Early Organ Composers’ Anniversaries in 2014

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 

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 almost 26 years.

In 2010 there are several composers for organ from the 16th to 18th centuries whose anniversaries can be commemorated, albeit only some of the dates are certain. Many of the names listed here will not be well known, but their compositions are well worth exploring and many are suitable for both liturgical and recital use. Although the dances and variations were destined primarily for the harpsichord and clavichord, they would have also been played on the domestic chamber organ—even performance on a church organ can sound most effective when using carefully selected stops based on clarity, rather than thick diapasons. From the 16th century onwards, publishers had an eye for commercial exploitation and frequently included multiple instrumental possibilities on the title pages! This list makes no claim to completeness, but the compiler has copies of almost everything here, although it is entirely possible that some items are out of print and would have to be consulted in libraries.

Antonio de Cabezón (1510–66). Leading 16th-century Spanish composer for keyboard. Several of his works (including 14 tientos, some 15 hymns, and two short diferencias or variations) were published in Venegas de Henestrosa’s Libro de Cifra Nueva (1557), which includes important comments on performance practice, including ornaments and fingering; modern edition by Higinio Anglés in two volumes (Groen’s catalogue mentions a reprint in four volumes) for Monumentos de la Música Española. The posthumous Obras de Música para Tecla, Arpa y Vihuela, published by his son Hernando in 1578 (which also includes invaluable comments on performance practice), contains much liturgical music; after four duos and five pieces in three parts headed “for beginners,” there follow 11 hymns, sets of four versos, four fabordones, six (on the second, third and fifth tones) or seven verses on the Magnificats, and four Kyries on each of the eight tones, in addition to 14 tientos, nine diferencias, a setting of Duinsela, and over 40 glosadas (intabulations) in up to six parts, including four by Hernando, one by Juan de Cabezón, and one anonymous. A modern edition in three volumes excluding the glosadas is edited by Anglés and published by Consejo Superior de Investigaciones Científicas. A new edition is in preparation, edited by Claudio Astronio for Ut Orpheus. The glosadas have been edited by Maria Ester Sala for Union Musical Ediciones. A few pieces in MS 242 at Coimbra published in Portugaliae Musica Vol. XIX have tentatively been assigned to de Cabezón, although the ascription to A.C. may well have meant Antonio Carreira, the leading Portuguese organist of the 16th century.

Ercole Pasquini (ca. 1560–1620). Organist in Verona and Rome, from which post he was apparently dismissed in 1608. He left over 30 pieces in MSS (none autograph), including six toccatas (some with interesting rhythmic patterns in the note groupings), ten canzonas, one fuga, sets of variations including Ruggiero, two on Romanesca and two Pass è Mezzi, an intabulation of Ancor che co’l partire, a sonata, a gagliarda, and the earliest known examples of two durezze and two correnti. Collected edition by W. Richard Shindle, published by American Institute of Musicology, Corpus of Early Keyboard Music 12.

Peter Philips (ca. 1560–1628). Spent much time in Italy, Spain, France, and Belgium, where he died in Brussels. Left some 34 compositions, including pavans, galliards, three fantasias, 15 intabulations of madrigals, and a set of 10 verses on Veni Sancte Spiritus. Nineteen pieces, mainly dances and intabulations, are to be found in the Fitzwilliam Virginal Book Vol. 1. A further eight pieces, including an almande, pavana, fantasia, four intabulations, and the setting of Veni Sancte Spiritus, are edited by John Harley for Stainer & Bell’s Early Keyboard Music K40. The complete keyboard works, edited by David Smith, are in Musica Britannica, Vol. 75.

Hieronymus Praetorius (1560–1629) was organist of the Jakobikirche in Hamburg. He left a large corpus of organ music in the Visby MS, of which the eight Magnificat cycles bear his name. Ascribed to him with some certainty from the same MSS are 19 hymn cycles (of Latin hymns) and 10 Kyrie cycles as well as four sequence cycles, a setting of Psalm 113, of the German Magnificat using the Tonus Peregrinus, and two recently discovered lengthy chorale fantasias, on Christ unser Herr zum Jordan kam and Wenn mein Stündlein vorhanden ist. All of these pieces have been edited by Klaus Beckmann in three volumes for Schott (ED 9581–9583).

Johann Benn (ca. 1590–1660) worked in Messkirch (Baden) and Lucerne, and left seven ricercars and two canzonas in a MS now in the BL. A modern edition by R. Schächer is published by Cornetto Verlag (CP342).

Pedro de Tafalla (1606–1660) was organist at El Escorial, Spain, where his three known compositions for organ are preserved. They include a Tiento lleno on the 2nd Tone, a Medio registro alto on the 2nd Tone, and a Tiento de dos tiples on the 7th Tone. They have been published recently by Ediciones Escurialenses in Música para órgano (siglo XVII) Volume 1-1, which also includes works by Diego de Torrijos and Cristóba1 de San Jerónimo, available from Tritó, Barcelona.

Henri Dumont (1610–84). Born in Belgium, Dumont became organist at St-Paul in Paris and left 17 pieces, including 11 allemandes, one courante, one pavane, and four préludes. Modern edition P. Bonfils, Editions Musicales de la Schola Cantorum et de la Procure Générale de Musique, L’organiste Liturgique 13.

Bernardo Pasquini (1637–1710). Organist in Rome and teacher of Zipoli, Casini, Georg Muffat, composer of over 200 pieces for keyboard conserved in four main MSS, covering all the main genres (17 suites, a few individual dance movements, about 30 short arias, over 35 toccatas, two capriccii, a fantasia, three canzone), one fuga, four ricercari (one of which runs to 345 bars), four sonatas, 22 variations (including four passacagli), and including over 300 versos and 14 sonatas for one and a further 14 for two instruments with just a figured bass. Available in seven volumes, edited by Maurice Brook Haynes, published by American Institute of Musicology, Corpus of Early Keyboard Music 5—this edition is unfortunately very unreliable but does group the works by genres. The far more accurate new Italian edition in seven volumes—which, after volume one that contains an Introduzione and Pastorale, and 60 versetti, all taken from a newly discovered MS in Bologna, follows the haphazard groupings of the (mainly autograph) MSS—is available from Libreria Musicale (www.libreria musicale.com). A facsimile edition of the Landsberg MS has been edited by Emer Buckley in two parts plus CD, published by Anne Fuzeau Classique (www.
editions-classique.com).

Alessandro Scarlatti (1660–1725). Better known for his sacred and secular vocal music, he left many toccatas in MSS, most of which are multi-movement (with some loose fugues as well as dance movements), including lengthy sets of variations on the Folia. Some toccatas are retrospective, others are forward-looking, with many dissonant clashes and lengthy passages of chords to be arpeggiated. An excellent new edition by Andrea Macinanti and Francesco Tasini with a most illuminating introduction on performance is published in five volumes by Ut Orpheus: Alessandro Scarlatti, Complete Works for Keyboard, Vols. 1–5, Ut Orpheus AS 01–AS 05; <www.utorpheus.com&gt;.

Johann Kuhnau (1660–1722) worked in Leipzig and published two sets of seven suites (the first set in major, the second in minor keys, also including a sonata in B-flat), seven sonatas in from three to seven movements, and a set of six sonatas that are multi-movement programmatic pieces entitled Biblical Histories. All are available in facsimile, published by SPES. The edition by Moser for Denkmäler deutscher Tonkunst volume 1/4 is out of print, but a new edition in two volumes has been edited by C. Harris in Art of the Keyboard Vol. 6 for Broude Brothers: Johann Kuhnau: The Collected Works for Keyboard, ed. C. David Harris; AOK 6, 2 volumes; Broude Brothers Limited (www.broude.us/Catalogues/EarlyMusic2006.pdf). The Biblical Sonatas are available separately, AOK 6C.

Christian Witte (ca. 1660–1717), organist in Altenburg, left about 20 pieces in MSS, including suites, preludes, fugues, three chorale preludes, and ciaconas; a passacaglia on D-C-Bb-A with 30 variations was formerly attributed to J. S. Bach. A modern edition of 12 pieces has been edited by Laura Cerutti for Armelin (www.armelin.it) in two volumes (AMM 026/053), of which the pieces best suited to organ are in volume 2. Three pieces from the Mylau Tablaturbuch are edited by John R. Shannon for American Institute of Musicology, Corpus of Early Keyboard Music 39. A capriccio in the Andreas Bach Book has been edited by Robert Hill for Harvard University Press: Keyboard Music from the Andreas Bach Book and the Moller Manuscript, ed. Robert Hill; Harvard University Press (www.hup.harvard.edu/catalog/HILMUS.html).

Georg Leyding (1665–1710) studied with Reincken and Buxtehude and became Jakob Bölsche’s successor at Braunschweig. He left three praeludia, a chorale prelude on Wie schön leucht uns, and a set of six chorale variations on Von Gott will ich nicht lassen, which have been edited by Klaus Beckmann for Breitkopf & Härtel: Georg Dietrich Leyding, Organ Works (EB 8405) (www.breitkopf.com).

Vicent Rodríguez (1690–1760) was organist at Valencia Cathedral, successor to the great Cabanilles. In MSS he left a Libro de Tocatas (30) for harpsichord and a few pieces for organ including a fantasia, six tocatas (several of these are pieces for the clarines or trumpet stops and are much lighter in style than those by Cabanilles), and a partido. New edition by Águeda Pedrero for Tritó edicions (www.trito.es). Ten versos sobre Pange Lingua have been edited by Vicente Ros and included in Música de Tecla Valenciana Vol. 5.

Thomas Arne (1710–78). Left Six favourite concertos for organ, harpsichord or piano-forte published ca. 1787, which may be performed without the accompanying parts; edited by Robin Langley for OUP; and Gwilym Beechey has edited the organ solos from the concerti for Peters (H 1544). Arne also published a set of Eight Sonatas or Lessons for the harpsichord in 1756, facsimile edition edited by Beechey and Dart for Stainer & Bell K27.

Thomas Gladwin (1710–99). Worked in London, where he published Eight Lessons for the Harpsichord or Organ, three of which have violin accompaniment, in the 1750s. Facsimile edition of these two-movement pieces has been published by Jacks, Pipes and Hammers; <www.
btinteret.com/~edjacksph/pub.htm>.

Giuseppe Paganelli (1710–63). Worked in Venice, Bayreuth, Munich, and Madrid, where he may have succeeded D. Scarlatti. He published XXX Ariae pro organo et cembalo in 1756, facsimile edition in Minkoff, and edited by M. Machella for Armelin AMM163. He also published in 1757 Amusement for the fair sex or Six sonatines for the harpsichord, modern edition by Laura Cerutti for Cornetto Verlag (CP388). Three further sonatas are included in volumes 2, 3, and 4 of the Haffner Raccolta. Facsimile edition of volumes 2 and 3 in Raccolta musicale… Bibliotheca Musica Bononiensis IV/56 Bologna.

Wilhelm Friedemann Bach (1710–84). Oldest son of Johann Sebastian, he left relatively few keyboard works, most of which sound best on the clavichord, including eleven sonatas, eight fugues, twelve polonaises, ten fantasias, seven chorale preludes, and eight fugues from isolated MSS, in addition to pieces in the Notebook for W F Bach compiled by Johann Sebastian. The eight fugues have been edited by Paul Simmonds and Mike Daniels (www.paulsimmonds.com/publications/php) and published by themselves. They are also included in volume 1 of the organ works edited by Traugott Fedke for Edition Peters in two volumes (vol. 2 includes the chorale preludes and some more fugues). A new complete edition of the keyboard music in two volumes (vol. 1 just published) is in progress for Carus Verlag (Carus 32.001, 32.002). Best suited to the organ are the fugues and chorale preludes.

Giovanni Battista Pergolesi (1710–36) is better known for his operas and sacred music, but three organ sonatas are included in Splendori del ’700 Napoletano Vol 1. and one in Vol. 2, edited by Maurizio Machella for Armelin as AMM 161 and AMM 240 (www.armelin.it). Many pieces formerly attributed to him in 18th-century sources have now been identified as being by other composers—the one certain thing about Pergolesi is that he died young!

Many of the publishers mentioned have their own websites and accept orders from anywhere; the following would supply “one-stop shopping” for orders from more than one publisher, although they themselves would have to order titles from many of the smaller publishers, including the Spanish and Italian.
Jacks Pipes and Hammers: <www.jackspipesandhammers.com&gt;
Saul Groen: <http://saulgroen.nl&gt;
Sheetmusicplus: <www.sheetmusic plus.com>

Other individual publishers’ sites include:
Edicion Tritó: <www.trito.es&gt;; especially useful for Spanish scores
Corpus of Early Keyboard Music: <www.corpusmusicae.com/cekm&gt;. 

This article is a considerably expanded version of a list originally published in British Clavichord Society Newsletter 46.

In 2013 there are several composers whose anniversaries can be commemorated, albeit some of the dates are not known for certain; there are a few lesser-known names here whose compositions are well worth exploring. 

John Bull (ca. 1563–1628). Organist of Hereford Cathedral, Chapel Royal, and, after fleeing the country in 1613 when charged with adultery, Brussels and Antwerp, he composed a large amount of keyboard music, much of which poses extreme difficulties for the player, including fast runs in thirds and sixths for both hands. There are doubts over ascriptions in some manuscripts, and there is also the possibility that some unascribed works may in fact be by him. A few pieces were included in Parthenia in 1612–13. Some 18 fantasias, as well as ostinati, liturgical pieces (over 30, including 12 In Nomine settings), and five Dutch carol settings have been edited by John Steele and Francis Cameron, revised by Alan Brown for Musica Britannica, Vol. 14 (although in some pieces the note values have been halved) and, more suitable for stringed keyboard instruments, many dances, variations, and character pieces have been edited by Thurston Dart in Vol. 19. A good selection is included in the Fitzwilliam Virginal Book (modern edition by J. Fuller Maitland and
W. Barclay Squire for Dover). An excellent book on the keyboard works is The Keyboard Music of John Bull by Walker Cunningham (1984). 

Giles Farnaby (ca. 1563–1640) composed vocal music and over 50 pieces for keyboard, including 11 highly individual fantasias, pavans, variations, other dances (including an alman for two virginals), and descriptive character pieces, almost all of which are included in the Fitzwilliam Virginal Book. Modern complete edition of Farnaby’s Keyboard Music, edited by Richard Marlow, in Musica Britannica, Vol. 24. 

Heinrich Scheidemann (ca. 1595–1663). Pupil of Sweelinck and organist of the Katharinenkirche, Hamburg, he left a large corpus of keyboard music in manuscript, including over 30 chorale preludes. These range from short single-verse settings to lengthy fantasias and multi-verse settings, and 12 motet intabulations (most of which require pedals), Magnificat settings on the eight tones, unusually with only four verses, and one additional fantasia-like one-verse setting on the eighth tone, all of which require pedals, and some 20 praeambulae, fugues, fantasias, canzonas, and toccatas, most of which are for manuals only. Three of the latter, along with another 27 variations and dances, all manuals only, and particularly suited to stringed keyboard instruments, have been edited by Pieter Dirksen for Breitkopf & Härtel (EB8688). The keyboard works have been edited by Klaus Beckmann (vols. 1–3) and Claudia Schumacher (vol. 4, motets) for Schott Music. The earlier edition (in three volumes, omitting the motets) by Gustav Fock for Bärenreiter does contain several pieces that have recently been excised from the canon but are nevertheless attractive, including some chorale preludes. An invaluable book on the keyboard works is Heinrich Scheidemann’s Keyboard Music by Pieter Dirksen (2007). 

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 that are also suitable for the clavichord, 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, which omits the suite. 

Franz Xaver Murschhauser (1663–1738). Organist in Munich, where he studied with Kerll, he published three volumes for organ, of which the first in 1696 included sets of a preambulum, five fugues, and a finale on the eight tones, followed by four sets of variations for the Christmas season, including one with cuckoo imitations, and a suite. The second volume (published in two parts in 1703 and 1707) includes praeambulae, toccatas, canzonas, and fugues on the first to third, seventh, eighth, and tenth to twelfth tones, many of which do not require pedals; a set of eight arias with variations and three Weihnachts-lieder with variations was published as op. 7. All three volumes are edited by Rudolph Walter for Alfred Coppenrath, obtainable from Carus Verlag. The suite is found only in the Denkmäler der Tonkunst in Bayern edition of ca. 1904. 

Giuseppe Paganelli (1710–63) worked in Venice, Bayreuth, Munich, and Madrid, where he may have succeeded Domenico Scarlatti. In 1756 he published XXX Ariae Pro Organo et Cembalo, a collection of short one-movement binary-form pieces intended for the Elevation. Modern edition by M. Machella for Armelin AMM163. He also published sonatas and sonatinas for stringed keyboard instruments.

Johann Ludwig Krebs (1713–82), pupil of J. S. Bach, organist at Altenburg, left a large corpus of organ works in manuscript. Edited in four volumes by G. Weinberger for Breitkopf & Härtel, the secular works comprise seven preludes and fugues, two toccatas and fugues in volume one, with seven praeludia, three fantasias, two fantasias and fugues, twelve fugues, and 17 trios in volume two. Volume three includes some 34 chorale preludes and volume four contains the Clavierübung erste Lieferung, or 13 chorales in three movements (praeambulum, chorale with melody and figured bass, and a chorale alio modo in the form of a prelude). There are also some 20 pieces for organ and obbligato solo instrument. Krebs published numerous works for stringed keyboard instruments, including sonatas, sonatinas, and suites. Some of the sonatas and sonatinas work well on the organ and are available from Carus Verlag, which also publishes Six Fugues; some of these require pedals for sustaining long notes rather than for the performance of one of the voices. A set of six newly discovered sonatas has been published by Dr. J. Butz Musikverlag and was reviewed in The Organ, no. 358.  

William Russell (1777–1813). Organist of St. Anne’s, Limehouse, he published two sets of Twelve Voluntaries for organ or pianoforte in 1804 and 1812; the 1804 set concludes with a three-movement voluntary in C minor followed by two movements in C major, which can be considered as two separate voluntaries. These voluntaries contain writing that is technically advanced, using the galant language of Haydn and Mozart, with several pieces containing an independent pedal part on a third stave as well as indications for its use in the two-stave layout.  There are several occurrences of the figure 8 beneath bass passages, which refers either to playing them in octaves or in employing the pedals. Dialogues between Cremona and Hautboy, as well as Trumpet movements in E-flat, C minor and E minor are included, and the Cornet movements conclude with a passage for the Diapasons, following contemporary treatises. Voluntaries VII–XII in the first set, and VIII–XII in the second conclude with extended fugues. Modern editions of both sets by Geoffrey Atkinson for Fagus Music and Greg Lewin for Greg Lewin music. The Atkinson edition of the 1812 set contains an extra voluntary in G edited by Gillian Ward Russell.  

A composer who left no works for solo keyboard but whose works for other instruments have been extensively transcribed for keyboard is Arcangelo Corelli (1653–1713). Although many of his chamber sonatas and concerti were arranged during the 18th century, only a few are available in modern editions. Those that are available include Edward Miller’s adaptations of opp. 1 and 3, edited by Jörg Jacobi for Edition Baroque (eba4001/12), and Thomas Billington’s adaptations of the Celebrated 12 Concertos available in Performers’ Facsimiles PF94.

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.org; 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&nbsp;

Breitkopf & Härtel: www.breitkopf.com  

Bärenreiter: www.baerenreiter.com  

Armelin: www.armelin.it

Cornetto Verlag: www.cornetto-music.de&nbsp;

Stainer & Bell: www.stainer.co.uk&nbsp;

Carus Verlag: www.carus-verlag.com&nbsp;

Dover: www.doverbooks.co.uk  

Edition Baroque: www.edition-baroque.de&nbsp;

Butz Verlag: www.butz-verlag.de

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.

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&nbsp;

Armelin Musica: www.armelin.it

Bärenreiter: www.baerenreiter.com  

Broude Bros: www.broude.us&nbsp;

Carus Verlag: www.carus-verlag.com&nbsp;

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/&nbsp;

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&nbsp;

Stainer & Bell: www.stainer.co.uk&nbsp;

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