Proceedings of the 1st International Conference on Historical Keyboard Music

Chapter 7

A discourse of styles: Contrasting gigue types in the A minor Jig from the Purcell partial autograph, GB-Lbl MS Mus. 1.

Terence Charlston

Supplementary Material Examples of the English Country Dance Jig AB = Apollo’s Banquet (fifth edition, 1687), first edition, 1669. DM = The Dancing-Master, 10th edition, printed by J. Heptinstall, for H. Playford, 1698. First edition, The English Dancing Master: or, Plaine and Easie Rules for the Dancing of Country Dances, with the Tune to Each Dance (1651) The following five dances from Apollo’s Banquet and The Dancing-Master are typical examples of the English Country Dance Jig. They demonstrate the main three categories:

1. jigs written in compound meter in 6/4, and the less common jig in 9/4 2. hornpipes written in simple triple meter. 3. jigs written in duple notation

Jig in 6/4. DM II, p. 24- 6/4

(Source: IMSLP, www.imslp.org) Jig in 9/4. DM II, p. 10- 9/8

(Source: IMSLP, www.imslp.org)

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Hornpipe-type of jig in simple triple meter. AB no. 3

(Source: IMSLP, www.imslp.org) Two Jigs written in duple notation. DM II, p. 38, cut-C (in 4)

(Source: IMSLP, www.imslp.org) DM I, p. 88, cut-C (in 4)

(Source: IMSLP, www.imslp.org) Further Musical examples Benjamin Rogers: ‘Gigue’ GB-Och 1236, f.–41

(Source: Transcribed by Terence Charlston)

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Matthew Locke: ‘Jigg’ , movement 6 from Suite No. 4 in E minor, The Consort of Two Parts ‘for Several Friends’

(Source: Transcribed by Terence Charlston) Denis Gaultier, Le Panegirique (allemande or gigue), La rhétorique des dieux (c1652), no. 3. ed. A. Tessier, Publications [Société française de musicologie], vi–vii (1932/R)

(Source: D. Buch, ‘The Influence of the “Ballet de cour” in the Genesis of the French Baroque Suite.’ Acta Musicologica, Vol. 57, Fasc. 1 (Jan. - Jun., 1985), p. 101.) Musick’s Hand-maid (1663) No. 6. ‘Jegg’ [G] Benjamin Sandley = Gresse MS, f. 16v No. 51. ‘A Jigg’ [F] John Moss Musick’s Hand-maid (1678) No. 75. ‘Digbys Farwell’ [G] [arr. Robert Smith] Apollo’s Banquet, 5th edition, part 1, no. 36. =Melothesia, p.52, ‘—/R.S.’ [arr. Robert Smith] Musick’s Hand-maid 2 (1689) No. 2. [Jigg] [d] [Blow] Gerhard Diesineer. Melothesia, p. 70–1 . ‘Jigg/G.D.’ [C] A Choice Collection of Lessons for the Harpsichord or Spinnet (1696/9) p. 60. [Jigg] [g] [Z. T686] setting, Incidental Music to Abdelazar or The Moor's Revenge (1695)., Z.570/7; also in Add. 39569 ("Babell MS"), p. 61. The Second Part of Musick’s Hand-maid (1689) fol. G2v. ‘Jigg’ [C] [Purcell] No. 35. Z 607, Incidental Music, The Old Bachelor (1691), PS xxi, 19. Movt. 9, Jigg Locke. Melothesia, p. 18. ‘Jig/M.L.’ [C]; Blow, A Choice Collection (1698/1704) p. 17. ‘Jigg’ [a] ; John Roberts (Bailey, no. 51); Selosse MS (Leech, no. 11) A Choice Collection of Ayres for the Harpsichord or Spinet [Advertised 21st Nov 1700] p. 8. ‘Iigg’ [C] [Piggett] No. 10. imitative- inversion at start of 2nd half H: PIG 1e The Second Book of the Harpsicord Master [Advertised 1st Jan 1700] [f.26r.] ‘Jigg/Mr. Barrett’ [b] Barrett No. 22. imitation- inversion at start of 2nd half H: BAR 6c; Tn MS.N-3/35, f. 27r; Add. 39569 ("Babell MS"), p. 142 Draghi (Klakowich nos. 6), Bars 1-5 & 30-31 Draghi (Klakowich nos. 69), Bars 1-4 & 9-10

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The sources of the A minor jig There are four sources for the A minor Jig. GB-Lbl MS Mus. 1 Oblong quarto manuscript of keyboard pieces copied by Henry Purcell from one end and, probably, Giovanni Battista Draghi at the other. The Purcell portion contains 21 pieces, some with fingerings, and was probably used for teaching. The book dates from after 1690 and the order of the two copyists is uncertain. Andrew Woolley has suggested that the Purcell part dates from around 1693 or 1694. The jig is copied in Purcell’s hand, without title, on folio 34v or, volume reversed, 10r.1 GB-Ob MS Mus. Sch. e. 399 ‘Elizabeth Nodes Book’ Oblong quarto manuscript mostly of keyboard pieces. The end-paper on folio 49 is inscribed ‘Elizabeth Nodes/ Her Book august 8th 1681’ and ‘mrs beety nodes/ her book/ march the 10/ 1682’. The A minor jig is copied on folios 8v and 9r and seems to form a set (by tonality) with the previous three pieces. These are a Corant by John Blow (Klakowich 77); a saraband (Klakowich 78) and an almand (Klakowich 76). Klakowich’s edition has assigned the saraband, almand and jig to John Blow, by association. The main copyist, probably Francis Forcer, is also responsible for US-NH Filmer 15, dated ‘1677/8’, and for an almand in US-NH Filmer 17 (f. 9v). Forcer is therefore a candidate as composer of the saraband and almand.2 GB-Lbl Add. MS 52363 ‘Elizabeth Batt Book’ Oblong quarto manuscript of keyboard pieces signed ‘Elizabeth Batt 1704’ but probably copied over the period around 1704–7 in an inexperienced hand, most likely Elizabeth Batt herself. The jig is copied on pages 33 and 34 and titled ‘Jig’. It contains music from Henry Purcell’s A Choice Collection (1696/9), The Ladys Banquet (1704), John Blow’s A Choice Collection (1698/1704) and Dieupart’s Six Suittes ([1701]). A small number of other pieces in the manuscript, including the A minor Jig, use the same ‘Forcer’ treble clef which also appears in the ‘Elizabeth Nodes Book’ (GB- Ob MS Mus. Sch. e. 399). Also contains pieces by Draghi.3 GB-Cfm MU MS 653 A thick oblong quarto manuscript containing an extensive collection of 18th-century keyboard music. It is copied in a single hand, probably during the 1710s, and is the latest source for the A minor jig. The jig occurs on page 88 and is titled ‘(Jigg.)’. Purcell’s Suite in C major seems to have come more or less directly from A Choice Collection but with other pieces, including the suite in A minor and the A minor Jig, descending from MS sources.4

1 Robert Shay and Robert Thompson, Purcell Manuscripts: the Principal Musical Sources. (Cambridge, 2000), p. 282. Andrew Woolley, ‘English keyboard sources and their contexts, c. 1660–1720.’ PhD diss., University of Leeds, 2008, pp. 180, 247. 2 Shay & Thompson, p. 277. Woolley, pp. 49–51 and 258. 3 Woolley 2008, pp. 53 and 139–142. 4 Shay & Thompson, p. 285. Woolley, pp. 75 and 230.

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Transcription of the four sources of the A minor Jig with selected variant readings in GB-Lbl MS Mus. 1 compared to the other three sources.

Click here for PDF of colour version URL: http://homepage.ntlworld.com/terence.charlston/sources_jig_a_minor.pdf

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Click here for PDF of colour version URL: http://homepage.ntlworld.com/terence.charlston/sources_jig_a_minor.pdf

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Click here for PDF of colour version URL: http://homepage.ntlworld.com/terence.charlston/sources_jig_a_minor.pdf (Source: Transcribed by Terence Charlston)

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Falling 4th motive in the A minor Jig compared with jigs by de la Barre and Forcer

(Source: Transcribed by Terence Charlston)

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Notes concerning material rejected from chapter Duple-time Jigs Etienne Richard Apel, p. 508. Richard’s gigues. ‘One (J. Bonfils, Les Pré-Classiques français ...(L’Organiste liturgique, 18, 1957; 31: Supplément, no.9) written in 3/2 but closes with a refrain in 2/2; the other (no. 11) is written throughout in 2/2 and can hardly be told form an Allemande.’ ‘Gigue de Mr Richard’. Manuscrit Bauyn, c. 1660. Bibliothèque Nationale, Paris Rés. Vm7 675, f. 61 (p. 400), opening.

Ditto, bar 21 to end.

‘Gigue de Mr Richard’. Manuscrit Bauyn, c. 1660. Bibliothèque Nationale, Paris Rés. Vm7 675, f. 61 (p. 403), opening.

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Benedict Schultheiss (1653–1693) Muth- und Geist- ermuntrender Clavier-Lust Erster Theil (Nürnberg: Michael und Johann Friedrich Endtern, 1679) Earliest published German keyboard suites, and the earliest examples of the standard later-Baroque order of dances with the gigue at the end. Suite no. 1 in C major: mvt 4, Gigue, 6/8 Suite no. 2 in G major: mvt 4, Gigue, 9/8 Suite no. 3 in D major: mvt 4, Gigue, 6/8 Suite no. 4 in A minor: mvt 4, Gigue, 12/8 Muth- und Geist- ermuntrender Clavier-Lust Anderer Theil (Nürnberg: Michael und Johann Friedrich Endtern, 1679) Suite no. 1 in E minor: mvt 4, Gigue, C Suite no. 2 in F major: mvt 4, Gigue, 9/8 Suite no. 3 in G minor: mvt 4, Gigue, 6/8 Suite no. 4 in A major: mvt 4, Gigue, 3/8 Suite no. 5 in B minor: mvt 4, Gigue, C Suite no. 6 in C minor: mvt 4, Gigue, 12/8 Modern Edition: Muth- und Geist-Ermuntrender Clavier-Lust: 1679-1680. Benedict Schultheiss. edited by Richard Hudson. (Neuhausen-Stuttgart: American Institute of Musicology, 1993) Christian Flor Lüneburg, Ratsbibliothek, MS. Mus. 1198. MS dated 2nd March, 1687. Although anonymous in that source have been ascribed to Flor through concordances in the Möllerschen Handschrift, Berlin. Suite no. 7 in A major, Gigue is in 9/8. Facsimile edition: Lüneburg, Ratsbücherei, Mus. ant. pract. 1198. Introduction by Bruce Gustafson. Seventeenth- Century Keyboard Music, 22. (New York: Garland, 1987). Modern edition: Christian Flor Zehn Suiten. Edited by Jörg Jacobi. (Bremen: Edition Baroque, 2006). Johann Krieger Johann Krieger, Sechs Musikalische Partien, Sei Partite musicali. (Nürnberg: Wolfgang Moritz Endters, 1697). Two jigs in ‘duple meter’. Apel, p. 666–7. Johann Kreiger’s elder brother by two years, Johann Philipp Krieger, studied in Venice with Rosenmüller and Rome with Pasquini. Johann Krieger was organist in Bayreuth and Zittau. Partita 2 Db, p. 7, opening.

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(Source: IMSLP, www.imslp.org) Partita 4, A#, p.7, opening.

(Source: IMSLP, www.imslp.org) Ritter Zachow Mattheson ‘Morgan’s Jig’ Frank Dawes, ‘A Jig of Morgan's’ The Musical Times, Vol. 91, No. 1285 (Mar., 1950), pp. 92-94. A quadruple Jig. The piece (Jegg in Gamut b ) is bound into the back of the Ll copy of Purcell's ' Choice Collection of Lessons for the Harpsichord or Spinet' (published in 1696 by his widow). It is part of two short sets of pieces for harpsichord; one described as an Overture, Ayre and Jegg in Gamut b; the other an Almain and Borry in D sol re. Both sets are ascribed to Henry Purcell. The jig appears in score in a set of incidental pieces by 'Mr. Morgan' in a GB-Lcm MS 1172.

(Source: Frank Dawes, ‘A Jig of Morgan's’ The Musical Times, Vol. 91, No. 1285 (Mar., 1950), pp. 92-94.)

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A-OB MO 1037 The French lutenist Perrine made keyboard transcriptions of lute music (Little and Jenne, p. 177) and the practice extended into German speaking lands too, of which the Austrian keyboard source, A-OB MO 1037, which dates from around 1695, is a good example. A-OB MO 1037. is an important source of suites by German composers, especially Froberger, which are organised by key. The transcriptions include gigues of the older, mid-17th century style, in simple duple meter and an anonymous Gigue-Allemande (‘Guig.Allda’ p. 124). That these gigues, mainly anonymous, display a remarkable range of metrical notations testifies to the rhythmical diversity of gigues notation at this time. A list of the variety of time signatures and bar sizes of the gigues serves to illustrate the point: ‘6/4’ with imitation (Anon. [D], p 81 and Anon. [a], p. 137), ‘12/8’ with written out demisemiquaver ornaments (Anon. [D], p. 82), ‘12/8’ with dotted quaver/semiquaver rhythm (Ramer [A], p. 91), ‘3’ =12/4 (Anon. [a], p.92), ‘C’ =4/4 combining quaver triplets and dotted quaver/semiquaver groups (Poglietti? [a], p. 96), ‘6/4’ =12/8 (Ebner [d], p. 97), ‘3’ =6/4 (Anon. [F], p. 124), ‘6/4’ style brisé (Anon. [a], p.131), ‘6/8’ with imitation (Anon. [G], p. 140). Facsimile edition: Seventeenth-Century Keyboard Music. Introductions by Robert Hill. Vol. 23: Ottobeuren, Benediktiner-Abtei, Bibliothek und Musik-Archiv MO 1037. (New York, 1988). Jigs in the Fitzwilliam Virginal Book “ ‘Nobodyes Gigge’ (No. CXLIX.) by Richard Farnaby, and Giles Famaby's ‘Gigge’ (No. CCLXVII.) are both in Common Time.” (Pulver 1914). Apel, “nothing to do with the dance ... but belong to the repertoire of English comedians’ songs, known as jig.” (Apel, 1972, .p 260) Apel may be right about the second piece, but not the first. Giles Famaby's ‘Gigge’ (FWVB, No. CCLXVII) is a 9-bar ground bass piece with theme and divisions. An 8-bar version of the same theme and harmony are given the title ‘A Scottish Jigge’ in Ms. Rés. 1186, f. 46v. (See Maas, no. 24 and p. x.) Richard Farnaby’s ‘Nobodyes Gigge’ is more typical of the virginalist almand. It has only one variation, employs a more developed three-part texture with occasional imitation and its melodic phrases extend to time units of 4 semibreves. A survey of gigues from the English virginalists to Bach shows that examples of binary and ternary notation exist in about equal numbers at the beginning of the period, but that those in binary notation are rare at the end of the period. (McIntyre, 1965, p. 492) Continental views of the ‘English jig’ France and Germany Charpentier The frequent dotted crotchet/quaver/crotchet rhythms and spread chords of Charpentier’s gigue angloise are characteristic of the 6/4 English country dance while the uniformity of texture is not. The dance occurs in volume 18 of the Philidor collection and is written in a manner typical of the earlier Philidor volumes associated with the Vingt-Quatre Violons du Roi. It has a polarised treble and bass with inner voices (parties de remplissage) providing harmonic support but little independent contrapuntal interest. It is followed in the manuscript by a partner dance, the gigue françoise: to complete the national survey. Rather

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surprisingly the gigue françoise is written in simple duple meter (cut-C) with frequent syncopated rhythms of crotchet/minim/crotchet and without an upbeat. It is perhaps left it to the performers to make quaver movement inégale or louré consistent with conventional gigues notated in 6/4. Charpentier, Concert pour quatre parties de violes, H. 545, (1680–81) mov 4 and 5: Gigues angloise – 3/4 with crotchet up beat and dotted crotchet/quaver/crotchet rhythm

(Source: IMSLP, www.imslp.org) Gigue françoise – cut-C, no upbeat, with syncopated crotchet/minim/crotchet rhythm.

(Source: IMSLP, www.imslp.org) Original manuscript F-Pn Rés. Vm1 259 (18) (reprint Minkoff, Paris, 2000). Marais Both gigues l’angloises by Marais are notated in 6/8 and one is marked ‘very fast’ (tres vitement). The melodic lines are built up from chordal structures, especially thirds and sixths, with frequent leaps of register and without the smooth scales and runs often found in the typical, and later, 6/8 Italian giga. It is easy to see the uncomplicated and regular phrasing and harmony as anticipating the last movements in Italian solo and trio sonatas by Corelli and his imitators. Marais’s gigues l’angloise reflect the fast English country jig as found in Playford’s 17th-cetury publications and are likely to be early composition even thought they were only published in early 18th century [1701 and 1711]. Marais, ‘Gigue l’angloise’, Pièces de viole [2e livre] (1701/R) no. 56 (solo viole part book, p. 68)

(Source: IMSLP, www.imslp.org)

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Marais, ‘Gigue a L’angloise. tres vivemt.’ Pièces de viole [3e livre] (1711/R) no. 100 (solo viole part book, p. 95)

(Source: IMSLP, www.imslp.org) Moss John Moss, Lessons for the Base-Viol on the common tunings, and many other new-tunings, 1671 contains 26 suites each with Alman, Corant, Saraband and Jigg Alman for bass viol and bc.

(Transcription by Terence Charlston) Pasquini Gigas in Haynes edition, Nos, 24: (A minor – 6/8); 26 (Bb –3/8); 33 (F –12/8); 36 (A minor – 6/8). Bach and the 'Englishness of the gigue' Niedt, Handleitung zur Variation [Musicalische Handleitung II], 1706, Chapter XII, §. 19.

Giguè, or written Gigè, a fast dance, very common with the English, must come from the Italian word Giga, a small violin. They are usually set in 3/8, 6/4, 6/8, or 12/8 time and each reprise can begin similarly to a fugue. (Poulin and Taylor, p. 138.)

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Niedt, ed. Mattheson, Musicalische Handleitung zur Variation [II], 1721, Chapter X, §. 19.

Gique, a French word, in Italian, Giga, from which the other is derived. It is a fast dance, very common with Englishmen (and Spaniards). Its time is partly even, partly uneven, such as 3/8, 6/4, 6/8, or 12/8. (N.B.: those Giques written in 6/4 are not so fast, but, rather, very slow Giques, called Loures.) Giga also means a small violin or fiddle [eralier form of Geige, or fiddle] and the name of the dance is rightfully derived from this. Fugues, composed in the manner of Giques are, therefore, not formal Giques. (See [Das neu-eröffnete] Orchestre [(1713)], p. 191, where the Spanish Giques or Canaries [a fast Gigue from the Canary Islands, one of the optional dances of the suites in duple-compound or triple meters] are described well.) (Poulin and Taylor, p. 137–138.)

Walther, Musikalisches Lexikon, 1732

Giga (It.), Gigue (Fr.), or Gicque, an instrumental piece which is an agile English dance, of two reprises, in 3/8, 6/8, or 12/8 time. The first note of every quarter [or section] of a bar is commonly dotted. Fugues composed in gigue style may dispense with this latter condition, thereby being rather more flowing. They may also be composed in common time. It is considered that the gigue takes its name from the Italian word giga, which means a violin or a fiddle . . . It may well be that this dance got its name from shaking the legs, which tightrope walkers and other such people do-giguer, in the French. Then too, in German, the word giguen is not unknown but is used to describe an exceptional manner of walking. (McIntyre, p. 480.)

French theorists French theorists’ definitions of gigue in the context of a discussion of Lully’s stage dances (Anthony, p. 104).

• A dance ‘full of dotted notes and syncopations’. (Brossard, Dictionnaire de Musique, Paris, 1701)

• A type of ‘accelerated loure’ (Encyclopédie, ed. Diderot, 35 vols, Paris, 1751–80) • Rameau (Traité de l'harmonie, 1722, p. 160) Gigue français (6/8), gigue italienne

(9/8 or 12/8) • Sham polyphony with staggered points of imitation resulting in longer and more

asymmetrical phrase lengths than normally found in French stage dances. • Gigue passed from favour after Regency. • ‘Entirely passed out of fashion; it is not found at all in Italy and scarcely in France’.

(Rousseau, Dictionnaire de Musique, Paris, 1768) Italian Giga related to English country dance. Perhaps thinking more of choreography than the instrumental dance .... “It seems very likely that Italian gigas were originally a spin-off from the jigs of English Country Dance fame ...” (Little and Jenne, p. 157) Rameau’s theoretical distinctions between French gigue and Italian giga. Rameau, Traité de l'harmonie, 1722, Book 2, Chapter 26, p. 160

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(Source, Gallica Bibliotèque Numérique, http://gallica.bnf.fr) Rameau, Traité de l'harmonie, 1722, Book 2, Chapter 26, p. 160 , p. 161]

the Gigue Francoise is still often designated by the movement (pulse) of the Loure, such as that in the Prologue of the Opera Roland. (See Little and Jenne, 146–148) (la Gigue Françoise est encore souvent désignee par le mouvement de la Loure, comme celle qui est dans le Prologue de L'Opera de Roland)

Gigue from the Prologue to Lully’s Roland

(Source: IMSLP, www.imslp.org)

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References Books and Articles James R. Anthony, French Baroque Music from Beaujoyeulx to Rameau. (London, 1978). Willi Apel, The History of Keyboard Music to 1700. Translated H. Tischler. (Bloomington, 1972). F. T. Arnold, The Art of Accompaniment from a Thorough-Bass as Practised in the 17th and 18th Centuries (London: Oxford University Press, 1930). Virginia Brookes, British Keyboard Music to c. 1660. Sources and Thematic Index (Oxford: Oxford University Press, 1996). David Buch, ‘The Influence of the “Ballet de cour” in the Genesis of the French Baroque Suite.’ Acta Musicologica, Vol. 57, Fasc. 1 (Jan. - Jun., 1985), pp. 94-109. Michael Collins, ‘The Performance of Triplets in the 17th and 18th Centuries’, Journal of American Musicology, 19/3 (1966): pp. 281–328. Barry Cooper, ‘The keyboard suite in England before the Restoration’, Music & Letters, 53/3 (1972): pp. 309–19, Frank Dawes, ‘A Jig of Morgan’s.’ The Musical Times, Vol. 91, No. 1285 (Mar., 1950), pp. 92–94. Robert Donnington, Baroque Music: Style and Performance (New York: Faber and Faber, 1982), pp. 53 and 63–64. Howard Ferguson, Keyboard Interpretation (London: Oxford University Press, 1979). Bruce Gustafson, Chambonnières. A Thematic Catalogue. The Complete Works of Jacques Champion de Chambonnières (1601/02–1672). ULR: http://www.sscmjscm.org/instrumenta.html. Robert Klakowich, ‘Seventeenth-century English keyboard autographs’, Journal of the Royal Musical Association, 121/ 1 (1996): pp. 132–135. Meredith Little and Natalie Jenne: Dance and the Music of J.S. Bach: Expanded Edition (Bloomington, IN, 1991/2001). Ray McIntyre, ‘On the Interpretation of Bach's Gigues’ Musical Quarterly , Vol. 51, No. 3 (Jul., 1965), pp. 478–492. Pamela L. Poulin and Irmgard C. Taylor (Translators), The Musical Guide: Parts I (1700/10), II (1721), and III (1717): Friedrich Erhardt Niedt. Early Music Series 8. (Oxford: Oxford University Press, 1989). Jeffrey Pulver, ‘The Ancient Dance-Forms. (Second Paper.) The Gigue.’ Proceedings of the Musical Association , 40th Sess., (1913 - 1914), pp. 73–94.

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Curtis Price, ‘Newly Discovered Autograph Keyboard Music of Purcell and Draghi’, Journal of the Royal Musical Association, 120/1 (1995), pp. 77–111. David Schulenberg, The Keyboard Music of J. S. Bach. (New York: Routledge, 2006). Robert Shay and Robert Thompson, Purcell Manuscripts: the Principal Musical Sources. (Cambridge: Cambridge University Press, 2000). Alexander Silbiger, ‘Tracing the Contents of Froberger’s Lost Autographs’, Current Musicology, 54 (1993): 5–23. Peter Walls, 'The influence of the Italian violin school in 17th-century England.' Early Music (1990) XVIII(4): pp. 575-587. Music J.S. Bach, Clavier-Übung I, ed. Glen Wilson (The Hague: Gemeente Museum, 1983); Candace Bailey, Late-Seventeenth-Century English Keyboard Music: Bodleian Library MS.Mus.Sch and Christ Church, Oxford, Mus. MS. 1177. D.219, Recent Researches in the Music of the Baroque Era 81 (Madison, Wisconsin: AR-Editions, 1997), no. 51. Berlin, Deutsche Staatsbibliothek, MS L.215, facs. edn., ed. with intro. by Alexander Silbiger, Seventeenth-Century Keyboard Music 7 (New York: Garland, 1988). John Blow. Complete Harpsichord Music, ed. R. Klakowich, Musica Britannica, 73 (London; Stainer & Bell, 1998). John Blow’s Anthology. (MS Bruxelles 15.418), ed. Davitt Moroney (London, Stainer and Bell: 1978). Nicolaus Bruhns. Sämtliche Orgelwerke. Edited Klaus Beckmann. (Wiesbaden: Breitkopf, 1972). Albertus Bryne, Keyboard Works for Harpsichord and Organ. Terence Charlston (ed.) and Heather Windram, (Oslo: Norsk Musikforlag, 2009). Giovanni Battista Draghi, Harpsichord Music, ed. Robert Klakowich, Recent Researches in the Music of the Baroque Era 56 (Madison, WI: AR-Editions, 1986). English Pastime Music 1630-1660: An Anthology of Keyboard Pieces. Edited by Martha Maas , Collegium Musicum, Yale University, ser.2, vol.4, (Madison,1974). Christian Flor. Dreizehn & ein Choral: für Clavier nach den Handschriften der Ratsbücherei Lüneburg [mus. ant.pract. 1198 und KN209.] Edited by Jörg Jacobi. (Bremen: Edition Baroque, 2004). ———. Zehn Suiten: für Clavier: nach der Handschrift Mus. ant. pract. 1198 der Ratsbücherei Lüneburg. Edited by Jörg Jacobi. (Bremen: Edition Baroque, 2006). Froberger. New Edition of the Complete Works. Edited Siegbert Rampe. (Kassel: Bärenreiter, 2002), Vol. III, Keyboard and Organ Works and Vol. IV.1, Keyboard and Organ Works.

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Jacques Hardel. Piéces de Clavecin, ed. Denis Herlin (Monaco: Éditions de L'oiseau-lyre, 1991). Harpsichord Music Associated with the Name La Barre, ed. Bruce Gustafson and R. Peter Wolf, The Art of the Keyboard 4 (New York: The Broude Trust, 1999). Matthew Locke, Melothesia, ed. Christopher Hogwood (Oxford: Oxford University Press, 1987). Matthew Locke. Chamber Music: I, transcribed and edited by Michael Tilmouth, Musica Britannica 31 (London: Stainer and Bell, 1971) London, British Library MS Add. 39569 ("Babell MS"). Edited with introduction by Bruce Gustafson, Seventeenth-Century Keyboard Music 19 (New York: Garland, 1987). Lüneburg, Ratsbücherei, Mus. ant. pract. 1198. Introduction by Bruce Gustafson. Seventeenth- Century Keyboard Music, 22. (New York: Garland, 1987). Ottobeuren, Benediktiner-Abtei, Bibliothek und Musik-Archiv MO 1037. Introduction by Robert Hill. Seventeenth-Century Keyboard Music 23 (New York: Garland, 1988). Bernardo Pasquini, Collected Works for Keyboard, ed. Maurice Brooks Haynes, 7 vols., Corpus of Early Keyboard Music 5 (American Institute of Musicology, 1964–1968), ii, no. 24, 26, 33 and 36. Henry Purcell. Twenty Keyboard Pieces and one by Orlando Gibbons, ed. D. Moroney (London: Associated Board, 1999). Perspectives on Purcell: English keyboard music, c.1650–95, ed. Andrew Woolley, Purcell Society Companion Series 6 (London: Stainer and Bell), forthcoming. The Selosse Manuscript: Seventeenth-Century Jesuit Keyboard Music, ed. P. Leech (Bicester; HH Editions, 2008).