Editions
Below are links to scores that I have prepared in connection with performances and research. I’ve performed and recorded some of these compositions; others are works that I’ve written about or studied when modern editions were not available. A few of these scores are accompanied by commentaries about sources and readings, but most were not intended to serve as critical editions. They are listed alphabetically by composer. Pieces are for solo keyboard if not otherwise designated.
Latest additions: arrangements of songs in The Beggar’s Opera by John Gay (listed below under the original composer-arranger Pepusch).
Anonymous
Courantes from the Lynar manuscript: keyboard pieces attributed to La Barre, Gautier, and Ballard from an early 17th-century German (?) manuscript (midi file)
Dances from GB Lbl Add. 23623: a courante “La Reine” (Elizabeth of Bohemia), an untitled piece, a Canarie, and a rigadoun (?) from an early 17th-century Dutch manuscript (midi file)
Fantasia from GB Lbl Add. 29486: a keyboard piece from an early 17th-century English (?) manuscript
Fantasia and suite in A minor from the Lynar manuscript: keyboard pieces sometimes attributed to Froberger
Ariosti, Attilio
Il naufragio, cantata for alto, 2 violins, and continuo (parts: vn1, vn2, bc)
Bach, Carl Philipp Emanuel
Keyboard sonatas, concertos, and other works (listed in separate file)
Bach, Johann Christian
Early works for solo keyboard
—Sonata in A minor
—Sonata in A-flat
—Toccata in B-flat minor
—Sonata in B-flat
Sonata in G for two keyboards, op. 15, no. 5
Bach, Johann Sebastian
Completions of fragmentary keyboard works
Suites, sonatas, and partitas for solo instruments, arranged for keyboard
Songs, Arias, and Chorales from the Little Keyboard Book for Anna Magdalena Bach, 1725: realizations and arrangements for solo keyboard
Flute sonatas: BWV 1032 in A (completion of first movement; part: fl)
BWV 1034 in E minor (complete score with continuo realization)
BWV 1035 in E (complete score with continuo realization)
Cantata Selig ist der Mann BWV 57 (parts: vn1/ob1; vn2/ob2; va/ob3; vc/bn/bs; b.c. realization)
Cantata Ich habe genung BWV 82 (reconstruction of version in E minor for soprano with flute and strings) (parts: fl; vn1; vn2; va; vc/bs; b.c. realization)
Triple concerto BWV 1044 (with reconstructions of possible early forms of the 2d movement; parts: fl; solo vn; vn1; vn2; va; vc/bs; solo keyboard).
Trio sonata in G BWV 1038, attributed to J.S. Bach but possibly composed jointly by himself and C.P.E. Bach: reconstruction of putative original version for violin, viola, and basso continuo
score; parts: violin; viola; basso; basso continuo with realization
recording (scroll down or search for “BWV 1038”)
Bach, Wilhelm Friedemann
Keyboard pieces, concertos, and a major vocal composition (listed in separate file); included here are compositions identified since the publication of my book on the composer in 2010
Benda, Franz
Sonata in C minor for viola and basso continuo
score
score with continuo realization
editorial commentary
click here for a recorded performance by Georgina McKay Lodge (viola) with the author
Bernier, Nicolas
Le caffé, cantata for soprano, flute or violin, and basso continuo
score
score with basso continuo realization
parts: flute or violin; basso continuo
recording (Sylvia Maisonet, soprano; live performance, Wagner College, Oct. 25, 2017)
Biffi, Antonio
Amante moribondo: a cantata for soprano and basso continuo, the latter realized by J. S. Bach (reconstruction of Bach’s fragmentary copy included as an appendix in a paper on that subject)
Bull, John (various things left out of the edition of his keyboard music in Musica britannica)
Chromatic Pavan (“Queen Elizabeth’s Pavan”): alternate variation of final strain by Benjamin Cosyn (midi file)
Fantasia 3 on “Vestiva i colli”: Bull’s third composition based on subjects from Palestrina’s madrigal (midi file)
Pavan and Galliard “Sinfonia” (midi file)
Six courantes from GB Lbl Add. 23623: dances with somewhat doubtful attributions from the “Messaus” manuscript (midi file)
Byrd, William. These scores illustrate points I have tried to make in several talks and publications about sources, editions, and performance of Byrd’s keyboard music.
Prelude and Fantasia in A minor, BK 12-13 (midi file)
Lachrymae Pavan and Harding’s Galliard, BK 54-55: elaborated keyboard versions of pieces by John Dowland and James Harding (midi files: Dowland; Harding)
Caccini, Francesca
Six vocal works: O vive rose; Chi desia di saper (with guitar); Dov’io credea (aria di Romanesca); Deh chi gia mai potra (ottave di Romanesca); La pastorella mia (ottave di Romanesca); Laudate Dominum (motet)
Castello, Dario
Sonata II for soprano solo, from Sonate concertate in stil moderno, book 2
Frescobaldi, Girolamo
Three toccatas from Chigi 25
“Toccata di Roma” (attributed to “Hieronimo Ferrabosco”)
Canzona 1 from “Fioretti di Frescobaldi” (performance version)
Froberger, Johann Jacob
Fantasia and Suite in A minor from LyA, pp. 327-31 (sometimes attributed to Froberger)
Two “Partien” (suites) with programmatic titles bearing unlikely attributions to Froberger:
Der Clavier Trampler (Partie in E)
Der naseweise Orgelprobierer (Partie in B-flat)
Gesualdo, Carlo
Canzon franzese del principe (simple and embellished versions shown together)
Graun, Carl Heinrich
Sonata in C for cello and basso continuo, GraunWV B.17.53
score score with realized basso continuo
click here for a recorded performance by Eva Lymenstull (cello) with the author
Graun, Johann Gottlieb
Quartet in D for viola or viola da gamba, flute or violin, second violin, and basso continuo GraunWV A:14:1 (this work treats the viola/gamba as the principal or solo part; there are distinct versions for viola and for gamba respectively)
score and commentary (both versions)
parts (for viola version): flute/violin; violin 2; viola; continuo; realized continuo
recording (Georgina McKay Lodge, viola; live performance, Wagner College, Oct. 25, 2017)
Sonata in A for violin and obbligato keyboard GraunWV C.15.90
This work is also preserved as a trio sonata for flute and violin, or two violins, with continuo.
Sonata in B-flat for viola and obbligato keyboard GraunWV Cv.15.132
Sonata in B-flat for violin and obbligato keyboard GraunWV Av.15.46
part: violin
editorial commentary
performance version including cadenzas, etc.
recording by Augusta McKay Lodge with the author
Sonata in C minor for viola and obbligato keyboard GraunWV Av.15.20
part: viola
recording by Georgina McKay Lodge with the author
Trio sonata in A for violin, viola, and basso continuo GraunWV Av.15.42
score
parts: violin; viola; basso; basso continuo with realization
editorial commentary
Trio sonata in B-flat for violin, viola, and basso continuo GraunWV A.15.16
This work is also playable as a duet for viola and obbligato keyboard, and it is preserved in alternate versions for flute and violin or flute and viola (with continuo)
Trio sonata in G for two violins and continuo GraunWV A.15.11 (described in one source as “Sanguineus and Melancholicus,” like the Programm-Trio by C.P.E. Bach)
parts: violin 1; violin 2; continuo
recording (played on violin and obbligato harpsichord, Jude Ziliak, violin)
version for flute, violin, and continuo; parts: flute; violin; continuo
Handel, George Frideric
Armida abbandonata HWV 105, cantata for soprano, 2 violins, and basso continuo:
score
score with basso continuo realization
string parts (players will probably prefer to play from scores except in the aria no. 5)
recording (Sylvia Maisonet, soprano: live performance, Wagner College, Oct. 25, 2017)
Suite in C minor for two harpsichords HWV 446 (with reconstruction of first part)
Quartet in B-flat for flute, violin, viola, and basso continuo (assuredly not by Handel, but attributed to him in a manuscript copy that is of interest as having belonged to Sara Levy; see p. 1 of the score): score; audio (midi)
Hasse, Johann Adolf
Bell’Aurora, cantata for alto, flute, and continuo (part: fl)
“Digli ch’io son fedele” from Cleofide, with embellishments and cadenza by Frederick II “the Great” of Prussia
Jacquet de La Guerre, Elizabeth
Susanne, cantata for soprano and basso continuo; score with continuo realization; text and translation
Janitsch, Johann Gottlieb
Trio sonata in G minor for violin, viola, and basso continuo
score
parts: violin viola basso basso continuo (realized)
Kirnberger, Johann Philipp
Sonata in C for cello and continuo
Krebs, Johann Ludwig
Double concerto in B minor for keyboard, flute (?), and strings (score)
flute part
Mara, Ignaz
Concerto in E-flat for viola, strings, and continuo
—same, with a hypothetical reconstruction of the solo part for cello
Pasquini, Bernardo
Suite in F (no. 3 from the autograph manuscript Berlin, Staatsbibliothek, L.215)
Pasquini, Ercole
Romanesche (keyboard variations on La Romanesca)
Toccata in G (Shindle no. 6, Kenyon no. 8)
Pepusch, John Christopher
Music for The Beggar’s Opera by John Gay
notes on my arrangements
overture: score audio
songs in Act 1 (incorporating Pepusch’s basses): score audio
songs in Act 2 (incorporating Pepusch’s basses): score audio
songs in Act 3 (incorporating Pepusch’s basses): score audio
a spreadsheet listing songs, their sources, characters who sing them, etc.
Purcell, Henry
“Dido’s Lament” from Dido and Aeneas, for soprano, strings, and continuo (parts: vn1, vn2, va, bc)
Racquet, Charles
Fantasia in d (from a manuscript inserted into a Paris copy of Mersenne’s Harmonie universelle) (midi file)
Quantz, Johann Joachim
Sonata in B minor for flute 1, flute 2 or violin, and continuo, QV 2:43 (parts: fl1, fl2/vn, vc; cadenza for mvt. 3)
Sonata in C for flute, recorder, and continuo, QV 2:Anh.3 (parts: fl, rec, vc; cadenza for mvt. 3)
Soncino, Emanuel
Two pieces: a fragmentary prelude, completed editorially, and a chromatic fantasia, both from early seventeenth-century English manuscripts (midi file)
Telemann, Georg Philipp
Concerto in G for two concertato violins, two ripieno violins, viola, and continuo, TWV 52:G2, preserved in, and in part edited from, a manuscript copy by J.S. Bach (midi audio file)
Ich will den Kreuzweg gerne gehen, TWV 1:884, a very early cantata for bass voice, violin, and basso continuo, on a text by Erdmann Neumeister (part: vn) (midi audio file)
“Horche nur, dort regt sich was,” the opening aria from the cantata TWV 1:806, which C.P.E. Bach praised for so vividly depicting fear and astonishment that the words are unnecessary (midi audio file)
Sonata (Concerto) in A for flute, violin (or oboe d’amore), and basso continuo, TWV 42:A9 (parts: fl, vn/ob, b.c.). I discussed this piece, probably one of Telemann’s earliest flute works, in an article in Bach Perspectives, vol. 7 (2008). From a performance at Chapel Hill, Jan. 13, 1998: mvt. 1; mvt. 2; mvt. 3
Woltman, Melchior
Lucidor: a mysterious piece attributed to “MW” in a German (?) early seventeenth-century manuscript (probably not Matthias Weckmann) (midi file)