Studies on Authorship in Historical Keyboard Music

Contents

• Contents
• Chapter 1 : Conrad Paumann’s Fundamentum? New Light on Authorship in Fifteenth- and Sixteenth-Century Instrumental Music August Rabe
• Chapter 2 : Authorship in Sixteenth-Century Italian Printed Keyboard Music Cristina Cassia
• Chapter 3 : Authorship and Identity in Early English Keyboard Music David J. Smith
• Chapter 4 : Authorship and Improvisation in Sixteenth- and Seventeenth-Century Keyboard Music Andrew Woolley
• Chapter 5 : Chronology, Style and Attribution in the Early Keyboard Suites of J. S. Bach Francis Knights, Pablo Padilla and Mateo Rodriguez
• Chapter 6 : The Authorship of BWV 565: Disputing Former Methodologies and Assessing the Evidence of Five New Manuscript Sources John Scott Whiteley
• Chapter 7 : ‘Es fällt kein Meister vom Himmel’: W. F. Bach’s Juvenilia and the Methods of Creative Imitation Matthew J. Hall
• Chapter 8 : Many Hands Make Light Work: ‘Nel cor più non mi sento’ and Multiple Layers of Authorship at the Keyboard Penelope Cave and Katrina Faulds
• Chapter 9 : Authorship and Authenticity in John and William Crotch’s Original Airs (1803) Alice Little List of Figures Fig.
• 1.1. Conrad Paumann (Franz Trautmann, 1849) Fig.
• 1.2. Franz Liszt (Josef Danhauser, 1840) Fig.
• 5.1. First and second Principal Components of the melodic lines from the allemandes BWV 809, 816-817, 821, 829 and 832-
• 833. Fig.
• 5.2. First and second Principal Components of the bass lines from the allemandes BWV 809, 816-817, 821, 829 and 832-
• 833. Fig.
• 6.1. Kilian’s 1979 stemmata [A
• ‘Autograph’]. Fig.
• 6.2. The only known instances of fermatas in the final bar of BWV 565/
• 1. Upper left: Ritz (Mendelssohn) (reproduced by kind permission of The Bodleian Libraries, University of Oxford, c.103, r1); lower left: Ringk (from Staatsbibliothek zu Berlin: Digitised Collections , ); right : Rara II.134 (reproduced by kind p
• 6.3. Rara II.134 : BWV 565 showing Layers 1 and 2 (darker ink). Reproduced by kind permission of the Bach-Archiv, Leipzig. Fig.
• 6.4. Voß titles. Upper: front cover incipit; lower: main page title. Reproduced by kind permission of the Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Musikabteilung mit Mendelssohn-Archiv. Fig.
• 6.5. Revised stemmata for BWV
• 565. Fig.
• 7.1. An opening in W. F. Bach’s Liber Exercitiorum , showing entries from February 1727 ( D-EIb Mu. Nr.
• 6.1.3. 1, pp. 82–3). Image: Bachhause und Museum, Eisenach, used by permission. Fig.
• 7.2. Clavierbüchlein , fol. 7v; ‘Allemande.’, first system’s clefs, time signature, and pickup notes in the hand of J. S. Bach; otherwise in the hand of W. F. Bach. Image: Bach digital, licensed under a Creative Commons Attribute-NonCommercial
• 4. 0 International License. Fig.
• 7.3. Hypothesis for how W. F. Bach held the Clavierbüchlein open during model composition of BWV 924a. Photo illustration: the author; incorporated image: Bach digital, licensed under a Creative Commons Attribute-NonCommercial
• 4. 0 International License. Fig.
• 8.1. Stationers’ Hall register for July 1796, showing the registration of the Three Original Sonatas under both Dussek’s and Pleyel’s names by Corri, Dussek & Co., Stationers’ Company Archive, TSC/1/E/06/13, image reproduced with permission of the Stat
• 8.2. Title page of Pleyel’s Three Original Sonatas , The Bodleian Libraries, University of Oxford, Mus. Instr. I, 194 (7), Creative Commons licence CC-BY-NC
• 4.0. Fig.
• 8.3. Title page of Dussek’s Three Original Sonatas , © The British Library Board, Music Collections g.
• 150. (
• 7. ). Fig.
• 9.1. John and William Crotch’s Original Airs , p. 14 (exemplar: GB-NWr 11245). Fig.
• 9.2. J. B. Crotch’s tunebook, GB-Lbl Add. MS 30272, p. 26 (fol. 17v), © The British Library Board, used with permission. List of Tables Table
• 1.1. The structures of Loc1 and Erl Table
• 1.2. Synopsis of the structures of Bux6–8 Table
• 3.1. Genres of English secular keyboard music of the Byrd School Table
• 3.2. Intabulation of English dances in manuscripts associated with Sweelinck and his students Table
• 3.3. Ascriptions involving composers of original material and of keyboard settings in the Fitzwilliam Virginal Book Table
• 4.1. Summary of the sources for two voluntaries by Christopher Gibbons Table
• 5.1. Bach’s major keyboard suite collections Table
• 5.2. Miscellaneous early suites attributed to Bach. Table
• 6.1. The manuscripts of BWV 565 known in 1979. Table
• 6.2. The manuscripts of BWV 565 discovered since 1979. Table
• 6.3. BWV 565: main differences in the readings of Ritz (Mendelssohn) and Ringk . Table
• 6.4. BWV 565: different readings in Dröbs and Rara II.134 Layer 1 . Table
• 6.5. Different readings in BWV 565: Ringk and Rara II.134 Layer 1 . Table
• 6.6. Hallmark readings in [P] that are not found in [T] Table
• 7.1. Wilhelm Friedemann Bach’s commonplace books, 1723–1727 Table
• 7.2. Chronological sequence of W. F. Bach’s entries in the Clavierbüchlein List of Music Examples Ex.
• 1.1. Comparison of a discant clause according to Wolff, p.
• 209. Ex.
• 1.2. The clause from Example
• 1. 1 (Loc1, p. 50, line 3–4) without error correction. Ex.
• 3. 1 Transcription of two settings of a symphony by William Lawes for The Triumph of Peace (1634) from a) Anne Cromwell’s Virginal Book , and b) Elizabeth Rogers hir Virginal Book . Ex.
• 3. 2 Opening of an anonymous arrangement of ‘My heart will go on’, the love theme from Titanic . Ex.
• 3.3. Sellingers Rownde. Ex.
• 3.4. ‘fife and drum’. Extract from ‘The battle by mr: bird’ in Priscilla Bunbury’s Virginal Book , fol. 22v. Ex.
• 4.1. Johann Jakob Froberger, Fantasia FbWV 204, bb. 1–8, 53–6 and 73–8: as published in Diverse curiose e rarissime partite (Mainz: Ludwig Bourgeat, 1685) (a); as modified by John Blow (b). Ex.
• 4.2. Jacques Champion de Chambonnières: ‘Allemande La Dunquerque’ (GusC 7) (a); ‘Allemande du même auteur’ (GusC 72) (b). Ex.
• 4.3. Matthew Locke: Almain ( Melothesia , p. 4), first half (a); Almain ( Melothesia , p. 14), first half (b). Ex.
• 4.4. Jacques Champion de Chambonnières, Sarabande (GusC 34) (a) and Jean Henry D’Anglebert, Galliarde (b), bb. 1–16, melodies. Ex.
• 4.5. Johann Jakob Froberger, Ricercare (FbWV 407/407a): as copied into A-Wn Mus. Hs. 18707 (a); as published in François Roberday, Fugues et Caprices a Quatre Parties (Paris: Jean Hanocq, & Jacques Laisné, 1660) (b). Ex.
• 6.1. BWV 565, bb. 57–9 (a); Pachelbel, Fantasia in D minor, bb. 32–3 (Newman 1995) (b); Buxtehude, Praeludium BuxWV 140, b. 4 (Williams 1980) (c). Ex.
• 6.2. J.S. Bach, Cembalo Concerto, BWV 1053/3, bb. 138–40, transposed to D minor (a); C.P.E. Bach, Fugue in D minor, Wq. 119, no. 2, bb. 47–9 (b). Ex.
• 6.3. BWV 565, bb. 60–1 (a); J. P. Kellner, Certamen musicum : Suite in D (N01: 02), Allemande, bb. 5–6 (transposed up a minor sixth) (b). Ex.
• 6.4. C.P.E. Bach, Rondo in A, Wq. 58/1, bb. 79–83 (transposed a major sixth lower) (a); BWV 565, bb. 79–82 (b). Ex.
• 6.5. BWV 565, bb. 116–18 (a); C.P.E. Bach, Solfeggietto in C minor, Wq. 117/1, bb. 1–3 (transposed a tone higher) (b). Ex.
• 6.6. BWV 565, b.
• 72. Ex.
• 6.7. BWV 565/1, the only instances of slurs in bb. 18–
• 19. Ex.
• 7.1. W. F. Bach, Allemande BWV 836, first strain melody. Ex.
• 7.2. BWV 836, parallel structure of bb. 2–5 and bb. 8–
• 12. Ex.
• 7. 3: Johann Richter, Allemande in C (fol. 27v), bb. 2d–5b. Ex.
• 7.4. Triple counterpoint in BWV 927a, mm. 1–
• 4. Ex.
• 7.5. Composition by means of elaborated copying: J. S. Bach, BWV 924, bb. 1–7 (a); W. F. Bach, BWV 924a, bb. 1–8 (b). Ex.
• 7.6. J. S. Bach, BWV 924 mm. 1–7 (a); W. F. Bach, BWV 924a mm. 1–8 (b). List of
• Contributors Cristina Cassia holds a PhD in Musicology co-sponsored by the CESR of Tours and the Université Libre de Bruxelles (ULB - FNRS). From 2018 to 2020 she was researcher at the Schola Cantorum Basiliensis in Basel and then Marie Skłodowska-Curie