{"id":92,"date":"2012-12-02T15:09:19","date_gmt":"2012-12-02T15:09:19","guid":{"rendered":"http:\/\/faculty.wpengine.com\/david-schulenberg\/?page_id=92"},"modified":"2022-01-14T21:11:51","modified_gmt":"2022-01-14T21:11:51","slug":"works_perfs-html","status":"publish","type":"page","link":"https:\/\/faculty.wagner.edu\/david-schulenberg\/works_perfs-html\/","title":{"rendered":"Works Performed by David Schulenberg"},"content":{"rendered":"

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. I am grateful to Peter Sykes, Paul Rabin, John Koster, Andrew Willis, Peter Watchorn, and many others who have provided or prepared instruments, made recordings, and collaborated with me in some of these performances.<\/p>\n

Works are listed by composer and title. This file and all linked audio files are copyright (c) 2022 by David Schulenberg, all rights reserved. Permission is granted to download these files for personal and classroom use.<\/em><\/p>\n

Carl Philipp Emanuel Bach (1714\u201388)<\/strong><\/p>\n

The first few items below are from a recital that I performed as\u00a0a 301st-birthday retrospective of C.P.E. Bach’s\u00a0keyboard\u00a0music for the Boston Clavichord Society<\/a>\u00a0(March 22, 2015, clavichord by Arnold Dolmetsch). For additional works, please scroll down!<\/em><\/p>\n

Sonata in F-sharp minor, W. 52\/4 (Berlin, 1744)
\nAllegro<\/a>
\nPoco andante<\/a>
\nAllegro assai<\/a><\/p>\n

Sonata in C, W. 62\/10 (Berlin, 1749)
\nAllegro<\/a>
\nAndante un poco<\/a>
\nAllegro di molto<\/a><\/p>\n

Fantasia in D, W. 117\/14 (Berlin, ca. 1761)<\/a>
\nLa Stahl, W. 117\/25 (Berlin, 1755)<\/a>
\nL\u2019Aly Rupalich, W. 117\/27 (Berlin, 1755)<\/a>
\nSolfeggio in C minor, W. 117\/2 (Potsdam, 1766)<\/a><\/p>\n

Sonata in E minor, W. 52\/6 (Zerbst, 1758)
\nAllegro<\/a>
\nL\u2019Einschnitt (Adagio)<\/a>
\nAllegro di molto<\/a>
\nA performance on fortepiano is listed below.<\/p>\n

Sonata in C, W. 65\/47 (Hamburg, 1775)
\nAllegro<\/a>
\nAdagio assai –\u00a0Andante<\/a>
\nAnother recording of this work with somewhat better audio is listed below.<\/p>\n

From Clavier-Sonaten . . . f\u00fcr Kenner und Liebhaber,<\/em> volume 2:
\nRondo in A minor, W. 56\/5 (Hamburg, 1778)<\/a>
\nSonata in A, W. 56\/6 (Hamburg, 1780)<\/a><\/p>\n

Carl Philipp Emanuel Bach (1714\u201388):\u00a0additional works, listed by Wotquenne number<\/em><\/strong><\/p>\n

Sonata per il Cembalo solo<\/em> in G, without Wotquenne or Helm number (University of North Carolina at Greensboro, 2014)
\nAllemande<\/a>
\n[Courante]<\/a>
\nPolonaise<\/a>
\nMenuet<\/a><\/p>\n

Fantasia in E-flat, without Wotquenne number (Helm no. 348)
\nperformed on clavichord by Arnold Dolmetsch (broadcast on WGBH Boston, 2005)<\/a><\/em>
\n performed on fortepiano after Silbermann by David Sutherland (Vermillion, S.D., 2000)<\/a><\/em><\/p>\n

Concerto in D minor for keyboard and strings, W. 23 (Wagner College, Staten Island, N.Y., 2014)
\nAllegro<\/a>
\nPoco andante<\/a>
\nAllegro assai<\/a><\/p>\n

Concerto in E minor for keyboard and strings, W. 24, early version (Wagner College, Staten Island, N.Y., 2017)
\nAllegretto<\/a>
\nLargo<\/a>
\nAllegretto<\/a><\/p>\n

“Prussian” Sonata no. 6 in A, W. 48\/6 (Cambridge, Mass., 2006)
\nAllegro<\/a>
\nAdagio<\/a>
\nAllegro<\/a><\/p>\n

\u201cW\u00fcrttemberg\u201d Sonata no. 1 in A minor, W. 49\/1
\nperformed on harpsichord (Boston, 2009):<\/em>
\nModerato<\/a>
\nAndante<\/a>
\nAllegro assai
\n<\/a>performed on clavichord (Cambridge, Mass., 2004):<\/em>
\nModerato<\/a>
\nAndante<\/a>
\nAllegro assai<\/a><\/p>\n

\u201cW\u00fcrttemberg\u201d Sonata no. 3 in E minor, W. 49\/3 (University of Texas at Austin, 1990)
\nAllegro<\/a>
\nAdagio<\/a>
\nPresto<\/a><\/p>\n

\u201cW\u00fcrttemberg\u201d Sonata no. 6 in B minor, W. 49\/6, with variations and cadenza from W. 68 (Stony Brook, 1980)
\nModerato<\/a>
\nAdagio non molto<\/a>
\nAllegro<\/a>
\nA more recent performance (University of North Carolina at Greensboro, 2014): Moderato<\/a>\u00a0– Adagio non molto<\/a>\u00a0– Allegro<\/a><\/p>\n

Sonata in C, W. 51\/1, with variations from W. 65\/35 and 65\/36, performed on harpsichord (Stony Brook, 1985)
\nAllegro moderato
\n<\/a>Andante
\n<\/a>Allegro<\/a><\/p>\n

the same sonata (with variations), performed on fortepiano (Brandeis University, Waltham, Mass., 1991)
\nAllegro moderato
\n<\/a>Andante
\n<\/a>Allegro<\/a><\/p>\n

Sonata no. 6 from Zweyte Fortsetzung von Sechs Sonaten f\u00fcrs Clavier<\/em>, W. 52\/6 (University of North Carolina at Greensboro, 2014)
\nAllegro<\/a>
\nAdagio: “L’Einschnitt”<\/a>
\nAllegro di molto<\/a><\/p>\n

Rondo in B-flat, W. 58\/5<\/a> (Idaho Bach Festival, Moscow, 2014)<\/p>\n

Sonata in E minor, W. 59\/1 (Cambridge, Mass., 2004) (single file)
\n<\/a>Presto
\nAdagio
\nAndantino<\/p>\n

Fantasia in F, W. 59\/5 (broadcast on Radio 4, Hong Kong, 2019)<\/a>
\nwith an interview<\/a> in which Joyce Lindorff and I discuss this and other pieces<\/p>\n

Fantasia in C, W. 59\/6 (broadcast on WGBH Boston, 2005)<\/a><\/p>\n

Sonata in B-flat, W. 62\/1 (Cambridge, Mass., 2004; Dolmetsch clavichord courtesy of Peter Sykes)
\nPresto
\n<\/a>Andante
\n<\/a>Allegro assai<\/a><\/p>\n

The same piece on harpsichord: Sonata in B-flat, W. 62\/1 (Chapel Hill, 1993)
\nPresto
\n<\/a>Andante
\n<\/a>Allegro assai<\/a><\/p>\n

Sonata no. 3 from the Probest\u00fccke<\/em>, W. 63\/3 (University of North Carolina at Greensboro, 2014)
\nPoco allegro ma cantabile (in A)<\/a>
\nAndante lusingando (in A minor)<\/a>
\nAllegro (in E)<\/a><\/p>\n

Sonata no. 6 from the Probest\u00fccke,<\/em> W. 63\/6 (Cambridge, Mass., 2004)
\nAllegro di molto in F minor<\/a>
\nAdagio affetuoso in A-flat<\/a>
\nFantasia in C minor (the \u201cHamlet\u201d fantasia)<\/a><\/p>\n

Sonata in E-flat, W. 65\/7, early version, with varied repetitions from the revised version (Waltham, Mass., 1991)
\nAllegro (revised version: Allegro moderato)<\/a>
\nSiciliano (revised version: Andante)<\/a>
\nVivace<\/a><\/p>\n

Sonata in C, W. 65\/16 (Chapel Hill, 1992)
\nAllegro – Adagio\/Andante<\/a>
\nAllegretto<\/a><\/p>\n

Sonata in G minor, W. 65\/17 (Stony Brook, N.Y., 1989)
\nAllegro<\/a>
\nAdagio<\/a>
\nAllegro assai<\/a><\/p>\n

Sonata in B-flat, W. 65\/20 (Cambridge, Mass., 1986)
\nModerato<\/a>
\nAdagio<\/a>
\nAllegretto<\/a><\/p>\n

Sonata in C, W. 65\/47 (University of North Carolina at Greensboro, 2014)
\nAllegro<\/a>
\nAdagio assai<\/a>
\nAndante<\/a><\/p>\n

Fantasia in F-sharp minor<\/a>, W. 67 (University of North Carolina at Greensboro, 2014)<\/p>\n

Sonata (Praeludium) in D, W. 70\/7 (Bozeman-Gibson organ after Silbermann, Stony Brook, 1989) (one movement)<\/a><\/p>\n

Sonata in C for keyboard and flute, W. 73 (Old State House, Iowa City, 2000)
\nAllegro di molto<\/a>
\nAndante<\/a>
\nAllegretto<\/a><\/p>\n

Sonata in E for keyboard and flute, W. 84 (Durham, N.C., 1996)
\nAllegretto<\/a>
\nAdagio di molto<\/a>
\nAllegro assai<\/a><\/p>\n

Quartet in D for keyboard, flute, and viola, W. 94 (Boston, 1992)
\nAllegretto – Sehr langsam und ausgehalten<\/a>
\nAllegro di molto<\/a><\/p>\n

Quartet in G for keyboard, flute, and viola, W. 95 (Stony Brook, 1983)
\nAllegretto<\/a>
\nAdagio<\/a>
\nPresto<\/a><\/p>\n

Andantino from\u00a0Sechs leichte Clavierst\u00fcckgen,<\/em>\u00a0W. 116\/23<\/a>\u00a0(Cambridge, Mass., 2004)<\/p>\n

Variations with Varied Reprises, W. 118\/10 (Cambridge, Mass., 2004, on clavichord)<\/a>
\nThe same piece, on fortepiano<\/a> (University of North Carolina at Greensboro, 2014)<\/p>\n

Sonata in D for flute and basso continuo (performed on clavichord), W. 131 (broadcast on WGBH Boston, 2005)
\nAndante<\/a>
\nAllegretto<\/a>
\nAllegro<\/a><\/p>\n

Sonata in C for flute, violin, and basso continuo, W. 149 (Dayton, 1999)
\nAllegro di molto<\/a>
\nAndante<\/a>
\nAllegretto<\/a><\/p>\n

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)
\nAllegretto\/Presto – Adagio<\/a> (movements 1 and 2 in one file)
\nAllegro<\/a><\/p>\n

Johann Christian Bach (1735\u20131782)<\/strong><\/p>\n

Sonata in E-flat for fortepiano, flute, and cello, op. 2, no. 6 (Stony Brook, N.Y., 1981)
\nAllegro moderato<\/a>
\nRondeaux: Allegro assai<\/a><\/p>\n

Sonata (Duetto) in F for four hands, op. 18, no. 6<\/a> (Hong Kong, Radio 4, 2019), with Joyce Lindorff (one file containing both movements)
\nAllegro
\nRondeau: Allegro<\/p>\n

Johann Christoph Friedrich Bach (1732\u20131795)<\/strong><\/p>\n

Sonata in E-flat for\u00a0fortepiano and flute (Durham, N.C., 1996)
\nAllegro moderato<\/a>
\nAndante cantabile<\/a>
\nTempo di menuetto<\/a><\/p>\n

Johann Sebastian Bach (1685\u20131750), works listed by\u00a0BWV\u00a0number<\/em><\/strong><\/p>\n

Fantasia and Fugue in C minor BWV 562 (Stony Brook, N.Y., 1989)
\nFantasia<\/a>
\nFugue (completed by David Schulenberg)<\/a><\/p>\n

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
\nAdagio ma non tanto<\/a><\/p>\n

Wenn wir in h\u00f6chsten N\u00f6ten sein BWV 641<\/a> (Stony Brook, Bozeman-Gibson organ after Silbermann, March 21, 1985)<\/p>\n

Wo soll ich fliehen ihn BWV 646<\/a>\u00a0(Stony Brook, Bozeman-Gibson organ after Silbermann, March 21, 1985)<\/p>\n

Jesu meine Freude BWV 753<\/a>, fragment completed by DS (Chapel Hill, 1993)<\/p>\n

Wie sch\u00f6n leuchtet der Morgenstern BWV 764<\/a>, fragment completed by DS (Chapel Hill, 1993)<\/p>\n

Invention no. 8 in F, BWV 779<\/a>\u00a0(Cambridge, Mass., 2004)<\/p>\n

Partita no. 2 in C minor, BWV 826 (Stony Brook, 1985)
\nSinfonia<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande<\/a>
\nRondeaux<\/a>
\nCapriccio<\/a><\/p>\n

Partita no. 4 in D, BWV 828 (University of Texas at Austin, 1990)
\nOuverture<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nAria<\/a>
\nSarabande<\/a>
\nMenuet<\/a>
\nGique<\/a><\/p>\n

Partita no. 5 in G, BWV 829 (Stony Brook, 1979)
\nPraeludium<\/a>
\nAllemande<\/a>
\nCorrente<\/a>
\nSarabande<\/a>
\nTempo di Menuetto<\/a>
\nPassepied<\/a>
\nGigue<\/a><\/p>\n

Partita no. 6 in E minor BWV 830 (Cambridge, Mass., 2006)
\nToccata<\/a>
\nAllemanda<\/a>
\nCorrente<\/a>
\nAir<\/a>
\nSarabanda<\/a>
\nTempo di gavotta<\/a>
\nGiga<\/a>
\nGiga (“tripeletized”)<\/a>: 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.<\/p>\n

French Overture in B minor BWV 831 (Stony Brook, 1985)
\nOuverture<\/a>
\nCourante<\/a>
\nGavotte I and II<\/a>
\nPassepied I and II<\/a>
\nSarabande<\/a>
\nBourr\u00e9e I and II<\/a>
\nGigue<\/a>
\nEcho<\/a><\/p>\n

Praeludium et Partita in F BWV 833 (Chapel Hill, 1993)
\nPraeludium: Andante<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande – Double<\/a>
\nAir<\/a><\/p>\n

From the\u00a0Well-Tempered Clavier<\/em> (the “48”), part 1
\nPrelude and Fugue in C BWV 846<\/a> (Jamaica Plain, Mass., 2013)
\nPrelude and Fugue in C minor BWV 847<\/a> (Jamaica Plain, Mass., 2013)
\nPrelude<\/a> and Fugue<\/a> in C-sharp BWV 848 (Stony Brook, N.Y., 1982)
\nPrelude<\/a> and Fugue<\/a> in E-flat BWV 852 (Stony Brook, N.Y., 1982)
\nPrelude<\/a> and Fugue<\/a> in F minor BWV 857 (Stony Brook, N.Y., 1982)
\nPrelude and Fugue in F-sharp BWV 858<\/a> (Assumption College, Worcester, Mass., 2013)
\nPrelude<\/a> and Fugue<\/a> in G BWV 860 (Boston, Mass., 2008)
\nPrelude<\/a> and Fugue<\/a> in G minor BWV 861 (Chapel Hill, N.C., 1993)
\nPrelude<\/a> and Fugue<\/a> in A BWV 864 (Stony Brook, N.Y., 1982)<\/p>\n

From the\u00a0Well-Tempered Clavier<\/em> (the “48”), part 2
\nPrelude<\/a> and Fugue<\/a> in C-sharp BWV 872 (Stony Brook, 1979)
\nPrelude<\/a> and Fugue<\/a> in C-sharp minor BWV 873 (Cambridge, Mass., 2006)
\nPrelude<\/a> and Fugue<\/a> in D-sharp minor BWV 877 (Stony Brook, 1982)
\nPrelude<\/a> and Fugue<\/a> in F-sharp minor BWV 883 (Stony Brook, 1979)
\nPrelude<\/a> and Fugue<\/a> in A-flat BWV 886 (Cambridge, Mass., 2006)<\/p>\n

Praeludium and Fugue in A minor BWV 894. Two performances, both at museums of musical instruments:
\n(1) at the National Music Museum (Vermillion, S.D., 1999)\u00a0harpsichord by Jose Calisto<\/a>
\nPraeludium<\/a>
\nFugue<\/a>
\n(2) at the Yale Collection of Musical Instruments (New Haven, Conn., 2018), harpsichord by William Hyman<\/a>
\nPraeludium<\/a>
\nFugue<\/a><\/p>\n

Chromatic Fantasia and Fugue in D minor BWV 903 (Chapel Hill, N.C., 1992)
\nFantasia
\n<\/a>Fugue<\/a><\/p>\n

Fantasia and Fugue in A minor BWV 904<\/a> (Cambridge, Mass., 2006)
\na more recent performance<\/a> (broadcast on Radio 4, Hong Kong, 2019)<\/p>\n

Fantasia and Fugue in C minor BWV 906 (Stony Brook, N.Y., 1989)
\nFantasia<\/a>
\nFugue (completed by David Schulenberg)<\/a><\/p>\n

Fantasia and Fugue in B-flat BWV 907<\/a> (realization by DS, Chapel Hill, N.C., 1993)<\/p>\n

Fantasia and Fugue in D, BWV 908<\/a> (realization by DS, Chapel Hill, N.C., 1993)<\/p>\n

Toccata in D, BWV 912<\/a> (Stony Brook, 1985)<\/p>\n

Toccata in E minor, BWV 914 (two performances)
\nOn harpsichord<\/a> (University of Texas at Austin, 1990)
\nOn organ<\/a>\u00a0(Brandeis University, Waltham, Mass. 1991). This performance was a response to a proposal by Brandeis professor Robert L. Marshall: that the word manualiter<\/em> 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<\/a> from an Italian manuscript that shares its subject and other matter with the final section of Bach’s toccata.<\/p>\n

Prelude in E minor BWV 932<\/a> (fragment completed by DS; Brandeis University, Waltham, Mass., 1991)<\/p>\n

Fugue in B minor on a Theme by Albinoni BWV 951 (Cambridge, Mass., 1986)
\nPrelude (BWV 923)<\/a>
\nFugue<\/a><\/p>\n

Fugue in B-flat on a Theme by Reinken BWV 954<\/a> (Chapel Hill, N.C., 1993)<\/p>\n

Sonata in D, BWV 963<\/a> (Cambridge Harpsichords, Cambridge, Mass., 1992)<\/p>\n

Sonata in A minor BWV 965, after Reinken, Hortus musicus<\/em>, no. 1 (Cambridge, 1986)
\nSonata<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande<\/a>
\nGigue<\/a><\/p>\n

Concerto in G, BWV 973, after Vivaldi, op. 7, no. 8 = RV299 (Chapel Hill, N.C., 1997)
\nAllegro<\/a>
\nLargo<\/a>
\nAllegro<\/a><\/p>\n

—another performance in one file<\/a> (Cambridge, Mass., 2006)<\/p>\n

Concerto in G minor, BWV 985, after Telemann, TWV 51:g1 (Cambridge, Mass., 1986)
\n[Allegro]<\/a>
\nAdagio<\/a>
\nAllegro<\/a><\/p>\n

Goldberg Variations BWV 988 (Stony Brook, N.Y., 1982)
\nAria and Variations 1\u20133<\/a>
\nVariations 4\u20136<\/a>
\nVariations 7\u20139<\/a>
\nVariations 10\u201312<\/a>
\nVariations 13\u201315<\/a>
\nVariations 16\u201318<\/a>
\nVariations 19\u201321<\/a>
\nVariations 22\u201324<\/a>
\nVariations 25\u201327<\/a>
\nVariations 28\u201330 and Aria da capo<\/a>
\nFourteen Canons on the bass of the Goldberg Variations BWV 1087, arranged by DS<\/a> (performed Chapel Hill, N.C., 1996)<\/p>\n

Capriccio\u00a0sopra la lontananza de il fratro dilettissimo<\/em> BWV 992<\/a> (“Capriccio on the absence\u00a0\u00a0of a most beloved brother,” Cambridge, Mass., 2006)<\/p>\n

Partita no. 2 in D minor for unaccompanied violin BWV 1004, arranged by DS (Chapel Hill, 1995)
\nAllemanda<\/a>
\nCorrente<\/a>
\nSarabanda<\/a>
\nGiga<\/a>
\nCiaccona<\/a><\/p>\n

Sonata no. 3 in C for unaccompanied violin BWV 1005, arranged mainly by DS (Stony Brook, 1979)
\nAdagio<\/a> (BWV\u00a0 968, arranged by Bach)
\nFuga: Alla breve<\/a>
\nLargo<\/a>
\nAllegro assai<\/a><\/p>\n

Suite no. 2 in D minor for unaccompanied cello BWV 1008, arranged by DS (Stony Brook, 1982)
\nPrelude<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande<\/a>
\nMenuets 1\u20132<\/a>
\nGigue<\/a><\/p>\n

Suite no. 6 in A for unaccompanied cello BWV 1012, arranged by DS (Chapel Hill, 1995)
\nPrelude<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande<\/a>
\nGavottes 1\u20132<\/a>
\nGigue<\/a><\/p>\n

Sonata no. 2 in A for violin and keyboard BWV 1015 (Staten Island, 2016)
\nDolce<\/a>
\nAllegro assai<\/a>
\nAndante un poco<\/a>
\nPresto<\/a><\/p>\n

Sonata in A for flute and keyboard BWV 1032
\nwith baroque flute (Durham, N.C., 1997):
\nVivace (fragment completed by D. Schulenberg)<\/a>
\nLargo e dolce – Allegro<\/a>
\nwith modern\u00a0flute (Stony Brook, 1983):
\nVivace (fragment completed by D. Schulenberg)<\/a>
\nLargo e dolce – Allegro<\/a><\/p>\n

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<\/a> label.
\nLargo<\/a>
\nVivace<\/a>
\nAdagio<\/a>
\nPresto<\/a><\/p>\n

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)
\nAllegro<\/a>
\nAdagio ma non tanto e dolce<\/a>
\nAlla breve<\/a><\/p>\n

Brandenburg Concerto no. 5 in D, BWV 1050 (Wagner College, 2014)
\nAllegro<\/a>
\nAffettuoso<\/a>
\nAllegro<\/a> (for technical reasons only the final section can be given here)<\/p>\n

Concerto in C minor for two harpsichords and strings BWV 1060, with Ronald Cross, 2d harpsichord (Staten Island, N.Y., 2004)
\nAllegro<\/a>
\nAdagio<\/a>
\nAllegro<\/a><\/p>\n

Concerto in C for two harpsichords BWV 1061a, with Zvi Meniker, 2d harpsichord (Chapel Hill, 1994)
\nAllegro<\/a>
\nAdagio ovvero Largo<\/a>
\nFuga<\/a><\/p>\n

From the\u00a0Musical Offering<\/em>\u00a0BWV 1079 (Vermillion, S.D., 2000)
\nRicercar a 3<\/a>
\nFuga canonica<\/a>\u00a0(performed on flute and fortepiano; Mary Oleskiewicz, baroque flute)
\nRicercar a 6<\/a>
\nSonata in C minor\u00a0(performed on flute and fortepiano)
\nLargo<\/a>
\nAllegro<\/a>
\nAndante<\/a>
\nAllegro<\/a><\/p>\n

From the\u00a0Art of Fugue<\/em> BWV 1080
\nContrapunctus 1<\/a> (Stony Brook, 1979)
\nContrapunctus 6<\/a> (“in French style”) (Stony Brook, 1979)
\nContrapunctus 9<\/a> (counterpoint at the twelfth) (Stony Brook, 1979)
\nContrapunctus 11<\/a> (triple fugue in four parts) (Stony Brook, 1979)
\nFuga a 2 Clav. (Fugue for two keyboards) (Chapel Hill, 1994; 2d part: Zvi Meniker)
\ninversus (BWV 1080\/18,2)<\/a>
\nrectus (BWV 1080\/18,1)<\/a>
\nFuga a 3 soggetti<\/a> (fragment completed by D. Schulenberg) (Chapel Hill, 1993) talk<\/a><\/p>\n

Alle Menschen m\u00fcssen sterben BWV 1117<\/a> (Chapel Hill, 1993)<\/p>\n

Wilhelm Friedemann Bach (1710\u201384)<\/strong><\/p>\n

Fantasia in E minor F. 21<\/a>\u00a0(Cambridge, Mass., 2009)<\/p>\n

Polonaises, F. 12 (Cambridge, Mass., 2004)
\nno. 1 in C<\/a>\u00a0\u00a0 \u00a0no. 2 in C minor<\/a>\u00a0\u00a0 \u00a0no. 5 in E-flat<\/a><\/p>\n

Sonata in E-flat, F. 5 (Chapel Hill, N.C., 1996)
\nAllegro ma non troppo<\/a>
\nLargo<\/a>
\nPresto<\/a><\/p>\n

Sonata in F, F. 202 (Claremont, Calif., 2011)
\nAllegro<\/a>
\nSiciliana<\/a>
\nPresto<\/a><\/p>\n

Sonata in F for two harpsichords, F. 10 (Chapel Hill, 1994)
\nThe 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<\/em> that “modern performers . . . tend to play his music too fast” (p. 275).
\nAllegro e moderato<\/a>
\nAndante<\/a>
\nPresto<\/a><\/p>\n

Sonata in E minor for flute and continuo (Cambridge, Mass., 2004)
\nAllegro ma non tanto\u00a0(first half)<\/a>\u00a0\u00a0\u00a0\u00a0(second half)<\/a>
\nSiciliano<\/a>
\nVivace<\/a><\/p>\n

Ludwig van Beethoven (1770\u20131827)<\/strong><\/p>\n

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)
\nLargo\u2013Allegro<\/a>
\nAdagio
\nAllegretto<\/a><\/p>\n

“Eroica” Variations, op. 35 (Stony Brook, N.Y., 1982)
\nIntroduzione\u00a0through Variation 3<\/a>
\nVariations 4\u201314 (minore)<\/a>
\nVariation 15 (maggiore) and Finale (fugue)<\/a><\/p>\n

Sonata in A for piano and violin, “Kreutzer,” op. 47 (Stony Brook, N.Y., 1981; Roger Zahab, violin)
\nAdagio sostenuto – Presto<\/a>
\nAndante con variazioni<\/a>
\nAndante: Presto<\/a><\/p>\n

Bernier, Nicolas<\/strong><\/p>\n

Le caff\u00e9<\/em><\/a> (Sylvia Maisonet, soprano; Wagner College, Staten Island, N.Y., 2017)<\/p>\n

William Byrd (1543\u20131623)<\/strong> (listed by “BK” numbers from\u00a0Musica britannica<\/em>, vols. 27\u201328)<\/p>\n

Pavan and Galliard for Sir William Petre, BK 3 (Stony Brook, 1985)
\nPavan<\/a>
\nGalliard<\/a><\/p>\n

Ground in g, BK 9<\/a> (Chapel Hill, 1996)<\/p>\n

Alman in g, BK 11<\/a> (Chapel Hill, 1996)<\/p>\n

Prelude in a, BK 12<\/a>\u00a0(Wagner College, Staten Island, N.Y., 2005)
\nFantasia in a, BK 13<\/a>\u00a0(Wagner College, Staten Island, N.Y., 2005)<\/p>\n

Pavan and Galliard in B-flat, BK 23 (Chapel Hill, 1996)
\nPavan<\/a>
\nGalliard<\/a><\/p>\n

Prelude in C, BK 24<\/a> (Waltham, Mass., 1991)
\nFantasia in C, BK 25<\/a>\u00a0(Waltham, Mass., 1991)<\/p>\n

Galliard Mary Brownlow, BK 34<\/a> (Waltham, Mass., 1991)<\/p>\n

Callino casturame, BK 35<\/a>\u00a0(Chapel Hill, 1996)<\/p>\n

Lachrimae Pavan and Harding’s Galliard, BK 54\u201355 (Chapel Hill, 1992)
\nspoken remarks<\/a>
\nPavan<\/a> (original by John Dowland)
\nGalliard<\/a> (original by James Harding)<\/p>\n

Pavan and Galliard in F, BK 60 (Wagner College, Staten Island, N.Y., 2005)
\nPavan<\/a>
\nGalliard<\/a><\/p>\n

Ut re mi fa sol la, BK 64<\/a> (Chapel Hill, 1996)<\/p>\n

Go From My Window, BK 79<\/a>\u00a0(Wagner College, Staten Island, N.Y., 2005)<\/p>\n

John Come Kiss Me Now, BK 81<\/a> (Chapel Hill, 1992)<\/p>\n

Alman in G, BK 89<\/a> (Chapel Hill, 1996)<\/p>\n

La Volta, BK 90<\/a> (Chapel Hill, 1996)<\/p>\n

Praeludium, BK 115<\/a> (attributed doubtfully to Byrd) (Chapel Hill, 1993)<\/p>\n

Juan Bautista Jos\u00e9 Cabanilles\u00a0(1644\u20131712)<\/strong><\/p>\n

Pasacalles<\/a> (from Barcelona, Bibl. de Cat., M.386). Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662\u201382,\u00a0National Music Museum (Vermillion, S.D., 2000)<\/p>\n

Giacomo Carissimi (1605\u201374)<\/strong><\/p>\n

Siam tre miseri piangenti<\/a> (Members of the UNC Collegium Musicum, DS, hpd., Chapel Hill, 1996)<\/p>\n

Nicholas Carleton (ca. 1570\u20131630)<\/strong><\/p>\n

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

Marc-Antoine Charpentier (1643\u20131704)<\/strong><\/p>\n

Magnificat pour le Port Royal, H. 81<\/a> (Members of the UNC Collegium Musicum, DS, dir., Chapel Hill, 1996)<\/p>\n

Fran\u00e7ois Couperin (1668\u20131733)<\/strong><\/p>\n

Cinqui\u00e8me ordre<\/em>\u00a0(selections) (Albany, N.Y., 2011)
\nAllemande La Lovigi\u00e8re<\/a>
\nSeconde courante<\/a>
\nSarabande<\/a>
\nLes ondes<\/a><\/p>\n

Vingt-uni\u00e8me ordre<\/em>\u00a0(selections) (Boston, 2008)
\nLa reine des c\u0153urs<\/a>
\nLa Couperin<\/a>
\n<\/em><\/p>\n

Messe pour les paroisses<\/em>
\nOffertoire sur les Grands Jeux (Stony Brook, N.Y., 1989)
\n[section 1]<\/a>
\n[section 2: fugue]<\/a>
\n[section 3]<\/a><\/p>\n

Louis Couperin (ca. 1626\u20131661)<\/strong><\/p>\n

Pieces in F (Albany, N.Y., 2016)
\nPr\u00e9lude (G.13)<\/a>
\nAllemande grave (G. 67)<\/a>
\nCourante (G. 69)<\/a>
\nSarabande (G. 74)<\/a>
\nGigue (G. 79)<\/a>
\nChaconne (G. 78)<\/a>
\nTombeau de Blancrocher (G. 81)<\/a><\/p>\n

Johann Caspar Ferdinand Fischer (1656\u20131746)<\/strong><\/p>\n

From Ariadne musica:<\/em> Prelude and Fugue in E-flat<\/a> (Chapel Hill, 1993)<\/p>\n

Girolamo Frescobaldi (1583\u20131643)<\/strong><\/p>\n

La Frescobalda<\/a>, aria with variations from Il secondo libro di toccate<\/em> (Albany, 2016)<\/p>\n

Toccata 1<\/a>\u00a0from\u00a0Il secondo libro di toccate\u00a0<\/em>(Somerville, Mass., 2017)<\/p>\n

Toccata 5<\/a>\u00a0from\u00a0Il secondo libro di toccate\u00a0<\/em>(Stony Brook, N.Y., 1989)<\/p>\n

Canzon 3<\/a>\u00a0from\u00a0Il secondo libro di toccate\u00a0<\/em>(Stony Brook, N.Y., 1989)<\/p>\n

Toccata 7<\/a>\u00a0from\u00a0Il secondo libro di toccate\u00a0<\/em>(Boston, 2008)<\/p>\n

Toccata 9<\/a> from\u00a0Il secondo libro di toccate<\/em> (Stony Brook, 1983)<\/p>\n

Toccata 11<\/a> from\u00a0Il secondo libro di toccate<\/em> (Stony Brook, 1985)<\/p>\n

Canzon 1<\/a> from\u00a0Fioretti di Frescobaldi<\/em> (Chapel Hill, 1992; commentary here<\/a>)<\/p>\n

Three anonymous toccatas from Rome, Biblioteca Apostolica Vaticana, MS Chigi Q.IV.25, plausibly\u00a0attributed to Frescobaldi (Somerville, Mass., 2017):
\nToccata 1<\/a>
\nToccata 2<\/a>
\nToccata 3<\/a><\/p>\n

From the\u00a0Canzoni per sonare:<\/em>
\nCanzon I, La bonvisia (1628)<\/a> (Vermillion, 2000, performed on Renaissance flute with ottavino<\/em> attributed to Guarracino<\/a>)
\nCanzon I a basso solo (1634)<\/a>, called La tromboncina in the edition of 1628 (Stony Brook, 1983)
\nCanzon III a basso solo<\/a>, La superba (1628)\u00a0(Stony Brook, 1983)<\/p>\n

Johann Jacob Froberger (1616\u201367)<\/strong><\/p>\n

Canzona 2<\/a> [on the ancient Greek chromatic tetrachord] (Somerville, Mass., 2017)<\/p>\n

Suite 7 in E minor (Stony Brook, N.Y., 1980)
\nAllemande<\/a>
\nGigue<\/a>
\nCourante<\/a>
\nSarabande<\/a><\/p>\n

Suite 10 in A minor (Boston, 2004)
\nAllemande<\/a>
\nGigue<\/a>
\nCourante<\/a>
\nSarabande<\/a><\/p>\n

Suite 12 in C (Albany, N.Y., 2016)
\nLamento sopra la dolorosa partita della real maest\u00e0 di Ferdinando IV<\/a>
\nGigue<\/a>
\nCourante<\/a>
\nSarabande<\/a><\/p>\n

Suite 13 in D minor (Stony Brook, N.Y., 1989)
\nAllemande<\/a>
\nGigue<\/a>
\nCourante<\/a>
\nSarabande<\/a><\/p>\n

Suite 14 in g (Somerville, Mass., 2017)
\nLamentation sur ce que j\u2019ay est\u00e9 vol\u00e9<\/a>
\nCourante<\/a>
\nSarabande<\/a>
\nGigue<\/a><\/p>\n

Suite 20 in D (Boston, Mass., 2008)
\nMeditation sur ma mort future<\/a>
\nGigue<\/a>
\nCourante<\/a>
\nSarabande<\/a><\/p>\n

Suite 23 in e [with doubles<\/em> played as varied reprises] (Somerville, Mass., 2017)
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande<\/a><\/p>\n

Suite 27 in e (Wagner College, Staten Island, N.Y., 2005)
\nAllemande<\/a>\u00a0(“Wasserfall”)\u00a0<\/a>
\nGigue<\/a>
\nCourante<\/a>
\nSarabande<\/a><\/p>\n

Toccata 1 in a<\/a> (Albany, N.Y., 2016)<\/p>\n

Toccata 2 in d<\/a>.\u00a0Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662\u201382,\u00a0National Music Museum (Vermillion, S.D., 2000)<\/p>\n

Toccata 13 in e<\/a>\u00a0(Wagner College, Staten Island, N.Y., 2005)<\/p>\n

Toccata 18 in F<\/a> (Somerville, Mass., 2017)<\/p>\n

Tombeau sur la mort de M. Blancrocher<\/a> (Albany, N.Y., 2016)<\/p>\n

Andrea Gabrieli (1532\/33\u20131535)<\/strong><\/p>\n

Susanne un jour<\/a> (after Lassus) (Chapel Hill, 1993)<\/p>\n

Toccata del quinto tono<\/a> (Chapel Hill, 1993)<\/p>\n

Bernardo Gaffi (1667\u20131744)<\/strong><\/p>\n

Toccata in e<\/a> (Chapel Hill, 1995)<\/p>\n

Ennemond Gaultier (1575\u20131651)<\/strong><\/p>\n

From Perrine’s\u00a0Pi\u00e8ces de luth en musique<\/em>\u00a0(Boston, 2008)
\nCourante\u00a0L’immortelle<\/em><\/a>
\nAllemande (Tombeau de Mesangeau<\/em>)<\/a>
\nGigue\u00a0La Poste<\/em><\/a><\/p>\n

Orlando Gibbons (1583 – 1625)<\/strong><\/p>\n

Prelude in G<\/a> (Stony Brook, 1980)<\/p>\n

Johann Gottlieb Graun (1702 or 1703 – 1771)<\/strong><\/p>\n

Quartet in D for viola, two violins, and basso continuo, GraunWV A:14:1<\/a> (Wagner College, Staten Island, N.Y., 2017; Georgina McKay Lodge, viola)
\nAdagio
\nFuga: Allegro
\nAllegro<\/p>\n

Sonata in\u00a0in A for keyboard and flute, GraunWV A:XV:13 (Wendt no. 8) (Durham, N.C., 1997)
\nAllegro<\/a>
\nAmoroso<\/a>
\nAllegro assai<\/a><\/p>\n

Sonata in D for keyboard and flute, GraunWV C:XV:80 (Wendt no. 24) [possibly by\u00a0Carl Heinrich Graun (1703 or 1704 – 1759)] (Durham, N.C., 1997)
\nLargo<\/a>
\nAllegro non molto<\/a>
\nAllegro<\/a><\/p>\n

Sonata in D for keyboard and flute, GraunWV Cv:XV:98 (Wendt no. 36) [possibly by\u00a0Carl Heinrich Graun (1703 or 1704 – 1759)] (Durham, N.C., 1996)
\nLargo<\/a>
\nAllegro non molto<\/a>
\nAllegro<\/a><\/p>\n

Sonata in G for two violins and continuo, GraunWV A:15:11<\/a> (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<\/a>)
\nAffetuoso
\nAllegro non troppo
\nAllegro di molto<\/p>\n

George Frideric Handel (1685\u20131759)<\/strong><\/p>\n

Armida abbandonata<\/em>, HWV 105<\/a> (Wagner College, Staten Island, N.Y., 2017; Sylvia Maisonet, soprano)<\/p>\n

Overture to Rodelinda<\/em><\/a> (arranged by Handel?) (Chapel Hill, 1995)<\/p>\n

Sonata in C for keyboard and viola da gamba (attributed to Handel, almost certainly not actually his) (Chapel Hill, 1996)
\nAdagio<\/a>
\nAllegro<\/a>
\nAdagio<\/a>
\nAllegro<\/a><\/p>\n

Suite in F, HWV 427 (Cambridge, Mass., 1985)
\nAdagio<\/a>
\nAllegro<\/a>
\nAdagio<\/a>
\nAllegro: Fuga<\/a><\/p>\n

Suite in E, HWV 430 (Chapel Hill, 1997)
\nPrelude<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nAir with five variations (“The Harmonious Blacksmith”)<\/a><\/p>\n

Suite in F minor, HWV 433 (New York University, 1985)
\nPrelude<\/a>
\nFugue<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nGigue<\/a><\/p>\n

Suite in D minor, HWV 437 (Cambridge, Mass., 1985)
\nPrelude<\/a>
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande<\/a>
\nGigue<\/a><\/p>\n

Roger Hannay (1930\u20132006)<\/strong><\/p>\n

Scarlatti on Tour (composed 1986; recorded Chapel Hill, 1994)
\nScarlatti Meets de Ribayez<\/a>
\nScarlatti Plays El Escorial<\/a>
\nScarlatti Leaves for Madrid<\/a><\/p>\n

Lou Harrison (1917\u20132003)
\n<\/strong>From\u00a0Six Sonatas for Cembalo<\/em> (composed 1935\/1943; recorded Claremont, Calif., 2011)
\nno. 1<\/a>
\nno. 2<\/a><\/p>\n

Franz Josef Haydn (1732\u20131809)<\/strong><\/p>\n

Sonata (Trio) in C for fortepiano, violin, and cello, Hob. XV:27 (Stony Brook, 1981)
\nAllegro<\/a>
\nAndante<\/a>
\nFinale: Presto<\/a><\/p>\n

Elizabeth-Claude Jacquet de La Guerre (1665\u20131729)<\/strong><\/p>\n

Suite no. 1 in D minor (selections),\u00a0from\u00a0Pi\u00e8ces de clavecin<\/em> (Jamaica Plain, Boston, Mass., 2016)
\nPr\u00e9lude<\/a>
\nAllemande<\/a>
\n[1re]\u00a0Courante<\/a>
\nSarabande<\/a>
\nCanaries<\/a>
\nChaconne l’inconstante<\/a><\/p>\n

Suite no. 3 in A minor (selections), from\u00a0Pi\u00e8ces de clavecin<\/em>\u00a0(Boston, 2004)
\nPr\u00e9lude<\/a>
\nAllemande<\/a>
\n[Premi\u00e8re] Courante<\/a>
\nSarabande<\/a>
\nGavotte<\/a>
\nChaconne<\/a><\/p>\n

Betsy Jolas (b. 1926)<\/strong><\/p>\n

Autour (1973)<\/a>\u00a0(Chapel Hill, N.C., 1992)<\/p>\n

Aupr\u00e8s (1980)<\/a>\u00a0(Wagner College, Staten Island, N.Y., 2005)<\/p>\n

Jacob Friedrich Kleinknecht (1722-94)<\/strong><\/p>\n

Sonata in B Minor for flute and basso continuo (Iowa City, 2000)
\nAdagio<\/a>
\nAllegro smanioso<\/a>
\nPresto<\/a><\/p>\n

Johann Philipp Krieger (1649-1725)<\/strong><\/p>\n

Passagaglia<\/a> (1676).\u00a0Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662\u201382,\u00a0National Music Museum (Vermillion, S.D., 2000)<\/p>\n

Lully, Jean-Baptiste de (1632-87)<\/strong><\/p>\n

Overture to Isis<\/i>, arranged by Jean-Henri d’Anglebert<\/a> (Chapel Hill, 1995)<\/p>\n

Les sourdines d’Armide<\/em>, arranged by Jean-Henri d’Anglebert<\/a> (Chapel Hill, 1995)<\/p>\n

Chaconne from\u00a0Phaeton<\/em>, arranged by Jean-Henri d’Anglebert<\/a> (Chapel Hill, 1995)<\/p>\n

Marin Marais (1656-1728)<\/strong><\/p>\n

Sarabande, arranged by Jean-Henri d’Anglebert<\/a> (Chapel Hill, 1995)<\/p>\n

Wolfgang Amadeus Mozart (1756-91)<\/strong><\/p>\n

Sonata in D, K. 576 (Waltham, Mass., 1985)
\nAllegro<\/a>
\nAdagio<\/a>
\nAllegretto<\/a><\/p>\n

Johann Gottfried M\u00fcthel (1728-88)<\/strong><\/p>\n

Arioso in C minor with twelve variations (Cambridge, Mass., 1986)
\nArioso and variations 1-3<\/a>
\nVariations 4-7<\/a>
\nVariations 8-9<\/a>
\nVariations 10-12<\/a><\/p>\n

Duetto in E-flat for two claviers (Chapel Hill, 1994)
\nThe first part is played by Zvi Meniker.
\nAllegro moderato, e cantabile<\/a>
\nAdagio mesto e sostenuto, con affetto<\/a>
\nAllegretto<\/a><\/p>\n

Georg Muffat (1653-1704)<\/strong><\/p>\n

Toccata VII<\/a> (from Apparatus musico-organisticus<\/em>,\u00a0Salzburg, 1690).\u00a0Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662\u201382,\u00a0National Music Museum (Vermillion, S.D., 2000)<\/p>\n

Bernardo Pasquini (1637-1701)<\/strong><\/p>\n

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

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

Suite no. 2 in D.<\/a> Octave virginal by Onofrio Guarracino, Naples, 1694, National Music Museum (Vermillion, S.D., 2000)
\nAllemanda – [Corrente] – [Giga] – [Aria] (one file)<\/p>\n

Toccata and Passagagli (University of Texas at Austin, 1990)
\nToccata V<\/a> (from Berlin, Staatsbibliothek, L.215, no. 25)
\nPassagagli<\/a> (from ibid., no. 67)<\/p>\n

Ercole Pasquini (fl. ca.\u00a0<\/em>1600, d. 1608\/1619)<\/strong><\/p>\n

Ancor che col partire<\/a> (after Rore) (Chapel Hill, 1993)<\/p>\n

Toccata and Canzona (University of Texas at Austin, 1990)
\nToccata in e, Shindle no. 5<\/a>
\nCanzona in a, Shindle no. 16<\/a><\/p>\n

Toccata and Romanesca (Chapel Hill, 1994)
\nToccata in g, Shindle no. 4<\/a>
\nRomanesca, Shindle no. 24<\/a><\/p>\n

Henry Purcell (1659-95)<\/strong><\/p>\n

Suite no. 2 (1689) in D minor (Chapel Hill, 1995)
\nPrelude<\/a>
\nAlmand<\/a>
\nCorant<\/a>
\nSaraband<\/a><\/p>\n

Hornpipe from\u00a0The Fairy Queen<\/em>, arranged by (?) the composer<\/a> (Chapel Hill, 1995)<\/p>\n

Johann Joachim Quantz (1697-1773)<\/strong><\/p>\n

Sonata in E minor for keyboard and flute, QV 2:21 (Durham, N.C., 1996)
\nAdagio<\/a>
\nAllegro<\/a>
\nGrazioso<\/a>
\nVivace<\/a><\/p>\n

Jean-Philippe Rameau (1683-1764)<\/strong><\/p>\n

Pieces in G from\u00a0Nouvelles suites,<\/em>\u00a0ca. 1730 (Stony Brook, 1981)
\nLes triolets<\/a>
\nLes sauvages<\/a>
\nAir gratieux pour les amoures<\/a>
\nL’egiptienne<\/a>
\nL’enharmonique<\/a><\/p>\n

La dauphine<\/a> (Stony Brook, 1981)<\/p>\n

From\u00a0Pi\u00e8ces de clavecin en concerts<\/em> (Chapel Hill, 1997)
\nFugue La Forqueray<\/a>
\nLa Cupis<\/a>
\nLa Marais<\/a><\/p>\n

Luigi Rossi (1598-1653)<\/strong><\/p>\n

Passacaille<\/a>.\u00a0Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662\u201382,\u00a0National Music Museum (Vermillion, S.D., 2000)<\/p>\n

Michelangelo Rossi (ca. 1602 – 1656)<\/strong><\/p>\n

Toccata 1<\/a>.\u00a0Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662\u201382,\u00a0National Music Museum (Vermillion, S.D., 2000)<\/p>\n

Toccata 7<\/a> (Stony Brook, 1983)<\/p>\n

Corrente 6<\/a> (Chapel Hill, 1995)<\/p>\n

Giovanni Salvatore (early 17th cent. – 1688)<\/strong><\/p>\n

Canzone francese II<\/a> (1641). Italian harpsichord attributed to Giacomo Ridolfi, ca. 1662\u201382,\u00a0National Music Museum (Vermillion, S.D., 2000)<\/p>\n

Domenico Scarlatti (1685-1757)<\/strong><\/p>\n

Sonatas (Stony Brook, 1982)
\nK. 546 in G minor<\/a>
\nK. 547 in G<\/a><\/p>\n

Sonatas (Wagner College, Staten Island, N.Y., 2005)
\nK. 206 in E<\/a>
\nK. 447 in F-sharp minor<\/a>
\nK. 282 in D<\/a>
\nK. 499 in A<\/a>
\nK. 296 in F<\/a>
\nK. 386 in F minor<\/a><\/p>\n

David Schulenberg (b. 1955)<\/strong><\/p>\n

Eis Artemin<\/a> (Homeric Hymn to Artemis, originally for voice and clavichord, 1976; arranged for clarinet and harpsichord, 1996) (Chapel Hill, N.C., 1996)<\/p>\n

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

Three Pieces for Harpsichord (1982, revised 1990) (Wagner College, Staten Island, N.Y., 2005)
\nno. 1<\/a>
\nno. 2<\/a>
\nno. 3<\/a><\/p>\n

Sonata for Harpsichord<\/a> (1982, revised 1991) (Chapel Hill, N.C., 1994)<\/p>\n

Duetto for Harpsichord Four Hands (1986 , 1994) (Chapel Hill, 1995)
\nI (movement 1)<\/a>
\nII (movement 2)<\/a><\/p>\n

Rondeaux on Texts by Machaut<\/a> (soprano, cello, harpsichord, 1995) (Chapel Hill, N.C., 1996)<\/p>\n

Carlos de Seixas (1704\u201342)<\/strong><\/p>\n

Sonata in A. Portuguese harpsichord by Jose Calisto, 1780 (National Music Museum, Vermillion, S.D., 1999)
\nAllegro<\/a>
\nAdagio<\/a>
\nAllegro assai<\/a><\/p>\n

Claudin de Sermisy (ca. 1490\u20131562)<\/strong>
\nLanguir me fait<\/a> (anonymous keyboard intabulation) (Chapel Hill, 1993)<\/p>\n

Barbara Strozzi (1619\u201377)<\/strong><\/p>\n

From Il primo libro de madrigali<\/em> (1644) (Members of the UNC Collegium Musicum, DS, hpd.)
\nAl battitor di bronzo<\/a>
\nLibert\u00e0<\/a><\/p>\n

Jan Pieterszoon Sweelinck (1562 (?) – 1621)<\/strong><\/p>\n

Echo Fantasia in C<\/a> (Stony Brook, 1985)<\/p>\n

Psalm 116<\/a> (variations on J’aime mon Dieu) (Chapel Hill, 1993)<\/p>\n

Georg Philipp Telemann (1681\u20131767)<\/strong><\/p>\n

Concerto in B minor for flute and obbligato keyboard, TWV 42:h1 (Chapel Hill, 1998)
\nAdagio<\/a>
\nVivace<\/a>
\nGratioso<\/a>
\nPresto<\/a><\/p>\n

Concerto in G minor for violin and strings, TWV 51:g1, arranged for keyboard by J. S. Bach as BWV 985 (Cambridge, Mass., 1986)
\n[Allegro]<\/a>
\nAdagio<\/a>
\nAllegro<\/a><\/p>\n

Sonata in A for violin and continuo<\/a>, TWV 41:A4, from\u00a0Musique de table<\/em>, part 2, with Jude Ziliak, violin (New York, 2015; recording courtesy of Paul Ross and Gotham Early Music Scene<\/a>); a video of the performance is online here<\/a>.<\/p>\n

Thomas Tomkins (1572\u20131656)<\/strong><\/p>\n

A Fancy for Two to Play<\/a> (Chapel Hill, 1994)
\nOne 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.<\/p>\n

Friedrich Wilhelm Zachow (1663\u20131712)<\/strong><\/p>\n

Suite in B minor (Chapel Hill, 1997)
\nAllemande<\/a>
\nCourante<\/a>
\nSarabande<\/a>
\nFuga finalis<\/a><\/p>\n

Roger Zahab (b. 1957)<\/strong><\/p>\n

Several Paths<\/a> (composed 1995\/1997; recorded Claremont, Calif., 2011)<\/p>\n

Collaborating musicians<\/i><\/b><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

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 … 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-92","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/92","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=92"}],"version-history":[{"count":0,"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/pages\/92\/revisions"}],"wp:attachment":[{"href":"https:\/\/faculty.wagner.edu\/david-schulenberg\/wp-json\/wp\/v2\/media?parent=92"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}