This book, the first of its kind, is a study of Bolognese instrumental music during the height of the city's musical activity in the late seventeenth century. The period"marked by a rapid expansion of the cappella musicale of the principal city church, San Petronio, by the founding of the Accademia Filarmonica, and by increasingly lavish patronage of musical events"witnessed the proliferation of repertory for instrumental ensembles. This music not only reveals crucial stages in the development of the sonata and concerto but also recalls the elaborate church rituals and the opulent public and private celebrations in which they figured prominently. Moreover, the late seventeenth century saw the heyday of Bolognese music publishing, whose output of sonatas and related instrumental genres easily surpassed that of the once-dominating Venetian presses. The approach taken here departs from composer- and genre-centered monographs on Italian instrumental music in order to illuminate an array of topics that center on the Bolognese repertory: the social condition of instrumentalist-composers; the acumen of music publishers in the creation of the repertory; the diverse contexts of the instrumental dances; the influence of liturgical traditions on sonata topoi; the impact of psalmodic practice on tonal style; and the innovative climate that led to experiments with scoring and form in the earliest instrumental concertos. In sum, this book not only illustrates the historically significant and defining features of the music, but also links the surviving repertory to the flourishing musical culture in which it was created.

At the end of his second year in Leipzig, J.S. Bach composed nine sacred cantatas to texts by Leipzig poet Mariane von Ziegler (1695-1760). Despite the fact that these cantatas are Bach's only compositions to texts by a female poet, the works have been largely ignored in the Bach literature. Ziegler was Germany's first female poet laureate, and the book highlights her significance in early eighteenth-century Germany and her commitment to advancing women's rights of self-expression. Peters enriches and enlivens the account with extracts from Ziegler's four published volumes of poetry and prose, and analyses her approach to cantata text composition by arguing that her distinctive conception of the cantata as a genre encouraged Bach's creative musical realizations. In considering Bach's settings of Ziegler's texts, Peters argues that Bach was here pursuing a number of compositional procedures not common in his other sacred cantatas, including experimentation with the order of movements within a cantata, with formal considerations in arias and recitatives, and with the use of instruments, as well as innovative approaches to Vox Christi texts and to texts dealing with speech and silence. A Woman's Voice in Baroque Music is the first book to deal in depth with issues of women in music in relation to Bach, and one of the few comprehensive studies of a specific repertory of Bach's sacred cantatas. It therefore provides a significant new perspective on both Ziegler as poet and cantata librettist and Bach as cantata composer.

As shown by the ever-increasing volume of recordings, editions and performances of the vast repertory of secular cantatas for solo voice produced, primarily in Italy, in the second half of the seventeenth century and the first half of the eighteenth century, this long neglected genre has at last 'come of age'. However, scholarly interest is currently lagging behind musical practice: incredibly, there has been no general study of the Baroque cantata since Eugen Schmitz's handbook of 1914, and although many academic theses have examined microscopically the cantatas of individual composers, there has been little opportunity to view these against the broader canvas of the genre as a whole. The contributors in this volume choose aspects of the cantata relevant to their special interests in order to say new things about the works, whether historical, analytical, bibliographical, discographical or performance-based. The prime focus is on Italian-born composers working between 1650 and 1750 (thus not Handel), but the opportunity is also taken in one chapter (by Graham Sadler) to compare the French cantata tradition with its Italian parent in association with a startling new claim regarding the intended instrumentation. Many key figures are considered, among them Tomaso Albinoni, Giovanni Bononcini, Giovanni Legrenzi, Benedetto Marcello, Alessandro Scarlatti, Alessandro Stradella, Leonardo Vinci and Antonio Vivaldi. The poetic texts of the cantatas, all too often treated as being of little intrinsic interest, are given their due weight. Space is also found for discussions of the history of Baroque solo cantatas on disc and of the realization of the continuo in cantata arias - a topic more complex and contentious than may at first be apparent. The book aims to stimulate interest in, and to win converts to, this genre, which in its day equalled the instrumental sonata in importance, and in which more than a few composers invested a major part of their creativity.

The late 17th century through to the end of the 18th century saw rapid progress in the development of woodwind instruments and the composition of a vast body of music for those instruments. During this period a large amount of music for domestic consumption was written for a growing amateur market, a market which has regrown in the latter part of the 20th century. The last 30 years has also seen the standard of performance by professionals on these instruments rise enormously. This book provides a guide to the history of the four main woodwind instruments of the Baroque, the flute, oboe, recorder and bassoon, and this is complemented by a repertoire list for each instrument. It also guides those interested towards a basic technique for playing these instruments - a certain level of musical literacy is assumed - and it can be used by students, professionals and amateurs. Advice is also given on buying a suitable reproduction instrument from a market where now virtually any Baroque instrument can be obtained as a faithful copy. This is the first book of its kind and has its origins in the wind tutors of the 18th century.

Giovanni Battista Buonamente was among the most original and inventive Italian composers of the seventeenth century. Peter Allsop reveals his importance as part of a tradition that stands in direct antithesis to that of the Corellian sonata today regarded as the 'norm'. This development is traced in a series of likely teacher-pupil relationships from Salamone Rossi to Marco Uccellini, the most prolific Italian composers of instrumental ensemble music in the first half of the seventeenth century. The first half of the book sets out what is known of Buonamente's turbulent career as he moved from the courtly environments of the Gonzaga household and Habsburg court to several less auspicious posts at various religious institutions, ending his life as maestro di cappella at the mother house of his order, S. Francesco in Assisi. A fascinating picture emerges of the nature of musical patronage against a background of war and plague in this time of great political instability. The later chapters comprise detailed discussions, supported with over 100 music examples, of the unusually wide range of genres for which Buonamente wrote: sinfonias, free sonatas, sets of variations, canzonas, dances; and he was the first Italian to cultivate the ensemble suite to any extent. The book concludes with an examination of his influence on his probable pupil Marco Uccellini and the interest Buonamente instigated in canonic writing, which was passed via Uccellini to a succession of Modenese composers.

The life and career of George Frideric Handel, one of the most frequently performed composers from the Baroque period, are copiously and intricately documented through a huge variety of contemporary sources. This multi-volume major publication is the most up-to-date and comprehensive collection of these documents. Presented chronologically in their original languages with English translations and with commentaries incorporating the results of recent research, the documents provide an essential and accessible resource for anyone interested in Handel and his music. As well as being an outstanding musician with a successful career as a composer of Italian operas and English oratorios, Handel was a well-known figure in his own lifetime, with an international reputation. In charting his activities in Germany, Italy and Britain, the documents also offer a valuable insight into broader eighteenth-century topics, such as court life, theatrical history, public concerts and competition between music publishers. This volume includes family documents from Halle, then covers Handel's early career in Germany and Italy, followed by the period in which he became an established composer for London's Italian opera company while also writing the Water Music and the Utrecht Te Deum for the British court.

In the writings of Nicola Vicentino (1555) and Gioseffo Zarlino (1558) is found, for the first time, a systematic means of explaining music's expressive power based upon the specific melodic and harmonic intervals from which it is constructed. This "theory of interval affect" originates not with these theorists, however, but with their teacher, influential Venetian composer Adrian Willaert (1490-1562). Because Willaert left no theoretical writings of his own, Timothy McKinney uses Willaert's music to reconstruct his innovative theories concerning how music might communicate extramusical ideas. For Willaert, the appellations "major" and "minor" no longer signified merely the larger and smaller of a pair of like-numbered intervals; rather, they became categories of sonic character, the members of which are related by a shared sounding property of "majorness" or "minorness" that could be manipulated for expressive purposes. This book engages with the madrigals of Willaert's landmark Musica nova collection and demonstrates that they articulate a theory of musical affect more complex and forward-looking than recognized currently. The book also traces the origins of one of the most widespread musical associations in Western culture: the notion that major intervals, chords and scales are suitable for the expression of happy affections, and minor for sad ones. McKinney concludes by discussing the influence of Willaert's theory on the madrigals of composers such as Vicentino, Zarlino, Cipriano de Rore, Girolamo Parabosco, Perissone Cambio, Francesco dalla Viola, and Baldassare Donato, and describes the eventual transformation of the theory of interval affect from the Renaissance view based upon individual intervals measured from the bass, to the Baroque view based upon invertible triadic entities.

Nicholas Lanier (1588-1666) was not only the first person to hold the office of Master of the Music to King Charles I, he was also a practising painter, a friend of Rubens, Van Dyck and many other artists of his time, and one of the very first great art collectors and connoisseurs. He is especially remembered for the part he played in acquiring, on behalf of Charles I, the famous collection of paintings belonging to the Gonzaga family of Mantua. Many of these paintings still form an important part of the Royal Collection today. In this book the different strands of Lanier's colourful life are for the first time drawn together and presented in a single compelling narrative.

Winner of the Nicholas Bessaraboff Prize Musical repertory of great importance and quality was performed on viols in sixteenth- and early seventeenth-century England. This is reported by Thomas Mace (1676) who says that 'Your Best Provision' for playing such music is a chest of old English viols, and he names five early English viol makers than which 'there are no Better in the World'. Enlightened scholars and performers (both professional and amateur) who aim to understand and play this music require reliable historical information and need suitable viols, but so little is known about the instruments and their makers that we cannot specify appropriate instruments with much precision. Our ignorance cannot be remedied exclusively by the scrutiny or use of surviving antique viols because they are extremely rare, they are not accessible to performers and the information they embody is crucially compromised by degradation and alteration. Drawing on a wide variety of evidence including the surviving instruments, music composed for those instruments, and the documentary evidence surrounding the trade of instrument making, Fleming and Bryan draw significant conclusions about the changing nature and varieties of viol in early modern England.

The concept of stylus phantasticus (or 'fantastic style') as it was expressed in free keyboard music of the north German Baroque forms the focus of this book. Exploring both the theoretical background to the style and its application by composers and performers, Paul Collins surveys the development of Athanasius Kircher's original concept and its influence on music theorists such as Brossard, Janovka, Mattheson, and Walther. Turning specifically to fantasist composers of keyboard works, the book examines the keyboard toccatas of Merulo, Fresobaldi, Rossi and Froberger and their influence on north German organists Tunder, Weckmann, Reincken, Buxtehude, Bruhns, Lubeck, Bohm, and Leyding. The free keyboard music of this distinguished group highlights the intriguing relationship at this time between composition and performance, the concept of fantasy, and the understanding of originality and individuality in seventeenth-century culture.

Dance music at the courts of seventeenth-century Germany is a genre that is still largely unknown. Dr Michael Robertson sets out to redress the balance and study the ensemble dance suites that were played at the German courts between the end of the Thirty Years War and the early years of the eighteenth century. At many German courts during this time, it was fashionable to emulate everything that was French. As part of this process, German musicians visited Paris throughout the second half of the seventeenth century, and brought French courtly music back with them on their return. For the last two decades of the century, this meant the works of Jean-Baptiste Lully, and his music and its influence spread rapidly through the courts of Europe. Extracts from Lully's dramatic stage works were circulated in both published editions and manuscript. These extracts are considered in some detail, especially in terms of their relationship to the suite. The nobility also played their part in this process: French musicians and German players with specialist knowledge were often hired to coach their German colleagues in the art of playing in the French manner, the franzAsischer Art. The book examines the dissemination of dance music, instrumentation and performance practice, and the differences between the French and Italian styles. It also studies the courtly suites before the advent of Lullism and the differences between the suites of court composers and town musicians. With the possible exception of Georg Muffat's two Florilegium collections of suites, much of the dance music of the German Lullists is largely unknown; court composers such as Cousser, Erlebach, Johann Fischer and Johann Caspar Ferdinand Fischer all wrote fine collections of ensemble suites, and these are examined in detail. Examples from these suites, some published for the first time, are given throughout the book in order to demonstrate the music's quality and show that its neglect is completely unjustified.

After more than three centuries of silence, the voice of Francesco Cavalli is being heard loud and clear on the operatic stages of the world. The coincidence of productions at La Scala (Milan) and Covent Garden (London) in the same month (September 2008) of two different operas signals a new stage in the recovery of these extraordinary works, confined until now to special venues committed to 'early music'-opera festivals, conservatory, and university productions. The works of the composer who is credited with having invented the genre of opera as we know it are finally enjoying a renaissance. A new edition of Cavalli's twenty-eight operas is in preparation, and the composer and his works are at the center of a great deal of new scholarship ranging from the study of sources and production issues to the cultural context of opera of this period. In the face of such burgeoning interest, this collection of essays considers the Cavalli revival from various points of view. In particular, it explores the multiple issues involved in the transformation of an operatic manuscript into a performance. Although focused on the works of Cavalli, much of this material can transfer easily to other operatic repertoires. Following an introductory part, reflecting back on four decades of Cavalli performances by some of the conductors responsible for the revival of interest in the composer, the collection is divided into four further parts: The Manuscript Scores, Giasone: Production and Interpretation, Making Librettos, and Cavalli Beyond Venice.

For centuries, the augmented sixth sonority has fascinated composers and intrigued music analysts. Here, Dr Mark Ellis presents a series of musical examples illustrating the 'evolution' of the augmented sixth and the changing contexts in which it can be found. Surprisingly, the sonority emerged from one of the last remnants of modal counterpoint to survive into the tonal era: the Phrygian Cadence. In the Baroque period, the 'terrible dissonance' was nearly always associated with negative textual imagery. Charpentier described the augmented sixth as 'poignantly expressive'. J. S. Bach considered an occurrence of the chord in one of his forebear's motets 'remarkably bold'. During Bach's composing lifetime, the augmented sixth evolved from a relatively rare chromaticism to an almost commonplace element within the tonal spectrum; the chord reflects particular chronological and stylistic strata in his music. Theorists began cautiously to accept the chord, but its inversional possibilities proved particularly contentious, as commentaries by writers as diverse as Muffat, Marpurg and Rousseau reveal. During the eighteenth century, the augmented sixth became increasingly significant in instrumental repertoires - it was perhaps Vivaldi who first liberated the chord from its negative textual associations. By the later eighteenth century, the chord began to function almost as a 'signpost' to indicate important structural boundaries within sonata form. The chord did not, however, entirely lose its darker undertone: it signifies, for example, the theme of revenge in Mozart's Don Giovanni. Romantic composers uncovered far-reaching tonal ambiguities inherent in the augmented sixth. Chopin's Nocturnes often seem beguilingly simple, but the surface tranquillity masks the composer's strikingly original harmonic experiments. Wagner's much-analyzed 'Tristan Chord' resolves (according to some theorists) on an augmented sixth. In Tristan und Isolde, the chord's mercurial character - its tonal ambivalence - symbolizes the 'distortion of reality' induced by the Magic Potion. As Schoenberg wrote, the chord of the augmented sixth stands 'on the fringes of tonality'. The book concludes with a discussion of the role of the chord in the decay of the tonal system, and its 'afterlife' in the post-tonal era. This book will appeal to music analysts by providing a chronological framework for further stylistic and harmonic analysis. To ensure its accessibility in graduate classes, the author includes a straightforward introduction to the augmented sixth and its theoretical background.

The tercentenary of Marc-Antoine Charpentier's death in 2004 stimulated a surge of activity on the part of performers and scholars, confirming the modern assessment of Charpentier (1643-1704) as one of the most important and inventive composers of the French Baroque. The present book provides a snapshot of Charpentier scholarship in the early years of the new century. Its 13 chapters illustrate not only the sheer variety of strands currently pursued, but also the way in which these strands frequently intertwine and generate the potential for future research. Between them, they examine facets of the composer's compositional language and process, aspects of his performance practice and notation, the contexts within which he worked, and the nature of his legacy. The appendix contains a transcription of the inventory of Charpentier's manuscripts prepared when their sale to the Royal Library was negotiated in 1726 - an invaluable research tool, as numerous chapters in the book demonstrate. The wide variety of topics covered here will appeal both to readers interested in Charpentier's music and to those with a broader interest in the music and culture of the French Baroque, including aspects of patronage, church and theatre. Far from treating his output in isolation, this book places it in the wider context alongside such composers as Lully, Lalande, Marais, FranAois Couperin and Rameau; it also views the composer in relation to his Italian training. In the process, the under-examined question of influence - who influenced Charpentier? whom did he influence? - repeatedly comes to the fore. The book's Foreword was written by H. Wiley Hitchcock shortly before he died. Hitchcock's own part in raising the profile of Charpentier and his music to the level of recognition which it now enjoys cannot be emphasized enough. Appropriately the volume is dedicated to his memory.

The most important figure of seventeenth-century Neapolitan music, Francesco Provenzale (1624-1704) spent his long life in the service of a number of Neapolitan conservatories and churches, culminating in his appointment as maestro of the Tesoro di S. Gennaro and the Real Cappella. Provenzale was successful in generating significant profit from a range of musical activities promoted by him with the participation of his pupils and trusted collaborators. Dinko Fabris draws on newly discovered archival documents to reconstruct the career of a musician who became the leader of his musical world, despite his relatively small musical output. The book examines Provenzale's surviving works alongside those of his most important Neapolitan contemporaries (Raimo Di Bartolo, Sabino, Salvatore and Caresana) and pupils (Fago, Greco, Veneziano and many others), revealing both stylistic similarities and differences, particularly in terms of new harmonic practices and the use of Neapolitan language in opera. Fabris provides both a life and works study of Provenzale and a conspectus of Neapolitan musical life of the seventeenth century which so clearly laid the groundwork for Naples' later status as one of the great musical capitals of Europe.

Research in the field of keyboard studies, especially when intimately connected with issues of performance, is often concerned with the immediate working environments and practices of musicians of the past. An important pedagogical tool, the keyboard has served as the 'workbench' of countless musicians over the centuries. In the process it has shaped the ways in which many historical musicians achieved their aspirations and went about meeting creative challenges. In recent decades interest has turned towards a contextualized understanding of creative processes in music, and keyboard studies appears well placed to contribute to the exploration of this wider concern. The nineteen essays collected here encompass the range of research in the field, bringing together contributions from performers, organologists and music historians. Questions relevant to issues of creative practice in various historical contexts, and of interpretative issues faced today, form a guiding thread. Its scope is wide-ranging, with contributions covering the mid-sixteenth to early twentieth century. It is also inclusive, encompassing the diverse range of approaches to the field of contemporary keyboard studies. Collectively the essays form a survey of the ways in which the study of keyboard performance can enrich our understanding of musical life in a given period.

Musicology, having been transmitted as a compilation of disparate events and disciplines, has long necessitated a 'magic bullet', a 'unified field theory' so to speak, that can interpret the steady metamorphosis of Western art music from late medieval modality to twentieth-century atonality within a single theoretical construct. Without that magic bullet, discussions of this kind are increasingly complicated and, to make matters worse, the validity of any transformational models and ideas of the natural evolution of styles is questioned and even frowned upon today as epitomizing a grotesque teleological bigotry. Going against current thinking, Henry Burnett and Roy Nitzberg claim that the teleological approach to observing stylistic change is still valid when considered from the purely compositional perspective. The authors challenge the traditional understanding of development, and advance a new theory of eleven-pitch tonality as it relates to the corpus of Western composition. The book plots the evolution of tonality and its bearing on style and the compositional process itself. The theory is not based on the diatonic aspect of the various tonal systems exploited by composers; rather, the theory is chromatically based - the chromatically inflected octave being the source not only of a highly ingenious developmental dialectic, but also encompassing the moment-to-moment progression of the musical narrative itself. Even the most profound teachings of Schenker, and the often startlingly original and worthwhile speculations of Riemann, Tovey, Dahlhaus and others, still provide no theory of development and so are ultimately unable to unite the various tendrils of the compositional organism into a unified whole. Burnett and Nitzberg move beyond existing theory and analysis to base their theory from the standpoint of chromatic 'pitch fields'. These fields are the specific chromatic pitch choices that a composer uses to inform and design a complete composition, utilizing specific chromatic inflections to control a large-scale working out process that is the very essence of 'development'. In short, the authors claim that a chromatic background that coexists with a diatonic contrapuntal background may define the process of compositional development. These chromatic and diatonic events are the two genus expressions of slowly unfolding tonic octaves.

Johann Joseph Fux's reputation as a theorist and the long-term influence of his theoretical and pedagogical work have ensured that his name is widely known in music circles in the West. His pre-eminence as the foremost native-born composer of the Austrian Baroque has resulted in attention being focused on his work as an exemplum of virtually every genre, sacred or secular of Austro-Italian early eighteenth-century music. The publication of the Fux Gesamtausgabe has greatly enhanced the reputation of his music and the essays in this volume will develop our understanding of Fux, his music, and his place in musical history.

Based on primary sources, many of which have never been published or examined in detail, this book examines the music of the late seventeenth-century composers, Biber, Schmeltzer and Muffat, and the compositions preserved in the extensive Moravian archives in Kromeriz. These works have never before been fully examined in the cultural and conceptual contexts of their time. Charles E. Brewer sets these composers and their music within a framework that first examines the basic Baroque concepts of instrumental style, and then provides a context for the specific works. The dances of Schmeltzer, for example, functioned both as incidental music in Viennese operas and as music for elaborate court pantomimes and balls. These same cultural practices also account for some of Biber's most programmatic music, which accompanied similar entertainments in Kromeriz and Salzburg. The many sonatas by these composers have also been misunderstood by not being placed in a context where it was normal to be entertained in church and edified in court. Many of the works discussed here remain unpublished but have, in recent years, been recorded. This book enhances our understanding and appreciation of these recordings by providing an analysis of the context in which the works were first performed.

A ground-breaking study of the rise of the catch and glee in Georgian England. The rise of the catch and glee in Georgian England represents a rare example of indigenous forms establishing themselves within a wide musical and social context. This study examines a phenomenon that has to date been largely overlooked by historians. Taking the 17th-century background as a starting point, it moves on to a detailed account of the clubs formed to propagate the two genres, placing them within the ambiance of the thriving club life of Londonand the provinces. The success of the London Catch Club and its emulators in encouraging the creation of a large and popular repertoire that would come to assume nationalistic significance is reflected by the incursion of the catch and glee into mainstream concert life and the theatre. The volume concludes with a discussion of the glee in relation to the aesthetics of the period and a brief survey of its subsequent reputation among musicians and historians.

Drawing upon a rich array of sources from archives in Leipzig, Dresden and Halle, Tanya Kevorkian illuminates culture in Leipzig before and during J.S. Bach's time in the city. Working with these sources, she has been able to reconstruct the contexts of Baroque and Pietist cultures at key periods in their development much more specifically than has been done previously. Kevorkian shows that high Baroque culture emerged through a combination of traditional frameworks and practices, and an infusion of change that set in after 1680. Among other forms of change, new secular arenas appeared, influencing church music and provoking reactions from Pietists, who developed alternative meeting, networking and liturgical styles. The book focuses on the everyday practices and active roles of audiences in public religious life. It examines music performance and reception from the perspectives of both 'ordinary' people and elites. Church services are studied in detail, providing a broad sense of how people behaved and listened to the music. Kevorkian also reconstructs the world of patronage and power of city councillors and clerics as they interacted with other Leipzig inhabitants, thereby illuminating the working environment of J.S. Bach, Telemann and other musicians. In addition, Kevorkian reconstructs the social history of Pietists in Leipzig from 1688 to the 1730s.

The period covered by this volume, roughly from Purcell to Elgar, has traditionally been seen as a dark age in British musical history. Much has been done recently to revise this view, though research still tends to focus on London as the commercial and cultural hub of the British Isles. It is becoming increasingly clear, however, that by the mid-eighteenth century musical activity outside London was highly distinctive in terms of its reach, the way it was organized, and its size, richness, and quality. There was an extraordinary amount of musical activity of all sorts, in provincial theatres and halls, in the amateur orchestras and choirs that developed in most towns of any size, in taverns, and convivial clubs, in parish churches and dissenting chapels, and, of course, in the home. This is the first book to concentrate specifically on musical life in the provinces, bringing together new archival research and offering a fresh perspective on British music of the period. The essays brought together here testify to the vital role played by music in provincial culture, not only in socializing and networking, but in regional economies and rivalries, demographics and class dynamics, religion and identity, education and recreation, and community and the formation of tradition. Most important, perhaps, as our focus shifts from London to the regions, new light is shed on neglected figures and forgotten repertoires, all of them worthy of reconsideration.

FranAois Couperin's contribution to the literature of baroque keyboard music has long been recognized. FranAois Couperin and 'The Perfection of Music' updates and expands upon David Tunley's valuable 1982 BBC Music Guide to the composer, and examines the whole of Couperin's output including the organ masses, motets and chamber music, in addition to the well-known works for harpsichord. Taking as its focal point Couperin's concept of the perfection of music through the union of the French and Italian styles, this book takes a more analytical approach to Couperin's work. Early chapters outline the main contrasting features of the two schools in the seventeenth- and early eighteenth-centuries, and it becomes clear that Couperin's expressive power owed much to his fusion of the polarities of the French classical tradition with that of the Italian baroque. The book features a number of appendices, including the prefaces to Couperin's work both in the original French and in English translation, and a glossary of dances of the French baroque.

Although he is the son of J. S. Bach, C. P. E. Bach is an important composer in his own right, this long-awaited annotated bibliography presents a complete listing of the works of C. P. E. Bach. This volume in the RoutledgeMusic Bibliographies series includes many different aspects of his work: the editing of his father's masterpieces, his concertos and sonatas and theoretical essays. Doris Powers also collects writings that consider C. P. E. Bach's influence, the reception of his works and the cultural milieu in which Bach composed.

First Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.