Early Organ Composers’ Anniversaries in 2013

In 2016 the anniversaries of several composers can be commemorated, albeit some of their dates are not known for certain. Some names need no introduction but there are also several lesser-known names here whose compositions are well worth exploring. No claim is made for completeness. Some composers with only a small number of surviving pieces have not been included, and there is no guarantee that every edition is in print; there may also be editions by other publishers. A search of online booksellers for copies may be worthwhile. 

An increasing number of pieces, ranging from complete original publications or manuscripts (which present the usual problems of multiple clefs as well as original printing errors) to modern versions of works, can be found on various free download websites, most notably IMSLP. However, the accuracy of some modern typesettings is highly questionable, and all should be used with caution. 

Antonio de Cabezón (1510–66) was organist to the Holy Roman Emperor Charles V and one of the most important Spanish composers of the 16th century. Some 41 pieces of the 138 included in Venegas de Henestrosa’s 1557 anthology Libro de Cifra nueva were attributed to him, including 16 Tientos, six settings each of the Pange Lingua and the Ave Maris Stella, other hymn settings, and a few miscellaneous pieces. In 1578, his son Hernando published Obras de Musica, also in Spanish number tablature, a compilation of his father’s works plus five of his own and one by his uncle Juan (who also died in 1566). This large compendium includes nine Duos for beginners, hymn settings in two, three, and four voices, three Kyries in three voices, eight sets of four-voice Versos, Fabordones, Kyries, and Magnificats, 12 Tientos, 15 Canciones glosadas in four voices, 23 in five voices, six in six voices, two Fugas, and ten sets of Diferencias. The non-canción pieces have been edited by Higinio Anglés in three volumes for the Instituto Español de Musicología, Consejo Superior de Investigaciones Científicas, with the Canciones edited by Maria Ester Sala for Unión Musical Ediciones (S.L. 21945). The Tientos and Fugas have been edited by M. S. Kastner for Schott (4948). A new edition in four volumes (a fifth volume will offer a facsimile and a sixth studies) edited by several eminent Spanish scholars was published in 2010 by the Institución Fernando el Católico. The Venegas print has been edited by Higinio Anglés as volume two of the series Monumentos de la Música Española for the Consejo Superior de Investigaciones Científicas, Barcelona, in two volumes. The first is a study of the music at the court; the second volume, containing a transcription of the pieces, has now been reprinted in four volumes by The Well-Tempered Press, Boca Raton, Florida (an imprint of Kalmus). An excellent anthology in four volumes containing pieces selected from the two prints has been edited by Gerhard Doderer and Miguel Bernal Ripoll for Bärenreiter (BA 9261–4). Charles Jacobs has edited the collected works in five volumes, for the Institute of Mediaeval Music, mixing pieces from the two prints in volumes 1–4, and in volume five including only the incipits of the Canciones as well as about 16 pieces from Portuguese sources, which he attributes to Cabezón instead of to Antonio Carreira. Numerous pieces have appeared in anthologies, the quality of editing being of a somewhat variable standard. 

Johann Steffens (1559 or 1560–1616), organist in Luneburg, published some instrumental pieces, and his son published some of his father’s vocal music. Steffens left three chorale settings and a lengthy Fantasia on the Fourth Tone that have survived in various manuscripts and have been edited by Klaus Beckmann, published by Schott as Volume IV of the series Masters of the North German School for Organ (ED9584). 

Paul Siefert (1586–1666), a pupil of Sweelinck, became organist in Danzig (Gdansk), with spells at Konigsberg and Warsaw. He published vocal and theoretical works as well as a few keyboard compositions that have survived in manuscripts, including a setting of John Dowland’s Paduana La mia Barbara, which is included in Dowland keyboard music edited by Christopher Hogwood for Edition HH and also in Lied und Tanz variationen der Sweelinck-Schule, edited by Werner Breig for Edition Schott (6030), and sets of variations on Nun komm der Heiden Heiland and Puer Natus in Bethlehem, a setting of the motet Benedicat Dominum by Lassus, a Fantasia a 5 and 13 Fantasias a 3 (tentatively ascribed to Siefert by Max Seiffert), all of which have been edited by Klaus Beckmann as Volume XX in the series Masters of the North German School for Organ (ED20518). The two chorale variation sets have been edited by Hans Moser and Traugott Fedtke in Choralbearbeitungen und freie Orgelstücke der deutschen Sweelinck-Schule aus der Lübbenauer Tabulatur, Band 1, published by Bärenreiter (BA2815).

Johann Erasmus Kindermann (1616–55) was an organist in Nuremberg; he published vocal and instrumental works, including Harmonia Organica in 1645. One of the last two prints in German organ tablature (the other being Christian Michael’s Tabulatura also printed in 1645), its 25 pieces comprise 14 praeambula in the church tones (which are also included in the Brasov Tablature) arranged in six pairs (each praeambulum serving two tones), then repeated transposed up a fourth, followed by two more transposed praeambula, five chorale preludes (four of which are fugal including one based on three Passiontide/Easter chorales), four fugues, and two Magnificat settings, one of which is an intonation with one verse, the other on the eighth tone having five verses (one is in echo format requiring two manuals). A modern edition by Rudolf Walter was published as Volume IX of the series Süddeutsche Orgelmeister des Barock by Musikverlag Alfred Coppenrath. A set of 30 dances has survived in manuscript, edited by Felix Schreiber and Bertha Wallner and included in Denkmäler der Tonkunst in Bayern XXI-XXIV, vol.30, published by Gesellschaft für Bäyerische Musikgeschichte.

Johann Jakob Froberger (1616–67). Froberger spent much time as court organist in Vienna and can be regarded as the most influential keyboard composer of the second half of the 17th century. His travels took him to France, England, and Italy. His large output comprises free-form and contrapuntal pieces as well as over 50 dance suites, surviving in many sources including four autograph volumes (a recently discovered one is not accessible, and two have been lost). The three surviving autographs of 1649, 1656, and 1658 contain 12 toccatas, 12 ricercars, 12 capricci, six fantasias, six canzonas, and 12 suites of dance movements, with several more pieces in each category as well as single dances, tombeaux, and lamentations from other manuscripts being reliably attributed to the canon. Pieces were included in publications from 1693 onwards, but many contain a corrupt and unreliable presentation of the text. Siegbert Rampe has edited the keyboard pieces in six volumes, of which the first is devoted to the 1649 autograph, the second to the 1656 and 1658 autographs, volumes 3 and 4 to partitas (suites) from copied sources, volume 5 to toccatas and polyphonic works from copied sources, and volume 6 to new readings and new pieces from newly discovered sources (volumes 3–6 are each in two parts) for Bärenreiter. A seventh volume includes the vocal music and a catalogue of Froberger’s output. 

Matthias Weckmann (1616–74)studied with Heinrich Schütz in Dresden and with Jacob Praetorius and Heinrich Scheidemann in Hamburg, where he became organist. His surviving works include much vocal, some chamber, and some keyboard music. He left eight sets of chorale variations ranging from three to seven verses each and a Magnificat on the 2nd Tone with four verses, which have been edited by Werner Breig and published by Bärenreiter (BA6211). His free-form pieces comprise a Praeambulum a 5, a fantasia, and a Fuga on the 1st Tone, each of which has a pedal part, and six toccatas and five variation canzonas (one in C minor), for manuals. Preserved in manuscripts are six partitas of dance movements and one set of variations. It is now accepted that Weckmann compiled the Hintze manuscript, which contains a further 28 dance movements, 16 of which are anonymous. Composers represented in this manuscript include Tresure, Chambonnières, Froberger, La Barre, Erben, and Cousteaux. A set of variations on Lucidor hat einst ein Schaf included as an appendix is of dubious attribution. The free-form pieces have all been edited by Siegbert Rampe as Sämtliche Freie Orgel- und Clavierwerke and published by Bärenreiter (BA8189). Hans Davidsson edited the free works as A practical edition of the free organ works for Gehrmans Musikförlag, which included a doubtfully attributed Praeluium a 5 in G.

Sebastian Durón (1660–1716), a pupil of Andrés de Sola and organist at Seville, Burgo de Osma, and the Chapel Royal at Madrid, composed much sacred and secular music, but left only three organ pieces, all for divided keyboard. Two treat the same subject, one with the solo in the left hand, one in the right hand; the third piece, Gaitilla, has lively writing in the left hand. All have been edited by Lothar Siemens-Hernandez and published by Scola Cantorum as volume 74 in the series Orgue et Liturgie, which also contains the three tientos composed by his teacher Andrés de Sola. Gaitilla has been edited by Gerhard Doderer and included in the volume dedicated to Spain in the Vox Humana series, published by Bärenreiter (BA8233). 

Johann Heinrich Buttstedt (1666–1727) was an organist in Erfurt and, according to Walther’s Lexicon, published three sets of pieces, of which the 1705 and 1706 sets of chorale variations have not survived; however, manuscript copies by Walther have come down to us. Fortunately copies of the far more extensive Musicalische Clavier-Kunst und Vorraths-Kammer of 1713 have survived. This collection contains seven groups of pieces including four praeludia. The groups are coupled with, respectively, a capriccio, a ricercar in three stanzas, a fuga, and a canzona in six parts followed by two minuets, an aria with 12 variations, and two suites of dances in D major and F major. Attributed to Buttstedt in manuscript sources are four fugues in C, D, E minor, and G minor, and a Praeludium et Fuga in G. Two fugues in G minor are tentatively ascribed to him by Beckmann, one of which is generally accepted as being by Jan Adam Reincken. An extensive collection of some 28 chorale preludes and variations specifically marked with Buttstedt’s name has survived, and an additional 16 chorale-based pieces have tentatively been ascribed to him by Klaus Beckmann, whose modern edition has been published by Schott as volumes 3 (non-chorale-based works) and 4 (chorale-based works) of the series Middle German Organ Masters (ED9923/4).

Nicolaus Vetter (1666–1734) was an organist in Erfurt and Rudolandstadt after studying with Georg Wecker and Johann Pachelbel. Some 28 pieces have been definitely attributed to him in the modern edition, with a further eight chorale preludes and variation sets tentatively assigned to him from anonymously transmitted works. His pieces comprise 13 chorale preludes and variations including a set of 17 variations on Allein Gott in der Höh’ sei Ehr’ and seven variations on Jesu, meine Freude. Nine fugues and a parthie, which is actually a set of six alternating praeludia and fugues in B-flat (including one fugue by Wecker and one by Pachelbel), complete the contents. A modern edition by Klaus Beckmann has been published by Schott as volume 5 of the series Middle German Organ Masters (ED9925). 

Thomas Roseingrave (1690–1766), organist of St. George’s, Hanover Square, London, from 1725, was rendered incapable of playing by an unfortunate love affair (John Keeble was appointed in 1744). In the 1750s he went to live with his family in Dublin. He published 12 Solos for the Flute, and his keyboard pieces include Eight Suits of Lessons for the harpsichord or spinnet (1725), a Celebrated Concerto for solo organ published in 1770, a set of Voluntarys and Fugues made on purpose for the organ or harpsichord (1728), which show the influence of his friend Scarlatti (whom he met in Rome), and six Double Fugues to which is added Sig. Domenico Scarlatti’s Celebrated Lesson, hpd, with addns by Roseingrave (1750), which show Handel’s influence. The complete keyboard music, edited by H. Diack Johnstone and Richard Platt, has been published as volume 84 in the Stainer & Bell series Musica Britannica. Individual editions include the Concerto edited by Laura Cerutti, published by Armelin (CM038), the Voluntarys and Fugues edited by Greg Lewin for Greg Lewin Music (OM117), and the Double Fugues (omitting the Scarlatti lesson) edited by David Patrick for Fitzjohn Music. There are facsimiles by Broude Europa in the Performers’ Facsimiles series of the Voluntaries (PF5) and Double Fugues (PF105).

Giovanni Battista Pescetti (1704–66) was born in Venice and collaborated with Galuppi in writing operas. In 1736 he became director of Covent Garden and King’s Theatre in London where he published a set of 10 Sonate per gravicembalo in 1739 in two to four movements; its final piece was an arrangement of the overture to his opera La Conquista del vello d’oro. The complete volume has been published in facsimile by Arnaldo Forni, and the nine sonatas have been edited by Francesco Dilaghi and published in the series Maestri italiani della tastiera by Ricordi (133412). Dilaghi has also edited a further six sonatas from manuscript sources also published by Ricordi (133083). Many of the movements, especially the loosely fugal forms, sound well on the organ. Four sonatas specifically marked da Organo are included in the extensive anthology Musiche per gli organi della Serenissima edited by Maurizio Machella and published by Armelin AMMXCII, and have also been edited by David Patrick for Fitzjohn Music. 

Josef Norbert Seger (1716–82) studied organ with B. M. Černohorský and counterpoint with Jan Zach and František Tůma. He was appointed organist of the Týn Church (c. 1741) and the Crusaders’ Church (1745) in Prague. The most prolific Czech composer of keyboard music of his time (one manuscript’s title is 148 Praeludien, Fantasien und Fugen, though at least 28 are by other authors), none of his many preludes, toccatas, and fugues were published in his lifetime.  Some manuscripts and 19th-century printed editions ascribe the same piece to different composers, rendering a reliable list of his compositions even more difficult. Available modern editions include two volumes edited by Vratislav Belsky for the series Musica Antiqua Bohemica, Editio Supraphon, Prague. Volume 51 contains 34 pieces including the eight toccatas and fugues published by Türk in 1793, 20 preambulae and six fugas, volume 56 contains a further 21 pieces (16 preludes and fugues, three preambulae, and two chant settings). Three fugues and two praeambulae are included in volume 12 of this series alongside pieces by other Czech composers. These editions have arbitrarily consigned the bass voice to a third stave. Nicolas Gorenstein has edited 47 pieces in two volumes for Editions Chanvrelin, Paris. A scholarly modern edition of this excellent music in which all sources have been fully evaluated and the music restored to two staves, while indicating the pedal as the source does, is very much needed.

Rafael Anglés (1730–1816) succeeded Vicente Rodriguez as organist of the cathedral of Valencia. A complete edition of his surviving keyboard works is still lacking, but his Salmodia, a collection of 33 versos (four are on Tones 1–7 and five on Tone 8), has been edited by Dionisio Preciado for Unión Musical Española (22320). A set of five pasos has been edited by Jose Climent, published as Serie B: Musica de Camera, 12 by the Instituto Español de Musicología Consejo Superior de Investigaciones Científicas; a collection of 20 one-movement, binary-form sonatas has been edited by Climent and published by the Real Academia de Cultura Valenciana Seccion de Musicologia as volume 3. Two one-movement sonatas in E minor and F have been edited by Climent and published by Unión Musical Española. A further nine sonatas and a pastorela have been edited by Dionisio Preciado and included in his excellent anthology Doce Compositores Aragoneses de tecla (s. XVIII) published by Editora Nacional, Madrid. 

Samuel Wesley (1766–1837) composed a large amount of sacred and secular vocal music and also chamber and orchestral pieces, in addition to a large corpus of keyboard music for organ, and for pianoforte or harpsichord. Very little of the latter has been made available in other modern editions. A great admirer of J. S. Bach, Wesley made arrangements for piano or harpsichord of the Well-Tempered Clavier as well as organ works. His organ works from both published and manuscript sources have been edited by Geoffrey Atkinson and published by Fagus Music in 12 volumes. Volumes 1 and 2 contain the 12 published voluntaries of op. 6, volumes 3–8 include sets of voluntaries in manuscripts, apart from the six fugues in volume 5, volume 9 contains the 12 short pieces with a full voluntary and three sets of variations, volume 10 contains 34 short pieces, volume 11 contains 12 miscellaneous longer voluntaries, and volume 12 contains the Grand Duet. 

Basilio de Sesse (1756–1816), the son of Juan de Sesse y Balaguer (whose 1773 set of fugues were the first keyboard pieces published in Spain after Correa’s Facultad Organica), served as organist of the cathedral of Toledo. He left 12 pieces in manuscripts, including two pasos, seven intentos with a length of a mere 82 bars up to 346 bars (the fourth is an extended treatment of the hymn Ave Maris Stella, the fifth and seventh open with a preludio, the seventh has two subjects worked separately and then combined), and three piezas (the second is a light rondo and the third is a shorter sonata with passages for crossed hands), which have been edited by Patricia Rejas Suarez and published as volume XIII of the series Tecla Aragonesa by the Institución Fernando el Católico.

Publishers’ websites 

Associated Board of the Royal School of Music:

http://gb.abrsm.org/en/home

American Institute of Musicology—CEKM series:
www.corpusmusicae.com/cekm.htm 

Armelin Musica: www.armelin.it

Bärenreiter: www.baerenreiter.com  

Broude Bros: www.broude.us 

Carus Verlag: www.carus-verlag.com 

Consejo Superior de Investigaciones Científicas:

www.csic.es

Doblinger Verlag: www.doblinger-verlag.at

Fitzjohn: www.impulse-music.co.uk/fitzjohnmusic

Greg Lewin Music: www.greglewin.co.uk

IMSLP: www.imslp.org

Institute of Medieval Music: http://medievalmusic.ca/english/index.htm

Institución Fernando el Católico: http://ifc.dpz.es/ 

Institute Medieval Music: http://medievalmusic.ca/english/index.htm

Kalmus: www.efkalmus.com

Real Academia de Cultura Valenciana:

www.racv.es

Schott Music: www.schott-music.com 

Stainer & Bell: www.stainer.co.uk 

Unión Musical Española: www.musicsalesclassical.com/companies/unionmusicalediciones

John Collins has been playing and researching early keyboard music for over 35 years, with special interests in the English, Italian, and Iberian repertoires. He has contributed many articles and reviews to several American and European journals, including The Diapason, and has been organist at St. George’s, Worthing, West Sussex, England for over 26 years.

In 2012 there are several composers whose anniversaries can be commemorated. There are several lesser-known names here whose compositions are well worth exploring. 

Giovanni Gabrieli (1557–1612). One of the leading Venetian composers of the late Renaissance, his 38 keyboard pieces comprise a set of intonations, 12 toccatas, 11 ricercars, three fantasias, two fugas, and nine canzonas. They are edited by Dalla Libera for Ricordi in three volumes; volume three contains 13 keyboard settings of motets. Many more were made by German composers but are not available in modern editions.   

Jan Pieterszoon Sweelinck (1562–1621) was organist of the Oude Kirck, Amsterdam, and a seminal influence on North German organ music in the 17th century through his pupils. His authenticated keyboard works include some 17 toccatas, 24 fantasias, one ricercar, 12 sets of chorale and psalm variations, and 12 sets of dance and song variations, with several more works in each category considered of doubtful attribution. Two recent complete editions include those by Harald Vogel and Pieter Dirksen for Breitkopf & Härtel in four volumes, and Siegbert Rampe for Bärenreiter in eight volumes. A most useful guide is Pieter Dirksen’s book, The Keyboard Music of Jan Pieterszoon Sweelinck, in which the pieces are discussed in depth.      

Hans Leo Hassler (1564–1612). Primarily known today for his vocal music, he studied organ in Venice with Andrea Gabrieli and became a leading player in Augsburg. He left a substantial corpus of keyboard works of considerable scope and length, most of it preserved in the Turin manuscript, including eight toccatas, 18 ricercari, 18 canzone, 14 magnificats, an organ mass, four fugues, and two sets of variations. A good selection, as well as the variations on Ich ging einmal spazieren, was edited by Georges Kiss for Schott and Sons. The toccatas were edited by S. Stribos for the American Institute of Musicology, and the magnificats by A. Carpenè for Il Levante Libreria. A few other pieces from other manuscript sources have been included in various anthologies. Twenty-five of the 39
intabulated songs from his Lustgarten of 1601 have been edited by M. Böcker for Breitkopf & Härtel. The complete works from the Turin manuscript are available in two volumes edited by W. Thein and U. Wethmuller for Breitkopf & Härtel, but at about £200 each they will remain well outside the reach of most players.    

Wolfgang Ebner (1612–65) was organist of St. Stephen’s Cathedral, Vienna, and court organist, contemporary with Froberger. The works certainly by him include three toccatas, a courante, a Capriccio sopra L’aria Pergamasco, the Partite sopra l’Aria Favorita with seven variations, and the 36 variations divided into three groups of 12 (the second and third groups being in the form of a courante and sarabande) on an Aria in A minor composed by Ferdinand III. Works of uncertain authenticity include 56 versets encompassing various forms—i.e., toccata, capriccio, fugue—in the eight church modes (eight of which are variants of pieces by Froberger, and one by Frescobaldi), two preludes, a partita in A, and eight individual dance movements. Published by Bärenreiter in two volumes edited by Siegbert Rampe, the edition also includes keyboard works by Georg Muffat. 

Wolfgang Briegel (1626–1712). Organist in Gotha and Darmstadt, he left a few keyboard pieces in manuscript. The eight fugues in the church tones are for manuals only and were edited by Wilhelm Krumbach for Kistner and Siegel as Die Orgel: Reihe ii nr. 19.  

Lambert Chaumont (ca. 1630–1712). Organist in Huys, southern Belgium, in 1695 he published a set entitled Pièces d’orgue sur les 8 tons, each of which opens with a prelude followed by about 12  to 15 pieces in the usual French style. There are also two fine chaconnes as well as a few dance movements clearly intended for harpsichord. He also provides useful information on registration and ornamentation as well as a short treatise on accompaniment and a tuning method for the harpsichord. Jean Ferrard has edited these pieces for Heugel.    

Sebastian Scherer (1631–1712). Organist of Ulm cathedral, in 1664 he published a print in two parts, the first being a set of four versets on the eight church tones notated on a two-stave system of six and eight lines respectively; the first and third are toccata-like, the first having held pedal notes; the second and fourth are fugal. The second contains eight substantial toccatas printed on four staves, one to each “part”. Each is multi-sectional with long-held pedal notes, and shows the influence of Frescobaldi. The two parts have been edited by A. Guilmant.    

Juan Baptista Cabanilles (1644–1712). Organist of Valencia cathedral, and regarded as the greatest of the Spanish Baroque composers for keyboard, he left well over 200 tientos, including examples of falsas, contras (which utilize sequential repetition over long pedal points for the pedals), medio registro/partido (i.e., for divided registers used as a solo in one or more voices), lleno (i.e., for the same stops used for the entire compass), a number of dances, toccatas, batallas, and almost 1,000 versos. None of his works were published in his lifetime, but manuscript copies were made, mainly by Elías and his other pupils. Most of the nine volumes of his tientos so far published include a mixture of the partido and lleno tientos. The contents of volume two are more varied, with three llenos, one partido, five passacalles, five gallardas in duple time with extensive sets of variations, two batallas (one of which is by Kerll), four paseos, folias, a xacara, a pedazo de musica, a gaitilla (partido), and six toccatas (one of which is partido). The nine volumes are all published by the Biblioteca de Catalunya, Barcelona.        

Friedrich Wilhelm Zachow (1663–1712). Organist in Halle and teacher of Handel, he left some 53 chorale preludes, including a splendid set of 12 variations on Jesu meine Freude, the great majority of which are playable on one manual and do not require pedals, and 13 secular pieces including preludes, fugues, fantasia, capriccio and a suite in B minor. There are modern editions by Heinz Lohmann for Breitkopf & Härtel, and Klaus Beckmann for Schott.

Johann Hanff (1665–1712), organist in Hamburg and Schleswig. Only three cantatas and six chorale preludes survive in manuscript. Five of the six are in the Buxtehude style with highly ornamented melodies in the right hand, but in Erbarm dich mein two verses are set, the second opening with a fugue based on the descending chromatic fourth before reverting to a right-hand solo of the ornamented melody. They have been edited by E. Kooiman for Harmonia Uitgave.   

Johann-Jakob de Neufville (1684–1712). This regrettably short-lived organist in Nuremberg published one volume of keyboard pieces in 1708, the contents of which show clearly the influence of his teacher, Pachelbel. It includes five arias with variations, three of which require pedals, and a splendid Ciacona in B Minor. A Suite in G Minor is preserved in manuscript. A complete modern edition has been edited by Raimund Schächer for Pro Organo Musikverlag.  

Joseph Torner (1700–62). Organist in Trier, he published at least two collections of liturgical pieces, comprising eight sets, each consisting of Offertorium, Elevatio, and Communio in binary form, and miscellaneous toccatas, arias, and dance pieces. The 1730 print, which contained pieces in major keys, is presumed lost, but the 1735 print with the liturgical pieces in minor keys from A to G, and in A major, has been edited by Hans-Peter Bähr in two volumes for Dr. J. Butz Musikverlag.    

Johann Eberlin (1702–62). Organist in Augsburg, he published nine toccatas for organ in two movements, the second being a well-wrought fugue or double fugue, edited by Rudolph Walter for Coppenrath (now available through Carus Verlag) and two sets of versets (65 and 115) on the eight church tones, which are edited by Rudolph Walter for Verlag Doblinger. The pedal parts are limited to long held notes; these pieces make excellent material for clavichord. The 65 versets offer excellent practice in playing relatively short contrapuntal works and also include some challenging preludes and finales. Eberlin also published two sonatas, which sound well on any keyboard instrument. These are edited by Laura Cerutti for Armelin Musica. 

Pietro Chiarini (1712–77) was an organist in Cremona. Six of his pieces are found in a manuscript compiled by
G. Poffa. They include two allegros (both through-composed, the first one headed con violincello, cornetti e tromboncini in risposta), a marcia, a sinfonia in three movements, and two sonatas, the first through-composed in one movement, the second a substantial work in three movements concluding with a minuetto. Edited by F. Caporali for Armelin Musica, in Musica per Tastiera del ‘700 Cremonense; the volume also contains pieces by Calamani and Galli.   

John Stanley (1712–86). Organist of the Temple Church, he published three sets of ten voluntaries, each including examples of both the “1st voluntary” for solo stops and the “2nd voluntary” in the form of a prelude and fugue. Two sets of concerti (six as op. 2 and ten as op. 10 respectively) for harpsichord or organ were also published in versions for solo keyboard performance. Contemporary manuscripts also contain several arrangements of movements from his two sets of solos for melody instrument and also from his concerti. There are several modern editions of the three sets of voluntaries, all 30 being edited in one volume by G. Lewin for Greg Lewin Music, who has also edited (in two volumes) the six concerti for keyboard. A facsimile of the set of ten concerti has been edited by G. Gifford for Oxford University Press. In volumes three and four of English Organ Music, an anthology, published by Novello, Robin Langley has edited early versions from the Reading manuscript of some of the voluntaries that were printed in the three sets and of voluntaries in the Southgate manuscript.    

Johann Sperger (1750–1812). Organist in Ludwigslust, he was one of the leading double-bass players of his day and left many symphonies and chamber pieces. Two collections of his organ pieces preserved in manuscripts in
Schwerin have been edited in one volume by Dieter Ultzen for Dr. J. Butz Musikverlag. The first collection is actually a selection of the preludes and versets printed in 1689 in Wegweiser followed by four short fugues; the second is a series of preludes in various keys that reflect the Classical and Rococo influence; many of them consist of decorative figuration over sustained chords.        

Carlo Gervasoni (1762–1819) was Maestro di cappella in Borgotara, in which town he oversaw the construction of a fine organ in 1795. Well known in his day for his theoretical works, including notes on organ performance practice, particularly on instruments with several manuals, he also left some organ sonatas. The lezioni from the Scuola della musica of 1800 have been edited by M. Machella for Armelin.

John Collins has been playing and researching early keyboard music for over 35 years, with special research interests in the English, Italian, and Iberian repertoires. He has contributed many reviews and articles on repertoire and performance practice, including translations and commentaries on treatises in German, Spanish, and Portuguese, to European and American journals, including The Diapason. He has been organist at St. George’s Church, Worthing, UK, since June 1984.

In 2017 the anniversaries of numerous composers can be commemorated, albeit some of their birth and death dates are not known for certain. Some names need no introduction, but there are also several lesser-known names here whose compositions are well worth exploring. No claim is made for completeness, and there is no guarantee that every edition is in print—there may well also be editions by other publishers. 

An increasing number of pieces, ranging from complete, original publications or manuscripts (which present the usual problems of multiple clefs and original printer’s errors) to modern versions of complete or individual works, can be found on various free download sites, most notably IMSLP. However, the accuracy of some modern typesettings is highly questionable, and all should be used with caution. 

Heinrich Isaac (ca. 1450–1517), a leading Flemish contemporary of Josquin, left much vocal and also some instrumental music. Some 19 intabulations of sacred and 27 of secular works exist, scattered among the tablatures of Bonifacius Amerbach—written mainly by Hans Kotter (edited by Hans Joachim Marx and published by Bärenreiter as Schweizerische Denkmäler, Volume 6), Fridolin Sicher (edited by Hans Joachim Marx and published by Amadeus as Schweizerische Denkmäler, Volume 8), Leonhard Kleber (edited by Karin Berg-Kotterba in two volumes in Das Erbe deutscher Musik, Bd. 91 and 92, published by Henry Litolff’s Verlag), August Nörmiger (no complete edition but some pieces in Organ Music of the Era of the Reformation, edited by J. H. Schmidt), and Clemens Hör (edited by Hans Joachim Marx and included in Schweizerische Denkmäler, Volume 6, and also published separately as Volume 7).

Pedro Alberch Vila (1517–82) served as organist of the cathedral of Barcelona. He published a Libro de Tientos but unfortunately no copies are known to have survived. Two Tientos were published in the Libro de Cifra Nueva in 1557 by Venegas de Henestrosa and are numbers XXXVIII and XXXIX in the modern edition La Música en la Corte de Carlos V edited in two volumes by Higínio Anglés for the Consejo Superior de Investigaciones Científicas, Barcelona. The music is in the second volume and, rather annoyingly, commentary, the prefaces, and contents are in volume I.

Bernhard Schmid der Jünger (ca. 1567–1625) lived in Strasbourg all his life, becoming organist of the cathedral. Instead of preparing a new edition of his father’s two tablature books of 1577 in 1607, he published his own Tablaturbuch containing 90 pieces. These are divided into 30 intonations on the eight tones by Giovanni (22) and Andrea Gabrieli (eight); six toccatas by the Gabrielis (two by Andrea, one by Giovanni), Diruta (two), and Merulo; 12 motet settings of from four to six voices; 16 canzonetta settings in four to six voices; 12 four-voice fugues or Canzoni alla Francese by Mortaro (three), Brignoli (two), and one each remaining anonymous, Soriano, Vecchi, Malvezzi, Maschera, Banchieri, and A. Gabrieli (his Canzon Ariosa); and 14 dances including two Pass’e mezzi (the second being by G. M. Radino and included in his book of 1592) and 12 Gagliardas, of which the first is by Hans Leo Hassler. The complete book has been edited by Willem Poot in five volumes for Interlude Music productions (I.M.P. 2021-2025). A facsimile has been published by Broude Bros. as Monuments of Music and Music Literature in Facsimile, I/20.

Melchior Schildt (ca. 1592–1667) studied with Sweelinck and became organist of the Hannover Marktkirche in 1629. His preserved organ works comprise a 5-verse setting of Herr Christ der einig Gottes Sohn, a setting for two manuals of Herzlieb lieb habe ich dich, a 5-verse setting of the Magnificat on the 1st Tone, two preludes, and a setting of Allein Gott in der Höh’ sei Ehr’. These have been edited by Klaus Beckmann for Schott as Masters of the North German Organ School, Volume 5 (ED9585). Two variation sets on Gleichwie das Feuer and Dowland’s Lachrymae Pavan are included in Lied- und Tanzvariationen der Sweelinck-Schule, edited by Werner Breig for Schott (6030). 

Franz Tunder (1614–67) was probably born in Lübeck, where he became organist of the Marienkirche in 1641. Some 17 organ pieces have survived in various manuscripts, comprising five praeludia (one is just a five-bar fragment), a canzona for manuals only, and 11 lengthy chorale settings (Auf meinen lieben Gott is Auff 2 Clavier Manualiter, the rest require pedals) of which the first verse of Jesus Christus unser Heiland opens with a pedal solo moving into double pedals beneath three manual parts. Fifteen pieces have been edited by Klaus Beckmann for Breitkopf & Härtel (EB8825). He has also edited the chorale fantasias on Allein zu dir, Herr Jesu Christ, and Ein Feste Burg ist unser Gott in Zwei Choralfantasien for Breitkopf & Härtel (EB8576), previously attributed to Heinrich Scheidemann by Jerzy Golos and Adam Sutykowski for the American Institute of Musicology as Corpus of Early Keyboard Music (CEKM) 10, Keyboard Music from Polish Manuscripts, (Volume II). 

Johann Jakob Froberger (1616–67) spent much time as court organist in Vienna. He was one of the most influential keyboard composers of the second half of the seventeenth century, as his wide-ranging travels took him to France, England, and Italy. His large output comprises free-form and contrapuntal pieces as well as over 50 dance suites, surviving in many sources including four autograph volumes (a recently discovered one is not accessible, and two have been lost). The three surviving autographs of 1649, 1656, and 1658 contain among them 12 toccatas, 12 ricercars, 12 capricci, six fantasias, six canzonas, and 12 suites of dance movements, with several more pieces in each category as well as single dances, tombeaux, and lamentations from other manuscripts being reliably attributed to the canon. Pieces were included in publications from 1693 onwards, but many contain a corrupt and unreliable presentation of the text.

Siegbert Rampe has edited for Bärenreiter the keyboard pieces in six volumes. Volume 1 is devoted to the 1649 autograph, Volume 2 to the 1656 and 1658 autographs, Volumes 3 and 4 to partitas (suites) from copied sources, Volume 5 to toccatas and polyphonic works from copied sources, and Volume 6 to new readings and new pieces from newly discovered sources (Volumes 3–6 are each in two parts). A seventh volume includes the vocal music and a catalogue of Froberger’s output. An appraisal of the autograph manuscripts plus a list of each volume’s contents and of the works by genre and volume will appear in a future issue of The Diapason.

Nikolaus Hasse (1617–72), born in Lübeck, succeeded David Abel as organist in Rostock in 1642. In addition to chamber music, he left a few organ compositions. Four chorale settings for organ on Allein Gott in der Hoh’ sei Ehr’, Jesus Christus unser Heiland (one setting for manuals only and one for three manuals) and Komm, heiliger Geist, Herr Gott (for two manuals) are preserved in the Pelpin Tablatures and have been edited by Klaus Beckmann for Breitkopf & Härtel (EB6715) and also by Jerzy Golos and Adam Sutykowski for the American Institute of Musicology as CEKM 10 Keyboard Music from Polish Manuscripts, Volume I, which also includes a setting of Allein Gott in der Hoh’ sei Ehr’ by a composer known only as Ewaldt. 

Christian Witt (1660–1717) studied with Georg Wecker in Nuremberg and became court organist at Altenburg. His compositions include vocal and instrumental music, but unfortunately much keyboard music seems to have been lost. His preserved compositions include a chorale prelude on Herr Christ der einig Gottes Sohn, edited by Gotthold Frotscher and included in the series Das Erbe deutscher Musik Reichsdenkmale, Band 9, Orgel Choräle um Johann Sebastian Bach, published by Henry Litolff’s Verlag. A prelude on Nun komm, der Heiden Heiland was edited in the 19th century by G. W. Körner in Der Orgelfreund, viii. A capriccio in the style of a sarabande is included in Keyboard Music from the Andreas-Bach Book and the Möller Manuscript, a modern edition by Robert Hill, published by Harvard University Department of Music. A modern edition of 12 pieces in two volumes edited by Laura Cerutti (Armelin AMM026 and AMM053) contains two suites, in A major and A minor, a sinfonia in D, a Ciacona con Fuga in E minor, a suite in C, a praeludium in G, a Partie in C, a menuet in G, a Passegalie with 30 variations in D minor, a fugetta [sic] in G, and two fugues in F and G. Witt’s fugues in D minor, E minor, and the Prelude and Fugue in D are included in The Mylau Tabulaturbuch: Forty Selected Compositions, edited by John Shannon for the American Institute of Musicology  (CEKM 39). A complete critical edition is much to be desired.

Daniel Purcell (ca. 1664–1717), the younger brother of Henry, composed much stage, sacred, and secular vocal music as well as some instrumental works. His few keyboard pieces include a suite in D minor published in A collection of lessons and airs. . . . 1702, a toccata in A minor that was included in The 2d. Book of The Lady’s Entertainment or Banquet of Musick (1708), facsimile available from Broude Bros. (PF205), together with the first book in Seventeenth Century Keyboard Music, Volume 17, edited by Alexander Silbiger for Garland Press. His Psalms set full for Organ or Harpsichord was published in 1718 as an addition to the Harpsichord Master Improved. . . with a choice collection of newest and most air’y lessons with a variety of passages by Mr. Babel, and reprinted separately in 1731, facsimile of the latter available from Broude Bros. (PF264). 

Johann Christoph Pepusch (1667–1752) was born in Berlin. Like Handel, he settled in London during the early eighteenth century and became one of the founders of the Academy of Ancient Music. After about 1728 he gave up composition (with works for stage and church music as well as chamber music) and became renowned as a teacher (his pupils included Boyce, Green, and Roman). In 1737 he became organist of the Charterhouse and left a voluntary, which is found in a manuscript now in the Royal Academy. This is unique in having no fewer than 12 movements, possibly intended to be played at the opening of an organ to demonstrate the stops. An opening Largo and concluding Allegro frame movements for specified registrations for solo stops. Modern editions are by David Byers for Universal Edition (UE18603) and by David Sanger for Oxford University Press. Other movements attributed to Pepusch are included in manuscripts in the British Library and Royal College of Organists Library.

Georg Philipp Telemann (1681–1767), born in Magdeburg, worked in Leipzig and Frankfurt before settling in Hamburg in 1721. A most prolific composer across all genres, of his many keyboard pieces those more suitable to the organ include Forty-Eight Chorale Preludes (two settings: one in three voices, one in two for each of 24 chorales) and settings of Nun komm der Heiden Heiland and Nun freut euch, lieben Christen g’mein edited by Traugott Fedke and published as Orgelwerke Volume I by Bärenreiter (BA3581) and the Twenty Little Fugues, a sonata for two manuals and pedal in D, two fughettas in F and D and a fantasia in D also edited by Traugott Fedke and published as Orgelwerke Volume II by Bärenreiter (BA3582). A set of Fugues légères et petits jeux à clavessin seul consists of six fugues, each followed by several short pieces; a performance on appropriately light registers could work well. The set has been edited by Martin Lange for Bärenreiter (BA268).

Pere Rabassa (1683–1767) was born in Barcelona and worked at the cathedrals of Vic, Valencia, and Seville. Two tocatas have been tentatively assigned to him by one editor—although anonymous in the manuscript, they follow a four-movement sonata ascribed to him. These include a Tocata de mano derecha de 8 Tono ad libitum in four movements and a rare example of a Tocata de ecos y contraecos para clarines de mano derecha de 5 Tono which requires use of an enclosed second manual. These have been edited by Agueda Pedrero-Encabo in Vicente Rodríguez’s Obres per a orgue (the second piece she ascribes to Rodríguez without reference and also suggests Rabassa as composer of a four-movement Tocata de 5 Tono punto alto included in this volume).

Nicola Antonio Porpora (1686–1768), born and died in Naples, worked in Rome, London, and Venice, and was principally known for his operas and church music. Seven fugues were included in Clementi’s Selection of Practical Harmony for the Organ or Piano-Forte published 1803–15 (the seventh piece, in E-flat was published by Johann Albrechtsberger as Fugue III, op. 7) and have been edited by Maurizio Machella for Armelin (CM002). 

Georg Monn (1717–50) was choirmaster and organist of the Karlskirche, Vienna. He composed Masses, oratorios, some 16 symphonies, chamber music, concertos, and keyboard music. Three Preludes and Fugues for organ or stringed keyboard instruments in G minor, G, and F have been edited by Franz Haselböck for Doblinger, Diletto Musicale (DM822) and a Preludio & Fuga in A Minor and a Fuga in C have been edited by Erich Benedikt and included in Viennese Organ Music from around 1750 for Doblinger, Diletto Muiscale (DM1335). A set of preludes and versets on the eight tones has been edited by Rudolph Walter for Butz Verlag (BUTZ1825). 

Carlo Lancellotti (ca. 1717–82) was born in Rimini, where he became organist of the cathedral. He left 11 one-movement sonatas (six Allegros and five Adagios) in a manuscript, which have been edited by Maurizio Machella for Armelin (AMM143).

Justin Heinrich Knecht (1752–1817) was a Lutheran preceptor and music director in Biberach. He became organist at the Martinkirche in 1792 and was employed in Stuttgart from 1806 to 1808. He left numerous compositions for church and stage as well as a few chamber pieces. He also left theoretical treatises for clavier and on numerous other subjects as well as many sets of organ pieces. Pieces available in modern editions include Selected Organ Works edited by Martin Haselböck and Daniel Schlee for Universal Orgel Edition (UE17469). Three pieces in D major including a Capriccio, Cantabile and Nachspiel, have been edited by Willem Poot for Interlude Music Publications (I.M.P.2005). Eberhard Hofmann has edited Ausgewählte Orgelwerke for Sonat Verlag (MR5.098.00), who also publish a set of 16 Orgelstücke in den gebräuchlichsten Dur-Tonarten (MR5.215.00) and 14 Orgelstücke in den gebräuchlichsten Moll-Tonarten (MR.5.216.00), both sets taken from Caecilia. These two sets have been edited by Andre Maisch for Edition Kunzelmann (GM664a and 664b). A set of three volumes of selected pieces has been edited by Wolfram Syré for Forberg Edition (F25033-5). Die durch ein Donnerwetter unterbrochne Hirtenwonne has been edited by Heinz W. Höhnen for Breitkopf & Härtel (EB8364). The 15 items, each frequently subdivided into several pieces, from the Vollständige Orgelschule für Anfänger und Geübtere—Abteilung I-III (1795–8), are available in facsimile from Breitkopf & Härtel (BV256). Martin Haselböck and Daniel Schlee have edited and published separately no. 4 from Abteilung I, Die Auferstehung Jesu, ein Tongemälde für die Orgel, Universal Edition (UE17159). The three sections of the Anhang zu Württemberg Choralbuche containing 84 short preludes in various keys, a further 72 preludes and 24 organ pieces, are also available in facsimile from Maltzahn’scher Musikverlag, (MMV10010–12). The firm has also published a facsimile of the first of the eight volumes of the Neue vollständige Sammlung aller Arten Vor- und Nachspielen u.a.1791–5 (MMV10001). The Sonata in C and Three Fugues in B-flat (on B-A-C-H), C minor and G have been edited by Michael Ladenburger for Doblinger (DM843 and 844, respectively). Willem van Twillert has edited six chorale preludes in Organisten uit de 18e en 19e eeuw 9 published by Willemsen (Wil912) and nine pieces for manuals only including four rondos, a set of variations, a 4-voice fugue, a Handstück, a Cantabile and a setting of Liebster Jesu in Organisten uit de 18e en 19e eeuw 14, also published by Willemsen (Wil1086). Organisten uit de 18e en 19e eeuw 2 (Wil742) in this series contains three pieces by Knecht and an anonymous Giga and Pastorale. W. B. Henshaw has edited Six Short Pieces for Bardon Enterprises (BE00559). 

Vincenzo Benatti (1767–97) is little known. His compositions that have come down to us include three volumes of organ pieces (23 pieces total) that have been edited by Carlo Benatti for Armelin (AMM219–221), Composizioni inedite per organo o clavicembalo. Volume 1 contains a pastorale, a sinfonia, a Sinfonia e Polacca, and an Allegro. Volume 2 contains 11 sonatas, a rondo, a Marcia, a finale, and an Introduzione. Volume 3 contains four sonatas, of which the first is in three movements, the others in just one. 

August Eberhard Müller (1767–1817) studied with J. C. F. Bach and became organist in Leipzig. He left numerous compositions for keyboard, and six of the pieces in Sammlung von Orgelstücken, enthaltend zwölf leichte und sechs schwerer Sätze (Erste Heft 1798) have been edited by Anne Marlene Gurgel in Leipziger Musik aus der Thomaskirche, Band 1 for Butz Verlag (1492).

Also deserving of mention is the 500th anniversary of the publication of Frottole Intabulate da Sonari Organi by Andrea Antico in Rome in January 1517, the oldest printed volume to consist exclusively of keyboard music. Its 26 settings are available in a modern edition by Christopher Hogwood for Zen-On Music and by Maria Luisa Baldassari from Ut Orpheus (ES69). A facsimile is available from Forni Editions. Another very good resource is www.bodensee-musikversand.de/, especially for many German, Austrian, and Swiss publishers.

John Collins has been playing and researching early keyboard music for over 35 years, with special interests in the English, Italian, and Iberian repertoires. He has contributed many articles and reviews to several American and European journals, including The Diapason, and has been organist at St. George’s, Worthing, West Sussex, England for over 26 years.

In 2014 there are several composers whose anniversaries can be commemorated, albeit some of the dates are not known for certain. Some of the names need no introduction but there are also several lesser-known names listed here whose compositions are well worth exploring. No claim is made for completeness, and there is no guarantee that every edition is in print—there may well also be editions by other publishers.  

Giaches Brumel (ca. 1510–64).French composer who worked at the court in Ferrara from 1532. Ascribed to Brumel are two ricercars (one imitative and one chordal) and a Missa de la Dominica in the manuscripts at Castell Arquato, edited by Knud Jeppesen for Norsk Musikforlag, Oslo, in Die italienische Orgelmusik am Anfang des Cinquecento and more recently, albeit in halved note values, by H. Colin Slim for American Institute of Musicology Corpus of Early Keyboard Music 37, volume 3, which contains a wider selection from the manuscripts. It has been postulated that 14 of the set of 17 ricercars known as the Bourdeney Codex may also be by Brumel. These lengthy contrapuntal works have been edited by Anthony Newcomb for A–R Editions (R89).

Francisco de Peraza (1564–98).Organist in Seville, he left a Medio Registro alto de 1 Tono, the earliest known surviving example of this genre, which became popular in the Iberian repertoire. This has appeared in several anthologies, including American Institute of Musicology’s Corpus of Early Keyboard Music 14: Spanish Organ Music after Antonio de Cabezon, edited by Willi Apel. 

Gregor Aichinger (1564–1628).Organist in Augsburg to the Fuggers, six ricercars and four motet intabulations have been edited by Eberhard Kraus in Cantantibus organis, vol. 7, for Verlag Friedrich Pustet. A further motet intabulation is included in Altbaierische Orgelmusik, vol. 1, edited by Eberhard Kraus for Noetzel. 

Giovanni de Macque (ca. 1550–1614). Born in Flanders, he came to Naples ca. 1585, becoming head of the vice-regal chapel in 1599. He was the teacher of Ascanio Mayone and Giovanni Maria Trabaci, both of whom published two volumes of highly influential pieces. De Macque published copious amounts of madrigals but no keyboard works; however, almost 40 pieces survive in manuscripts. These include eight canzonas, four capriccios, two stravaganzes, a consonanze stravaganti, a durezze e ligature, an intrata, a toccata a modo di Trombetta and a set of variations on Ruggiero, which have been edited by Liuwe Tamminga (vol. 1), and 14 ricercars (the first book of 12 published ricercars set for keyboard together with a further two thought to be from the second book), edited by Armando Carideo (vol. 2); both volumes are published by Il Levante (available through La Stanza della Musica). The first set of 12 ricercars has also been edited by Christopher Stembridge for Zanibon. This edition includes a comprehensive discussion of the modes and their affects, along with the registration prescribed by Diruta. The ricercars are the first to present the different subjects at the beginning of the piece. The durezze and stravaganze are highly chromatic compositions. The older edition by Watelet and Piscaer for Monumenta Musica Belgae also contains Partite sopra Zefiro de Rinaldo attributed by the editor to de Macque; this, however, is almost certainly a set of partite on Zefiro composed by Rinaldo dell’Arpa. 

Hans Leo Hassler (1564–1612). Primarily known today for his vocal music, he studied organ in Venice with Andrea Gabrieli and became a leading player in Augsburg. He left a substantial corpus of keyboard works of considerable scope and length, most of it preserved in the Turin manuscripts, including eight toccatas, 18 ricercari, 18 canzone, fourteen Magnificats, an organ Mass, four fugues, and two sets of variations. Problems of attribution have occurred with pieces variously ascribed to Sweelinck, Christian Erbach, and Giovanni Gabrieli. A good selection, as well as the variations on Ich ging einmal spazieren, was edited by Georges Kiss for Schott and Sons. The toccatas were edited by S. Stribos for the American Institute of Musicology, and the Magnificats by A. Carpene for Il Levante Libreria. A few other pieces from other manuscript sources have been included in various anthologies, including 25 of the 39 intabulated songs from his Lustgarten of 1601, edited by M. Böcker for Breitkopf & Härtel. The complete works from the Turin manuscripts are available in two volumes, edited by W. Thein and U. Wethmüller for Breitkopf & Härtel. A further volume containing the complete remaining keyboard works from other sources has been in preparation for some time. These supersede the edition of a small selection of pieces by Hassler and Erbach, edited by Ernst von Werra ca. 1903 for Denkmäler der Tonkunst in Bayern, second series, vol. IV, no. 2. 

Franz Tunder (1614–67). Organist of the Marienkirche, Lübeck, he left about 17 compositions in manuscripts, including five praeludia exemplifying early use of the Stylus Phantasticus and a canzona, along with 11 chorale settings, of which six are fantasias. Auf meinen lieben Gott is set for two manuals without pedal, Jesus Christus, wahr Gottes Sohn is for single manual and pedals, and Jesus Christus, unser Heiland has three separate variations, of which the first includes much use of double pedal. Two further chorale settings in the Pelpin manuscripts originally attributed to Scheidemann have now been tentatively attributed to Tunder. All pieces have been edited by Klaus Beckmann for Breitkopf & Härtel.  

Benjamin Rogers (1614–98). Organist at Eton and Oxford, he left sacred and secular vocal music, consort music, and 17 keyboard works of which the great majority are dances better suited to stringed keyboard instruments. Two, however, are voluntaries and are more suited to performance on the organ. All pieces have been edited by Richard Rastall for Stainer & Bell. 

Charles Racquet (1597–1664). Organist in Paris, he left 12 versets de psaume en duo, which was printed in Mersenne’s Harmonie universelle, Paris, 1636–37, and a large–scale Fantasie in manuscript. All have been edited along with works by De Bourges, N. de la Grotte, and D. Gaultier by Jean Bonfils in L’Organiste Liturgique, xxix–xxx for Schola Cantorum et de la Procure générale de musique.

Georg Leyding (1664–1710). He had lessons with Buxtehude and became organist in Brunswick. Although Walther mentions his many keyboard pieces, only five organ compositions have survived in manuscripts, including three praeludia with demanding pedal parts (C, B-flat and E-flat), a set of variations on Von Gott will ich nicht lassen and a prelude on Wie schön leucht uns der Morgenstern. These have been edited by Klaus Beckmann for Breitkopf & Härtel.

Johann Speth (1664–1720). Organist in Augsburg, he published Ars Magna Consoni et Dissoni… in 1693, which contains ten toccatas, Magnificats on the eight tones that include a praeambulum, five verses, and a finale (some verses are actually by Poglietti, Kerll, and Froberger), and three sets of partitas for manuals only, each with six variations. Although the preface states that these pieces are all playable on the clavichord, the toccatas and Magnificats contain an obbligato pedal part, although this is either octave doubling or long held notes. All were edited (alas, without the original preface) by Traugott Fedke for Bärenreiter and there is a facsimile published by Early Music in Facsimile, Edition Helbling, Innsbruck, with a preface by Rupert Frieberger.  

Pablo Nassarre (1664–1724). Blind from infancy, he was organist in Zaragoza, and is best known today for his theoretical works, Fragmentos músicos and Escuela música, según la práctica moderna, which are available in facsimile. He also left five organ pieces, including three tocatas [sic] edited by José Llorens for Diputación Provincial de Barcelona and a tiento partido and two versos from a manuscript in Astorga, edited by José Alvarez in Colección de obras de órgano de organistas españoles del siglo XVII for Union Musical Española. 

Pierre Dandrieu (1664–1733). Organist and priest in Paris, he left a book of 36 noëls with variations, similar in style to those in Lebègue’s third book, and five other pieces including a carillon. Pierre’s book appeared in several editions from 1714 up to 1759, and 37 pieces were reworked by his nephew Jean-François for a publication that also included 11 of the latter’s noëls. Edited by Roger Hugon for La Sociéte Française de Musicologie and published by Heugel. A facsimile edition of the prints of 1729/59 has been published by Fuzeau.

Guillaume Gabriel Nivers (1632–1714). Organist of St. Sulpice, Paris, his Livre d’orgue contenant cent pieces de tous les tons de l’église of 1665 is the earliest known of such volumes presenting a group of pieces by tone (12 in this case, the first two having 10 verses, the rest eight), with highly individual and specific registrations. There is a comprehensive explanation of the tempi, registration, and ornament signs. He published two further volumes: 2e livre d’orgue contenant la messe et les hymnes de l’église in 1667, which contains a Mass and 25 hymn settings, and 3e livre d’orgue des huit tons de l’église in 1675. He also published some vocal and much liturgical music. The first two Livres d’orgue have been edited by Norbert Dufourcq for Editions Bornemann and the third Livre by him for Heugel. All three Livres are available in facsimile from Fuzeau. The third Livre is also published by Societé Française de Musicologie (EZ.SFM20). 

Franz Matthias Techelmann (ca. 1649–1714). Two sets of pieces (in A minor and C major) comprising Toccata, Canzona, Ricercar, Allemande, Courante, Sarabande, and Gigue (or Minuet in C major set) survive in an autograph manuscript, of which the non-dance elements work well on the organ. Between the ricercar and the dances in the A minor set there is an aria (with 30 variations). The non-dance movements in A minor have been edited by Laura Cerutti for Edizione Carrara, and a complete edition by Herwig Knaus for Denkmäler Tonkunst Osterreich vol. 115 also includes 13 dance suites, which may be by Techelmann or possibly Kerll. 

Diego Xarava (1652–ca. 1714). Nephew of Pablo Bruna and organist of the Capilla Real, Madrid, he left two pieces in the extensive Martin y Coll Manuscript 1357: an Ydea Buena y fuga por a la mi re (the fuga occurs separately in the Jaca manuscript), and an Obra en lleno de 3 Tono. These have been edited by Carlo Stella and Vittorio Vinay for Zanibon, available through Armelin, and by Julián Sagasta in vol. 2 of Tonos de Palacio y Canciones Comunes for Union Musical Española.  

Carl Philipp Emmanuel Bach (1714–88). Fifth child and second surviving son of Johann Sebastian, he is well known today for his many sonatas, fantasias, rondos, and miscellaneous pieces for stringed keyboard instruments, as well as his important treatise on playing keyboard instruments (Versuch über die wahre Art…). He left only a few pieces specifically for organ, including a set of six sonatas for Princess Amalie, edited by Peter Hauschild and Gerhard Weinberger and a Prelude in D, six fugues, a trio, two chorale preludes, and five chorale arrangements edited by Jochen Reutter and Gerhard Weinberger, both volumes published by Wiener Urtext. The edition of the organ works as part of the complete C. P. E. Bach edition has been edited by Annette Richards and David Yearsley as volume 1/9 for Packard Humanities Institute (this volume omits the sonata Wq 70/1). Four further fugues have been edited by Wilhelm Poot for Interlude Music Productions. 

Gottfried Homilius (1714–85) studied with J. S. Bach and became organist in Dresden in 1742. In addition to Passions, a cantata cycle, Magnificat settings and motets, he left 41 chorale preludes, of which 38 have been edited by Christoph Albrecht and published by Breitkopf & Härtel, and five organ pieces from a privately owned manuscript in Dresden have been edited by Christoph Albrecht and published by Leutkirch: Pro Organo. Thirty-eight chorale preludes for organ and melody instrument have been edited by Ellen Exner and Uwe Wolf for Carus Verlag. 

Johann Anton Kobrich (1714–91).  Organist in Landsberg, in addition to vocal music he left several sets of Parthien better suited to stringed keyboard instruments, although the two sets of Der clavierspielende Schäfer are described as “Welche sowohl in der Kirche als auch zu Hause können producirt and gebraucht werden.” Of his organ collections unfortunately most, including 20 toccatas, six sonatas, and pieces suitable for Offertory, Elevation, and Communion, remain unpublished in modern editions. Selected pieces from these sets have been edited by A. Maisch and published by Albert J. Kunzelmann. Figuralische Choral–Zierde, his collection of preludes and versets in the eight church tones was edited by Rudolph Walter for Alfred Coppenrath, Alttötting and is now available from Carus Verlag. Several pastorales that were appended to the first set of Der clavierspielende Schäfer have been edited by Gerhard Weinberger and published by Anton Böhm & Sohn.

Johann Mattheson (1681–1764). Better known today for his numerous theoretical works, he left a small collection of keyboard works, mainly for stringed keyboard instruments, but Die wolhklingende Fingersprache (containing 12 fugues, some with dances) of 1735 and 1737 is also suited to the organ. Edited by Lothar Hoffman-Erbrecht for Breitkopf & Härtel. 

John Reading (ca. 1685–1764). Organist at Lincoln and various London churches and an influential teacher, he compiled several volumes of keyboard music for organ and harpsichord, in addition to vocal music, of which three containing organ pieces (voluntaries and psalm settings) are preserved at Dulwich College, one at Tokyo, and one at Manchester. They are unique sources for many pieces, including his own compositions. A comprehensive selection of the Dulwich volumes has been edited by Robin Langley as volume 3 of the ten-volume series of English organ music for Novello; it includes early versions of voluntaries by Stanley. 

Johann Xavier Nauss (ca. 1690–1764). Organist in Augsburg, he published several volumes of keyboard music, of which the two parts of Die spielende Muse—consisting of preludes, verses, finale, aria (1st to 6th tones) or pastorella (7th and 8th tones) and fugue on the 8 tones, plus a set in E major—have been edited in one volume by Rudolph Waters for Alfred Coppenrath, Alttötting, which is now available from Carus Verlag. 

Wilhelm Hieronymus Pachelbel (1686–1764). Son of Johann, and organist in Nuremberg, he left two Praeludia und Fugen, a toccata, and two chorale settings, which have been edited by Hans Möseler and Traugott Fedke for Bärenreiter. 

Charles Burney (1726–1814). Also better known today for his numerous writings on music including The Present State of Music in France and Italy, The Present State of Music in Germany, the Netherlands and the United Provinces, and his monumental General History of Music in four volumes, which just beat the similar publication by Sir John Hawkins. He also wrote articles for Rees’s Cyclopaedia. Burney left some vocal music, a set of concerti, and several sets of sonatas for harpsichord solo and duet, along with chamber pieces, and a set of VI Cornet Pieces and a Fugue (1751), which comprises an Introduction in E minor followed by six Cornet movements and concludes with a fugue in the still-rare key of F minor. Around 1787, Burney published Preludes, Interludes and Fugues Book I, which includes pieces in keys from A to C; no trace of the second book survives, if indeed it was ever printed. These two publications have been edited by David Patrick and published by Fitzjohn Music. 

Abbé Georg Vogler (1749–1814). Widely traveled with the electoral court, organ designer and teacher, he left theater productions, symphonies, and concerti, and several collections of organ music, which remain largely unpublished in modern editions. 112 Petites preludes pour l’orgue ou le clavecin, op. 16, has been edited by Joachim Dorfmüller for Rob Forberg. A collection of 32 preludes has been edited by Armin Kircher for Carus Verlag, and, together with his Pièces de clavecin of 1798, by Floyd Grave for A–R Editions (C24).

Nicolò Moretti (1764–1821) left some 29 organ works; 17 (including 13 sonatas, a pastorale, two rondos, and an adagio) have been edited by A. Aroma, the others (including four sonatas, a sinfonia, Elevazione, versets, concertino, rondo, marcia, pastorale, and polacca) by Aroma, S. Carmelos and G. Simionato. Both volumes were published by Paideia Brescia for Bärenreiter, and are now available from Armelin.

Matthew Camidge (1764–1844). After time as a chorister at the Chapel Royal under Nares, he returned to York, where he became organist of the Minster. He published mainly church music, a set of instructions for the pianoforte or harpsichord, and left a set of six multi-movement (including a fugue) concertos for the organ or pianoforte in (ca.) 1815, in which he endeavored to imitate the styles of Handel and Corelli. Edited by Greg Lewin and published by Greg Lewin Music. 

An increasing number of pieces, ranging from complete original publications/manuscripts (which present the usual problems of multiple clefs as well as original printer’s errors) to selected individual works, are to be found on various free download sites, most noticeably IMSLP; however, the accuracy of some modern typesettings is highly questionable, and all should be treated with caution before use. Publishers’ websites include: 

Schott Music: www.schott-music.com 

Breitkopf & Hartel: www.breitkopf.com

Bärenreiter: www.baerenreiter.com 

Armelin: www.armelin.it

Carus Verlag: www.carus-verlag.com 

Butz Verlag: www.butz-verlag.de 

Edizioni Carrara: www.edizionicarrara.it

American Institute of Musicology—Corpus of Early Keyboard Music series: www.corpusmusicae.com/cekm.htm 

Fitzjohn Music: www.impulse-music.co.uk/fitzjohnmusic.htm 

Wiener Urtext: www.wiener–urtext.com  

Denkmäler Tonkunst Osterreich: 

www.dtoe.at

C.P.E. Bach complete works (Packard): www.cpebach.org 

Interlude Publications: www.interlude.nl 

A–R Editions: www.areditions.com 

Editions Bornemann: 

www.alphonseleduc.com 

Fuzeau: www.editions-classique.com   

Société française de musicology: 

www.sfmusicologie.fr 

Verlag Friedrich Pustet: 

www.verlag-pustet.de 

Greg Lewin Music: www.greglewin.co.uk

Heinrichshofen Verlag and Noetzel: www.heinrichshofen.de  

Norsk Musikforlag: 

www.norskmusikforlag.no  

Stainer & Bell: www.stainer.co.uk 

Schola Cantorum: 

www.schola-editions.com

Helbling Verlag: 

www.helbling-verlag.de 

John Collins has been playing and researching early keyboard music for over 35 years, with special research interests in the English, Italian, and Iberian repertoires. He has contributed many reviews and articles on repertoire and performance practice, including translations and commentaries on treatises in German, Spanish, and Portuguese, to European and American journals, including The Diapason. After serving as organist at St. George’s Church, Worthing, UK, for 33 years, in June 2017 he began service for Christ Church, Worthing.

In 2018 there are several composers whose anniversaries can be commemorated, albeit some of the precise birth and death dates are not known for certain. Several names below need no introduction, but there are also quite a few lesser-known names listed here whose compositions are well worth exploring. No claim is made for completeness, and there is no guarantee that every edition is readily available and in print­—there may well also be editions by other publishers.    

An increasing number of pieces, ranging from complete, original publications or manuscripts (which present the usual problems of multiple clefs as well as original printer’s errors) to modern versions of complete or individual works, are to be found on various free download sites, most noticeably IMSLP/Petrucci Music Library (http://imslp.org); however, the accuracy of some modern typesetting is highly questionable, and all should be treated with caution before use.

Jacob Arcadelt (ca. 1505–1568) was a Franco-Flemish composer who wrote both sacred and secular vocal music. He is perhaps best known for his motet setting of Ave, Maria. His principal legacy is his collection of madrigals. Three intabulations for keyboard, perhaps made by Claudio Veggio, have survived in the manuscripts at Castell’ Arquato, tentatively dated as mid-sixteenth century (although possibly earlier), and have been edited by H. Colin Slim in Keyboard Music at Castell’ Arquato (American Institute of Musicology, CEKM 37-3). In addition to an organ Mass, this volume contains some excellent ricercars and other intabulations.

Caspar Hässler (1562–1618) was the elder brother of Hans Leo Hassler and worked in Nuremberg. Only one piece by him has survived, a Fantasia a 4 in C in three repeated sections. Originally edited by Ernst von Werra in 1903, it is included as no. 14 in German Organ and Keyboard Music of the 17th Century II, edited by Siegbert Rampe (Bärenreiter BA8427). The two volumes in this series contain much little known music and are well worth investigating. 

Adriano Banchieri (1568–1634) was an Italian theorist and composer from Bologna. He composed much vocal music, but his main achievements were in the field of providing instructions and pieces for organ. The theoretical treatise Conclusioni del suono dell’organo published in 1609 is available in facsimile from Arnaldo Forni. His most useful work for today’s player, L’Organo suarino, which gives vast amounts of useful information as well as short pieces suited to the non-professional player, has gone through several editions. The first, in 1605 (op. 13), contained 19 pieces (13 Sonatas, four Capricci, and two Ripieni); the second  edition of 1611, op. 25, contained a further 18 pieces of various genres. The third  edition (of 1622 and 1638) contained a further five new pieces including four Sonatas and a Gloria, resulting in 42 pieces in total in the three editions. A facsimile with introduction by Giulio Cattin has been published by Frits Knuf, Amsterdam. The 1605 edition has been edited by Edoardo Bellotti for Il Levante Libreria (TA31). Thirty-nine  pieces have been edited by Raimund Schächer (Cornetto Verlag, CP128). A volume of Canzone alla Francese Libro Segundo of 1596 contained 14 pieces, of which the 11 in four parts have been intabulated for keyboard by Alessandro Bares (Musedita, BA 1 20). The Moderna Harmonia, op. 26, contained 15 Canzonas in 2 parts, 2 Fantasias in 4 parts, and a Magnificat in concerto à 4 voci, of which the Canzonas and Fantasias have been edited in open score by Alessandro Bares (Musedita, BA 1 OR). Banchieri also contributed two Ricercars to the second part of Diruta’s 1609 Il Transilvano; they are included in the modern edition of the pieces from the two parts, edited by Tamás Zászkaliczky  (Editio Musica Z8608, Budapest). One further Ricercar Tertii Tono is in manuscript from 1581, Munich, and has been edited by Clare Rayner as no. 69 in München, Bayerische Staatsbibliothek  Ms. Mus 1581 for American Institute of Musicology, Corpus of Early Keyboard Music, volume 40, part III. This piece was printed originally as “Fantasia Decima Nona” in Fantasie ovvero canzone alla francese per suonare all’organo et altri stromenti musicali, a Quattro voci, in 1603, which collection was edited by André Vierendeels for Schott’s Söhne, Mainz (ANT12). Twenty-two pieces have been edited by Enrico Capaccioli in 22 Composizioni per organo (Edizioni Carrara, EC3187).

Abraham van den Kerckhoven (ca. 1618–1702) served organist of St. Catherine’s Church, Brussels, from ca. 1632, and also chamber and court organist to Archduke Leopold Wilhelm. His surviving keyboard pieces are contained in a large manuscript now at the Bibliothèque Royale Albert I in Brussels; this manuscript is dated 1741 and was signed by Jacobus Cocquiel. It contains some 364 pieces, comprising a large number of versets on the eight tones, settings of Salve Regina and an organ Mass along with Fantasias and separate Fugas. Many pieces were left unascribed, and a few were ascribed to other composers, some from the same circle or later. A partial edition with selected items was edited by Jos Watelet as Monumenta musicae Belgicae II which has been reprinted and published by B-Note Musikverlag (BM14876). A facsimile edition of the complete manuscript has been produced by Godelieve Spiessens. A selection of 5 Fantasias, Versus 1 Toni, and 2 Fugas has been edited by Ewald Kooiman for Harmonia in the series Incognita Organo, no. 32 (HU3699). The complete contents of the manuscript have been made available on IMSLP with tables of analysis and an introduction. 

Albertus Bryne (ca. 1621–1668) was organist of both St. Paul’s Cathedral and Westminster Abbey, London. Some 30 keyboard pieces attributed to Bryne, all but one Voluntary being dance movements, have survived in ten manuscripts. The modern edition edited by Terence Charlston for Norsk Musikforlag contains invaluable information about performance practice of the period including fingering, ornamentation, rhythm, tempo, and ties which can be applied to Bryne’s successors Blow and Purcell, as well as the anonymous pieces by the post-Restoration composers. The edition includes an audio CD with exemplary recordings of the pieces by Terence Charlston and an interactive CD-ROM containing the full edited text, transcripts, and images of all ten  manuscripts and printed sources.

François Couperin “Le Grand” (1668–1733) is best known for his four books of harpsichord works published between 1713 and 1730 and his treatise,  L’Art de toucher le clavecin. He  also published two organ Masses in 1690, Pièces d’orgue consistantes en deux messes, l’une à l’usage des Paroisses pour les Festes Solennelles, L’autre propres pour les Couvents des Religieux et Religieuses. They contain verses for the Kyrie, Gloria, Offertoire, Sanctus, Benedicus, Agnus Dei, and Deo Gracias. The volume has been edited by Paul Brunold, Kenneth Gilbert, and Davitt Moroney for Oiseau Lyre as Oeuvres complètes III. There are other editions edited by Norbert Dufourques for Schola Cantorum (two volumes). A facsimile has been published by Anne Fuzeau. 

José de Nebra (1702–1768) was born in Calatayud and worked in Madrid. He left operas, zarzuelas, and dramas as well as Masses and vocal music. Like many of the Spanish composers of the eighteenth century, a complete edition of his keyboard music is much needed. Modern editions include the following three volumes in the series Tecla Aragonesa published by the Institución Fernando el Católico Zaragoza. Volume I (Joseph Nebra Tocatas y Sonata para órgano ó clave) edited by Roman Escalas includes three Tocatas, a Sonata, and a Grave; volume III (Joseph Nebra Obras inéditas para tecla) edited by María-Salud Álvarez includes three Sonatas, three Tocatas, and an Obra para órgano. In Volume VII (Músicos Aragoneses en Valencia en el siglo XVIII) edited by Vicente Ros, there is a Pange Lingua setting. 

Friedrich Wilhelm Marpurg (1718–1795) was a German composer, theorist, and critic. He published several important treatises including Abhandlung von der Fuge, and Die Kunst das Klavier zu spielen. His numerous compositions for keyboard include Sei Sonate per Cembalo, 1755, edited by Raimund Schächer for Carus Verlag (CV18.002/00) and by Laura Cerutti for Armelin, Padua (AMM10). Being very similar to C. P. E. Bach’s organ sonatas, they would also sound well on the organ. The Fughe e Capricci, 1777, which contains a prelude, 2 Capricci, and 7 Fughe, has been edited by Martin Weyer (Forberg, F25048) and is available as a facsimile from Anne Fuzeau and from Broude Brothers, New York (PF 142). The Versuch in figurirten Choräle sowohl für die Orgel als für das Clavichord I, which contains 21 pieces, and the Zweiter Versuch in Figurirte Choräle . . . , Part II, ca. 1792, which contains a further 15 pieces, are available as facsimiles from  Broude Brothers, New York (PF136 and 137). Other works best suited to stringed keyboard instruments appeared in prints and anthologies, several of which are also available in modern editions.

Joseph Aloys Schmittbaur (1718–1809), born in Bamberg, Germany, worked in Rastatt and Karlsruhe. He composed operas, symphonies, concertos, vocal music, and some 50 pieces for keyboard. His Vierundzwanzig Vor- und Nachspiele—Für Orgel have been edited by Rudolph Walter (Carus Verlag, CV91.088/00).

Fedele Fenaroli (1730–1818), a pupil of Francesco Durante, became Maestro di Cappella of the Santa Maria in Loreto conservatory in Naples in 1762. He wrote mainly sacred vocal music, but a few organ pieces have survived and have been edited in four volumes by Maurizio Machella, published by Armelin, Padua (AMM 2, 3, 56, and 60). Volume I contains six short one-movement sonatas, a two-movement sonata, and a one-movement sonata which may be connected to the following Fuga, which has been completed by the editor. Volume II contains 14 Versetti in various unconnected keys. Volume III contains an Apertura per Organo and six three-movement sonatas, of which the central movement is in the tonic minor. The fourth volume is unnumbered and contains a Trattenimento and a Pastorale. 

Carlos Baguer (1768–1808) was organist of the cathedral of Barcelona, Spain, and composed symphonies, concerti, flue duets, and much religious vocal music. Although he left many keyboard works in manuscripts, very few are available in modern editions. Those available are Siete Sonatas edited by Maria Ester Sala (Union Musical Española, 22055) and Tres Sinfonías para Tecla, possibly arrangements for keyboard of symphonies composed by Baguer himself rather than Haydn to whom they are attributed in the manuscript (edited by Maria Ester Sala for Instituto Español de Musicología, Consejo Superior de Investigaciones Científicas). 

Benjamin Carr (1768–1831) was born in London and studied organ with Samuel Wesley and composition with Samuel Arnold. In 1793 he moved to the United States, working in Philadelphia as a singer, teacher, organist, and composer. He published pieces for piano, songs and works for the stage, but only one voluntary has been listed. It has been edited by J. Bunker Clark in Anthology of Early American Keyboard Music 1787–1830, Part 1 for AR Editions (A001), which volume contains a further three pieces by Carr and 14 more pieces by nine other composers.

Francisco Cabo (1768–1832) was born in Naquera (province of Valencia, Spain) and worked in the cathedrals of Orihuela and Valencia from 1796 onward, succeeding Rafael Anglés in 1816. He composed vocal music and left 19 organ works in manuscripts comprising Versos, Pasos, and sonatas for specific feasts in the liturgical year, the majority of which are annotated with the year of composition. These pieces, which demonstrate a pronounced Romantic approach, have been edited by José Climent for the Sociedad Española de Musicología, Madrid.

Bartolomeo Franzosini (1768–1853) was an architect and composer in northern Italy. He left a Pastorale in A, which has been edited by Maurizio Machella for Armelin (AMM75) and is also included in Itinerari Italiani volume X, L’Organi in Piemonte tra ‘700 e ’800, edited by M. Rossi and G. Vessia for Edizioni Carrara (EC4583) and in Organum Italicum Volume III edited by A. Macinanti and F. Tasini for Edizioni Carrara (EC4654). His Nove Danze per Organo have been edited by Riccardo Zoja for Armelin (AMM278).

Publishers’ websites:

A-R Editions: www.areditions.com

American Institute of Musicology­—CEKM series: www.corpusmusicae.com/cekm.htm

Anne Fuzeau facsimiles: www.editions-classique.com

Armelin (and Zanibon):

www.armelin.it

B-Note Musikverlag: www.bnote.de

Bärenreiter: www.baerenreiter.com

Breitkopf & Hartel: www.breitkopf.com

Broude Bros: www.broude.us

Butz Verlag: www.butz-verlag.de

Carus Verlag: www.carus-verlag.com

Consejo Superior de Investigaciones Científicas, Barcelona: www.csic.es

Cornetto Verlag: www.cornetto-music.de

Doblinger:

www.doblinger-musikverlag.at

Edition Walhall: www.edition-walhall.de

Edizione Carrara:

www.edizionicarrara.it

Forni Editore: www.fornieditore.com

Il Levante Libreria:

www.illevante-libreria.it

Musedita: www.musedita.it

Norsk Musikforlag:

https://musikkforlagene.no/

Oiseau Lyre: http://vca-mcm.unimelb.edu.au/about/publications/lyrebird-press-austral…

Schott Music: www.schott-music.com

Scola Cantorum:

www.schola-editions.com

Sociedad Española de Musicología: www.sedem.es 

Stainer & Bell: www.stainer.co.uk

Union Musical Española: www.musicsalesclassical.com/companies/unionmusicalediciones

Ut Orpheus: www.utorpheus.com

In 2015 there are several composers whose anniversaries can be commemorated, albeit some of the dates are not known for certain; some of the names need no introduction but there are also several lesser-known names listed here whose compositions are well worth exploring. No claim is made for completeness and there is no guarantee that every edition is in print—there may well also be editions by other publishers.

Christopher Gibbons (1615–76).Eldest surviving son of Orlando Gibbons, he was organist of the Chapel Royal and Westminster Abbey; only a few compositions for keyboard survive in various manuscripts, comprising two short pieces (corrente and saraband) for harpsichord, four verses or voluntaries and three verses or double voluntaries (i.e. requiring two manuals for their execution), with passages for solos on Cornet, Sesquialtera, and Trumpet. Some versions of these double voluntaries seem to have been considerably amended and elongated by the scribe. All nine pieces have been re-edited by John Caldwell for American Institute of Musicology’s Corpus of Early Keyboard Music series (CEKM 18). 

Spiridionis a Monte Carmelo (1615–85). German organist, who traveled widely in Belgium, Germany, and Prague before taking a position in Bamberg in 1664. He composed sacred music and also published a two-volume keyboard tutor, Nova instructio pro pulsandis organis, spinettis, manuchordiis, in Bamberg, of which the first part, which appeared in 1670, contained a very large number of cadences, 35 canzonas, and 15 dances including corrente, and the second part, which appeared the following year, contains mainly cadenzas, as well as ten canzonettas, seven toccatinas, two gagliardas, and four corrente. Part three contains more formulas for cadentiae followed by ligaturae and trilli; part four contains the actuarium for parts one and two, an aria, allemanda, sarabanda, and modus variandi. A modern edition by Edoardo Bellotti of parts one and two has been published by Andromeda. Parts three and four have also been edited by Bellotti and published by Il Levante, obtainable via La Stanza della Musica, Rome (www.lastanzadellamusica.com).

Gregorio Strozzi (ca. 1615–after 1687). Organist in Naples and doctor in both civil and canon law, in addition to sacred works he left a Capricci da sonare cembali et organi, published in open score in Naples in 1687, which is indebted to Trabaci, Mayone, and Frescobaldi, its 31 pieces covering the main compositional genres of the time including three capriccios, three ricercatas, three sonatas, four toccatas, two balletti, three gagliardas, three sets of variations, eight correntes, a mascara, and a Toccata de passacagli. This important print has been re-edited by Barton Hudson for American Institute of Musicology in the Corpus of Early Keyboard Music series (CEKM 11).

Heinrich Bach (1615–92). Great uncle of Johann Sebastian and organist in Arnstadt, almost all of his compositions in various genres have unfortunately been lost. He was the father of Johann Christoph and Johann Michael Bach, who also became composers. For keyboard he left a Chaconne in A, edited by Laura Cerutti for Armelin, and two chorale preludes, on Erbarm dich mein and Da Jesu an dem Kreuze stund, included in Organ Works by the Bach Family, edited by Diethard Hellmann for Edition Peters.

Tarquinio Merula (ca. 1594–1665). Organist and violinist active mainly in Cremona, he published a number of sacred concertos, Mass and psalm settings, as well as madrigals and ensemble canzonas. Fourteen keyboard works have survived in manuscripts, including a chromatic Capriccio and Sonata, the former based on the chromatic tetrachord, the latter on a figure covering a major ninth by semitone (!), although many subsequent entries are limited to the tetrachord. There are three intonazioni cromatiche (which may well be incorrectly attributed), a toccata (which contains a fugal section sandwiched between sections akin to Merula’s toccatas but lacking his inventiveness), a capriccio with an insistent rhythmic figure and much sequential writing, and five canzonas, of which the first, an arrangement of his ensemble piece La Loda, has basic similarities to the capriccio, and the second is based on an intriguing sequence of four descending broken triads. The next three canzone have been attributed tentatively to Merula, no. 3 being a version of his ensemble Canzona La Marca. All of these pieces together with a cromatica by Soncino and a  canzona by Fasolo have been edited by Alan Curtis and published by L’Organo, Brescia, as Monumenti di Musica Italiana Series 1, Organo e Cembalo, vol. 1, available from Armelin. There is also a reprint by Kalmus, which lacks the introduction. 

Wolfgang Ebner (1612–1665). Organist of St. Stephen’s Cathedral, Vienna, and court organist, contemporary with Froberger. Three works certainly by him include three toccatas, a courante, a Capriccio sopra L’aria Pergamasco, the Partite sopra l’Aria Favorita with seven variations, and the 36 variations divided into three groups of 12 (the second and third groups being in the form of a courante and sarabande) on an Aria in A Minor composed by Ferdinand III. Works of uncertain authenticity include 56 versets encompassing various forms (i.e. toccata, capriccio, fugue in the eight church modes), eight of which are variants of pieces by Froberger and one by Frescobaldi, two preludes, a partita in A, and eight individual dance movements. Published by Bärenreiter in 2 volumes, edited by Siegbert Rampe, the publication also includes keyboard works by Georg Muffat. 

Nikolaus Bruhns (1665–97). Pupil of Buxtehude, he became organist in Husum in 1689. Comparatively well known to players today, particularly for his preludes in E minor, Bruhns was also a highly skilled violinist who, according to undoubtedly reliable contemporary accounts, accompanied his violin playing at the organ by a bass played with great dexterity on the pedals. None of his organ works were printed in his lifetime, and no autograph manuscripts have survived. His small opus survived in a virtually unbroken transmission in both manuscripts of the 18th century and printed editions from the 19th forward. He wrote chamber music, which regrettably has not survived, and 12 cantatas, and left four brilliant praeludia for organ in manuscripts—multi-sectional, and clearly showing the influence of his teacher as well as echo devices. A highly ornamented Chorale Fantasia on Nun komm der Heiden Heiland also shows continuation of the North German tradition of Scheidemann, Reincken, and Tunder. Modern editions, which also include an adagio and a praeludium, of which only fragments survive, have been prepared by Klaus Beckmann, published by Schott in the series Masters of the North German School vol. 13, and also edited by Harald Vogel for Breitkopf & Hartel.

Johann Hanff (1665–1712). Organist in Hamburg and Schleswig, only three of his cantatas and six chorale preludes survive in manuscripts. Five of the preludes are in a similar style to Buxtehude’s, with highly ornamented melodies in the right hand, but in Erbarm dich mein two verses are set, the second verse opening with a fugue based on the descending chromatic fourth before reverting to a right hand solo of the ornamented melody. They have been edited by Ewald Kooiman for Harmonia Uitgave, Incognita Organo Part 7. 

Johann Fischer (ca. 1665–1746). Kapellmeister to Ludwig Wilhelm of Baden, he published chamber and vocal music. His keyboard works include four sets of pieces, comprising two sets of suites for harpsichord/clavichord in 1696 and 1738, which show the French influence, and two sets of pieces for the organ, which show a more Italianate influence. Musikalischer Blumenstrauss of 1732 is a collection of pieces on the eight tones comprising a praeludium, six fugues, and finale for each tone. Ariadne Musica, of 1702 and 1715, contains 20 short preludes and fugues, each in a different key (including B, E-flat, and A-flat major, B, F#, and C# minor), which were known to J. S. Bach, who used some of the subjects in his Well-Tempered Clavier, and five ricercars on hymns for Advent, Christmas, Quadragesima, Passiontide, and Easter. 

The complete keyboard music has been edited by Ernst von Werra for Breitopf & Hartel. The Ariadne has been edited by Ernst Kaller for Schott as Liber Organi vol. 7 and the Musikalischer Blumenstrauss by Rudolph Walter for Musikverlag Alfred Coppenrath, Altötting as Süddeutsche Orgelmeister des Barock vol. 1, available through Carus Verlag. Facsimile editions have been published by Broude Bros in the Performers’ Facsimiles series nos. 197 (Ariadne) and 199 (Musikalischer Blumenstrauss). 

Johann Molter (1696–1765). German organist in Eisenach and Karlsruhe whose comprehensive works embrace all genres. Six chorale arrangements have been edited by Siegbert Rampe for Bärenreiter in German Organ and Keyboard Music from Bach’s Period.

Xarava y Bruna (ca. 1640–1715).Nephew of Pablo Bruna. Two pieces by him, an Ydea Vuena por a la mi re and fuga, and an Obra en lleno de 3 Tono (a tiento accidental found in the Jaca manuscript is a short version of the fuga), are to be found in one of the Martín y Coll manuscripts, and have been edited by Julian Sagasta for Union Musical Española in Tonos de Palacio y Canciones Communes vol. 2, and by Carlo Stella and Vittorio Vinay for Zanibon in Composizioni Inedite dal ‘Flores de Musica’ di Antonio Martin y Coll. 

Georg Wagenseil (1715–77). Organist and composer to the court in Vienna, he composed operas, chamber music, concerti, and organ and harpsichord music. Although considered as one of the most important Viennese composers of the 18th century, very few of his many keyboard works have been published, and conspicuous by their absence are the organ works, including 97 versets in various tones, a cycle of Praeambula and Versets on the Eight Tones, and numerous other individual pieces. Five pieces have been edited by Erich Benedikt and included in Viennese Organ Music from around 1750 published by Doblinger as DM1335 in the Diletto Musicale series, including a praeludium on the 1st and on the 2nd tones, a Fuga in D Minor, a piece titled Das Glockengeläut zu Rom dem Vatican (in C minor), and an Andante in D minor taken from the third Divertimento of opus 1, better perhaps suited to stringed keyboard instruments. 

James Nares (1715–83). Became organist of York Minster in 1735. In addition to much sacred music including services and secular vocal music, he left several publications for keyboard including two sets of lessons for harpsichord and a set of six fugues with introductory voluntaries for organ or harpsichord, which are available in a modern edition by Greg Lewin as well as in facsimile from Oxford University Press. Only nos. 1, 3, and 5 are preceded by an introduction. Also available in facsimile from Oxford University Press is Il Principio, or A Regular Introduction to Playing on the harpsichord or Organ, which gives basic information on ornamentation and fingering followed by a graduated series of pieces.

Georg Reichardt (1715–89). Pupil of Jakob Adlung. His Sechs fugierte Orgeltrios have been edited by Rudolph Walter for Hänssler Verlag and are available from Carus Verlag. 

Charles-Joseph van Helmont (1715–90). Organist in Brussels, he composed a large quantity of sacred vocal music including Masses and motets and a much smaller amount of secular vocal music. His keyboard works comprise the Pièces de clavecin of 1737, which include two suites, the pieces of which have French titles. The first suite and four fugues have been edited by J. Watelet and published by Vereniging voor Muziekgeschiedenis te Antwerpen in 1948 as Monumenta Musicae Belgicae vol. 6 (also contains pieces by Dieudonné Raick), with the second set edited by Laura Cerutti for Armelin, with a facsimile edition published by Anne Fuzeau. The complete set of Six Fugues has been edited by Jan Vanmol for Calcant.

Johann Doles (1715–97). Pupil of Bach in Leipzig, where he became Kantor, he composed much sacred and secular vocal music, harpsichord sonatas, and some chorale preludes, of which four pieces from the fifth volume of Singbare und leichte Choralvorspiele has been edited by Eberhard Hofmann for Musica Rinata in Orgelpräludien vom Barock zur Klassik. 

John Alcock Sr. (1715–1806). Organist at Lichfield Cathedral from 1750 until 1765, and thereafter at Sutton Coldfield and Tamworth, he composed sacred choral music, numerous secular vocal works, Six Suites of Easy Lessons and a Trumpet Tune for the harpsichord, which has been edited by Richard Jones and published by the Associated Board of the Royal Schools of Music, as Easier Piano Pieces (vol. 15), and a set of Ten Voluntaries for the Organ or Harpsichord, a new edition of which has been edited and published by Greg Lewin.

Carlmann Kolb (1703–65). Organist of the community of Asbach and priest, he left a sinfonia for harpsichord and strings and the Certamen aonium published in 1733, a set of pieces on the eight tones, including a fairly expansive prelude, 3 fugal verses in a variety of styles and meters, and a toccata-like cadenza. Some of the preludes, particularly the third, are almost extravagantly eccentric in their modulations and dramatic rests. Modern editions by Rudolf Walter for Musikverlag Alfred Coppenrath, Altötting as Süddeutsche Orgelmeister des Barock vol. 5, available through Carus Verlag, and by Gregor Klaus for Willy Müller Süddeutscher Musikverlag, available from Bärenreiter.

Jose Ferrer (1745–1815). Organist in various Spanish cathedrals, including Oviedo, he composed mainly secular and chamber music. Seven sonatas for keyboard by him are preserved in a manuscript now in Zaragoza, and a further six have been attributed to him on stylistic grounds, although as no. 8 is by Domenico Scarlatti, it may well be that further pieces are by other composers. Many of the sonatas are far better suited to stringed keyboard instruments but nos. 9–11 sound well on the organ. All 13 sonatas have been edited as Sonatas para Clave by Dionisio Preciado and published by Real Musical, Madrid, as Teclado Espanol Siglo XVIII, vol. 1. No. 2 in G minor and a further Sonata in C Minor, both taken from MS 1665 at Montserrat, are included in Early Spanish keyboard music: an anthology—Vol. 3, The eighteenth century, edited by Barry Ife and Roy Truby for Oxford University Press.

Pietro Morandi (1745–1815). After studying with Padre Martini in Bologna he worked in Pergola and Senigallia cathedrals. He composed sacred and secular vocal and damatic music and also left 12 Concerti per L’Organo solo, with instructions for registration, and twenty sonatas and sinfonias, all of which have been edited in four volumes by Maurizio Machella for Armelin. 

Giuseppe Gherardeschi (1759–1815). Organist in Pistoia, first of S. Maria dell Umiltà and then the cathedral, he composed much sacred vocal music and several sonatas for harpsichord or fortepiano plus violin and also concerti. His numerous organ compositions, which include versetti, offertorios, elevazioni, sonatas, and rondos, contain precise instructions for registration, including drum pedals and toy stops such as the Uccello. Many have been edited by Umberto Pineschi in Musiche pistoiesi per organo (Biblioteca Classica dell’Organista, vol. M05 and M06), Antologia del Settecento organistico pistoiese (Biblioteca Classica dell’Organista, vol. 19), Musiche d’organo a Pistoia (Biblioteca Classica dell’Organista, vol. 30); Letteratura organistica toscana dal XVII al XIX secolo (Accademia di musica italiana per organo, Pistoia). Some twenty pieces have been edited by Maurizio Machella in two volumes for Armelin as L’organo Italiano nell’Ottocento (OIO 222 and OIO 223). An official download of Gherardeschi’s complete organ works, together with many other pieces from the Pistoia cathedral archives, is available from www.accademiagherardeschi.it/eng-partiture.php?id_sezione=6 for a payment of 10 Euros.

Domenico Puccini (1772–1815). organist in Lucca and grandfather of the famous opera composer, he composed both sacred and secular vocal music, as well as operas. He left 42 one-movement sonatas for organ in manuscripts, which have been edited in four volumes by Maurizio Machella for Armelin. A further volume contains sonatas for violin with accompaniment for organ or fortepiano. 

An increasing number of pieces, ranging from complete original publications/manuscripts (which present the usual problems of multiple clefs as well as original printer’s errors) to modern versions of complete or individual works, are to be found on various free download sites, most noticeably IMSLP; however, the accuracy of some modern typesettings is highly questionable, and all should be treated with caution before use. 

Publishers’ websites 

American Institute of Musicology—CEKM series:
www.corpusmusicae.com/cekm.htm 

Armelin: www.armelin.it

Associated Board: shop.abrsm.org

Bärenreiter: www.baerenreiter.com  

Breitkopf & Hartel:  www.breitkopf.com  

Broude Bros: www.broude.us 

Calcant: www.janvanmol.be 

Carus Verlag: www.carus-verlag.com 

Doblinger Verlag: www.doblinger-verlag.at

Fuzeau: www.editions-classique.com     

Greg Lewin Music: www.greglewin.co.uk

Monumenta Musicae Belgicae: www.dbnl.org 

Musica Rinata: www.berliner-chormusik-verlag.de

OUP: ukcatalogue.oup.com/category/music.do 

Schott Music: www.schott-music.com