Within the confines of a single chapter it is not possible to deal with all of the performance-related aspects of the following works, or groups of works. Taken together, however, these examples demonstrate something of the range and detail of the issues involved in creating historically informed performances.

Most of the material of this chapter is equally applicable to similar parts of the repertory. In some cases, however, the works have been chosen deliberately to demonstrate some more specific points – Mozart's use of the pedalboard, for example. In almost every case there is some comment on the reliability of past and current editions, as well as a discussion about appropriate instruments – important starting points for any historically informed performance.

Louis Couperin's suites

Louis Couperin was born c. 1626 at Chaumes. In 1650 Chambonnières met him and persuaded him to move to Paris, where he made a living as a string and keyboard player. In 1653 he became organist at the church of Saint-Gervais, a post that he held until his death in 1661. A small amount of string chamber music by him survives along with some organ music; but it is as a composer for the harpsichord that he is currently best known. Despite the fact that well over 100 harpsichord pieces by him survive, very little is known about their chronology.

Sources and editions

Louis Couperin died before it was customary for keyboard players in Paris to publish their music.