Andrew Woolley is a musicologist and Invited Researcher at CESEM, the Centre for the Study of the Sociology and Aesthetics of Music at the Universidade Nova de Lisboa. He is currently co-investigator for the Portuguese-government, FCT-financed project, 'Music paper and handwriting studies in Portugal (18th and 19th centuries): the case study of the collection of the Count of Redondo'.

List of figures

List of tables

List of music examples

List of contributors

List of abbreviations

Manuscript (RISM) Sigla

Introduction

ANDREW WOOLLEY

1 Conrad Paumann's fundamentum? New light on authorship in fifteenth- and sixteenth-century instrumental music

AUGUST VALENTIN RABE

2 Authorship in sixteenth-century Italian printed keyboard music

CRISTINA CASSIA

3 Authorship and identity in early English keyboard music

DAVID J. SMITH

4 Authorship and improvisation in sixteenth- and seventeenth-century keyboard music

ANDREW WOOLLEY

5 Chronology, style and attribution in the early keyboard suites of J. S. Bach

FRANCIS KNIGHTS, PABLO PADILLA AND MATEO RODRIGUEZ

6 The authorship of BWV 565: Disputing former methodologies and assessing the evidence of five new manuscript sources

JOHN SCOTT WHITELEY

7 'Es fällt kein Meister vom Himmel': W. F. Bach's juvenilia and the methods of creative imitation

MATTHEW J. HALL

8 Many hands make light work: 'Nel cor piu non mi sento' and multiple layers of authorship at the keyboard

PENELOPE CAVE AND KATRINA FAULDS

9 Authorship and authenticity in John and William Crotch's Original Airs (1803)

ALICE LITTLE

Index

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 permission of the Bach-Archiv, Leipzig).

Fig. 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 Stationers' Company.
Fig. 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, (c) 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), (c) 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 Sk¿odowska-Curie Fellow at the University of Padua.

Penelope Cave is an international prize-winning harpsichordist and specialist in early keyboards, and has taught, performed and broadcast throughout Europe. She was awarded a doctorate at the University of Southampton in 2014, funded by the AHRC and the National Trust, on music in the English country house.

Katrina Faulds is a musicologist with research interests in domestic music collections and social dance music of the eighteenth and nineteenth centuries. She was a postdoctoral research fellow on the AHRC-funded 'Music, Home and Heritage' project and a historical consultant on the HEIF-funded 'Re-sounding the Past: Decolonising Sonic Heritage Spaces' project.

Matthew Hall Matthew J. Hall is a lecturer in music at Ithaca College, where he teaches music history, theory, and organ and harpsichord performance, and managing editor of the Journal of Musicology. His research focuses on J. S. Bach and extends to compositional process, apprenticeship, and issues of borrowing and authorship in the early modern period (1400-1800).

Francis Knights is a Fellow & Tutor at Fitzwilliam College, University of Cambridge, Editor of Harpsichord & Fortepiano and Chairman of the National Early Music Association, UK. He has research interests in organology, pedagogy, performance practice and manuscript sources. He is a busy recitalist, and has...