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The Keyboard in Baroque Europe


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Table of Contents

Part I. Seventeenth-Century Keyboard Music: 1. On Frescobaldi's recreation of the Chaconne and the Passacaglia Alexander Silbiger; 2. Hanss Jacob Froberger's travels 1649-1653 Rudolf Rasch; 3. New perspectives on Lynar A 1 Pieter Dirksen; 4. Creating the corpus: the 'Complete Keyboard Music' of Henry Purcell Christopher Hogwood; Part II. The Early Eighteenth Century: 5. Towards a genealogy of the keyboard concerto John Butt; 6. Couperin, Marpurg and Roeser: A Germanic Art de Toucher le Clavecin, or a French Wahre Art? Davitt Moroney; Part III. The Bach Family: 7. Invention, composition and the improvement of nature: apropos Bach the teacher and practical philosopher Christoph Wolff; 8. Is there an anxiety of influence discernible in J. S. Bach's Clavierubung I? Peter Williams; 9. 'Toward the most elegant taste': developments in keyboard accompaniment from J. S. to C. P. E. Bach David Schulenberg; 10 '... welche dem groessten Concerte gleichen': the polonaises of Wilhelm Friedemann Bach Peter Wollny; Part IV. The Later Eighteenth Century: 11. Schnellen: a quintessential articulation technique in eighteenth-century keyboard playing Menno van Delft; 12. Mozart's non-metrical keyboard preludes Robert D. Levin; Part V. Musical envoi: 13. J. S. Bach: Keyboard Partita in A Minor after BWV 1004 Lars Ulrik Mortensen.

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Twelve of today's most distinguished scholar-performers offer essays on new and intriguing aspects of baroque keyboard music.

About the Author

Christopher Hogwood is an internationally renowned conductor and founder of the Academy of Ancient Music, with whom he has made more than 200 recordings, including the first complete Mozart symphonies on period instruments.


'The very experienced writers know how to relate particular issues to broader contexts, so there is much for the enthusiast, and several of the articles will henceforth be standards on my reading lists.' The British Clavichord Society 'May this collection encourage by example and stimulate further generations of Leonhardt's under-gardeners to labour for their art.' The Consort

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