Three Hundred\u201d (January 20, 2014)
\nA Far Cry and Urbanity Dance: dances to music of Bach and Stravinsky (January 12, 2014)
\nCanto Armonico: choral works by Biber and others (December 21, 2013)
\nTallis Scholars: works of Victoria and others (December 15, 2013)
\nHandel and Haydn Society: Handel’s Messiah (November 30, 2013)
\nRebel Baroque Ensemble: works of Handel, Telemann, and others (November 10, 2013)
\nHandel and Haydn Society: Haydn, Mozart, Beethoven (November 2, 2013)
\nCambridge Concentus: Handel’s Resurrezione (October 28, 2013)
\nViols and Friends: works of Kapsberger, Frescobaldi, et al. (October 26, 2013)
\nBoston Musica Viva: works by Schuller, Brody, and Rodgr\u00edguez (October 6, 2013)
\nAston Magna: Marais and Bach (June 28, 2013)
\nThe Play of Daniel (June 22, 2013)
\nRenaissance and early Baroque works played by The Royal Wind Music (June 17, 2013)
\nBoston Early Music Festival Organ \u201cMini-Fest\u201d (June 14, 2013)
\nFrench Baroque chamber works performed by Duo Maresienne (May 20, 2013)
\nWorks by Barbara Strozzi and others, performed by La Donna Musicale (May 18, 2013)
\nRenaissance choral music performed by Stile Antico (Apr. 6, 2013)
\nSongs by Lazar Weiner, performance directed by Yehudi Wyner (Mar. 5, 2012)
\nHaydn and Beethoven symphonies performed by the Handel and Haydn Society (Feb. 18, 2012)
\nMedieval vocal works performed by Anonymous 4 (Jan. 31, 2012)
\nWorks of Purcell performed by The English Concert with countertenor Andreas Scholl (October 25, 2011)
\nBach cantata performances at Emmanuel Church, Boston (Jan. 19, 2011)
\n\u201cEnigmatic Legacy: Music of Wilhelm Friedemann Bach,\u201d (Dec. 9, 2010)<\/p>\n

Recent papers and presentations<\/strong><\/h4>\n

Video, Bach, Sonata for keyboard and flute BWV 1030\/1, with Mary Oleskiewicz; one of the American Bach Society\u2019s \u201cTiny Bach Concerts\u201d<\/a> (released May 24, 2021, also on YouTube<\/a>)<\/p>\n

Paper, “Mozart and the Bach Tradition,” joint meeting of the American Bach Society and the Mozart Society of America, Stanford (Feb. 15, 2020)<\/p>\n

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)<\/p>\n

Invited keynote talk and performance, 2d International Conference on Performance and Creativity, Hong Kong Baptist University, Hong Kong (May 27\u201329, 2019)<\/p>\n

Paper, \u201cBach, Biffi, and BWV 1023,\u201d Bach Colloquium at Harvard University, Cambridge, Mass. (April 27, 2019)<\/p>\n

Paper, \u201cBach and the Seventeenth Century,\u201d Society for Seventeenth-Century Music, annual meeting, Duke University, Durham, N.C. (April 6, 2019)<\/p>\n

Pre-concert lecture, \u201cHaydn\u2019s Stabat mater,\u201d Church of St. Luke-in-the-Fields, New York (April 4, 2019)<\/p>\n

Colloquium, \u201cHistorical Fingering, Articulation, and Ornamentation in Seventeenth-Century Keyboard Music: Does It Matter?\u201d Princeton University (March 11, 2019)<\/p>\n

Lecture-performance, \u201cBach\u2019s \u2018Triple Concerto\u2019 BWV 1044 and Its Models,\u201d American Bach Society, biennial conference, Yale University, New Haven (April 28, 2018), performance online (click here<\/a> and scroll down for BWV 572, 894, and 1044)<\/p>\n

\u201cTelemann as \u2018General Capellmeister\u2019 to the Bach Family,\u201d Georg Philipp Telemann: Enlightenment and Postmodern Perspectives conference, Temple University, Philadelphia (October 13, 2017)<\/p>\n

\u201cBach and the Beaming of Small Note Values,\u201d Bach Network Dialogue Meeting, Madingley Hall, Cambridge University (July 13, 2017)<\/p>\n

\u201cNew Thoughts on an Old Topic: Consistency and Inconsistency in Historical Keyboard Fingering,\u201d Historical Performance Institute conference, Indiana University (May 20, 2017)<\/p>\n

\u201cExpression and Discr\u00e9tion:<\/em> Froberger and the Invention of a New Keyboard Style,\u201d lecture-recital, Society for 17th-Century Music, Providence, R.I. (April 22, 2017)<\/p>\n

“Expression and Discr\u00e9tion:<\/em> Froberger, Bach, and Performance,” lecture-recital,\u00a02016 International Conference on Performance and Creativity, Hong Kong Baptist University (Nov. 3, 2016)<\/p>\n

\u201cExpression and Discr\u00e8tion:<\/em> Froberger and Traditions of Freedom in Keyboard Performance,\u201d paper American Musicological Society, Greater New York Chapter, New School (October 23, 2016)<\/p>\n

\u201cFour Hundred Years of Froberger: Science and Subjectivity in 17th-Century Keyboard Music,\u201d paper, 17th Biennial International Conference on Baroque Music, Canterbury (July 15, 2016)<\/p>\n

\u201cBetween Frescobaldi and Froberger: From Virtuosity to Expression,\u201d American Musicological Society, New England Chapter, Massachusetts Institute of Technology (Apr. 9, 2016)<\/p>\n

Recent performances<\/strong><\/h4>\n

Harpsichord music by Ascanio Mayone and J.S. Bach, Robert Judd Memorial, American Musicological Society meeting, Boston (Nov. 1, 2019)<\/p>\n

Soloist (second harpsichord), J.S. Bach, Quadruple Concerto BWV 1065, Hong Kong Baptist University (May 29, 2019); video of the first movement online<\/a><\/p>\n

Invited keynote talk and performance, 2d International Conference on Performance and Creativity, Hong Kong (May 27\u201329, 2019, listed above)<\/p>\n

Lecture-performance, \u201cBach\u2019s \u2018Triple Concerto\u2019 BWV 1044 and Its Models,\u201d Yale University (April 28, 2018, listed above)<\/p>\n

Director and harpsichordist, C.P.E. Bach, Concerto W. 24 (New York premiere), Handel\u2019s Armida abandonnata<\/em>, and other works, Wagner College (Oct. 25, 2017)<\/p>\n

Harpsichord recital, “Froberger and His Legacy,” The University at Albany, N.Y. (Sept. 16, 2016)<\/p>\n

Harpsichordist in John Cage,\u00a0Apartment House 1776<\/em>, with Callithumpian Consort, directed by Stephen Drury, New England Conservatory, Boston (June 20, 2016)<\/p>\n

Director, \u201cBach Family Dialogues,\u201d with Wagner College students and faculty, joined by alumni of the Juilliard School program in Historical Performance, Wagner College (Mar. 30, 2016)<\/p>\n

Miscellaneous<\/strong><\/h4>\n

Interviews about W. F. Bach for Composer of the Week<\/em> (BBC 3), aired Feb. 18\u201322, 2013<\/p>\n

Interviewed by Linda Neil about W. F. Bach for Australian Broadcasting Corporation radio program\u00a0Into the Music<\/em>\u00a0(Nov. 12, 2011),\u00a0online here<\/a><\/p>\n

Online cross-references editing,\u00a0American National Biography<\/em><\/a> (Oxford University Press)<\/p>\n

Manuscript editing for Yale University Press and Schirmer Books<\/p>\n

Compositions include:\u00a0Rondeaux<\/em>\u00a0on Texts by Guillaume de Machaut for soprano, cello, and harpsichord; Duo for harpsichord (four hands); and Sonata for harpsichord<\/p>\n

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<\/a>)<\/p>\n

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)<\/p>\n

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<\/p>\n

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)<\/p>\n

Editions of recently identified works by W.F. Bach, recorded by Claudio Astronio, harpsichordist (Brilliant Classics, CD 94240, 2017)<\/p>\n

last update: July 2, 2021<\/p>\n

Back to home page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

DAVID LOUIS SCHULENBERG:\u00a0curriculum 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,\u00a0Music Department\u00a0(2001-, chair 2001-17) Boston University, part-time faculty (spring … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":12,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-894","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/894","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/users\/12"}],"replies":[{"embeddable":true,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/comments?post=894"}],"version-history":[{"count":0,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/894\/revisions"}],"wp:attachment":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/media?parent=894"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}