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Published online by Cambridge University Press: 30 August 2017
It is well known that the instrumentation of eighteenth-century chamber music was highly flexible; composers frequently adapted their own works for a variety of instruments, and players often used whatever combinations they had available. One type of arrangement little used today but attested to in both verbal description and musical manuscripts of the period is that of trios and other chamber works adapted for two keyboard instruments. Players often executed such keyboard-duo arrangements on instruments with different mechanisms and timbres – for example, harpsichord and piano together – thus capturing something of the variety of timbres available in a mixed chamber ensemble.
Keyboard duos were often played by members of a single family, or by teachers and students together, a practice that allowed for the construction of a sense of ‘sympathy’ – mutual understanding through shared experience and sentiment – between the players. These players shared common physical gestures at the instruments, which reinforced the emotional content of the music; this fostered the formation of a sympathetic connection even as players retained their individual identities.
Earlier versions of this paper were presented at the conference ‘Forte/Piano: A Festival Celebrating Pianos in History’, Cornell University, 5–9 August 2015, and at the annual meeting of the American Musicological Society, Louisville, 12–15 November 2015. I am grateful to Christoph Wolff for suggesting the idea that inspired this study and to Yi-heng Yang for collaborating with me in bringing the harpsichord–piano combination to life. My thanks to James Webster, as well as the anonymous reviewers for this journal, for providing valuable feedback on earlier drafts, and to Kristina Muxfeldt for offering guidance on German translations. Douglas Johnson read and commented on multiple versions of this piece, and I am grateful for his patience and his generosity.
1 Burney, Charles, The Present State of Music in Germany, the Netherlands, and United Provinces: Or, The Journal of a Tour Through Those Countries, Undertaken to Collect Materials for A General History of Music, two volumes, second edition (London: T. Becket, J. Robson and G. Robinson, 1775)Google Scholar, volume 1, 341.
2 Two terms employed throughout this study require some explanation. First, for the purpose of efficient communication, I use the term ‘arrangement’ even though, as I discuss below, it does not fully capture the fluidity of the work concept in chamber music of this period. Yet the term is commonly used in discussions today, as can be seen in the references that follow. Second, the term ‘performance’ is likewise difficult, since it carries connotations so strongly associated with later repertoire and venues. As will be made clear throughout this article, the keyboard duos that I am describing were primarily used within closed domestic circles – either by teacher and student, or by members of a single family – and even if there were listeners who heard them, the music served foremost a social function. It was music made in company, not music made primarily for listeners disassociated from the players. The term ‘performance’, then, is applied here, in the absence of a satisfying alternative, again for the sake of efficient communication.
3 The terminology used in the eighteenth century to refer to keyboard instruments with a hammer mechanism was as varied as the instruments themselves. Throughout this article, following Malcolm Bilson, I use the term ‘piano’ to refer to all such instruments, to emphasize the continuity between the eighteenth-century varieties of those instruments and later types. See, for example, the fluid terminology used in Bilson, Malcolm, ‘The Viennese Fortepiano of the Late 18th Century’, Early Music 8/2 (1980), 158–162.CrossRefGoogle Scholar
4 Opposing positions on the notion of the ‘work concept’ – including discussions of its relative fluidity in the eighteenth century and its relative stability in the nineteenth century – are in Goehr, Lydia, The Imaginary Museum of Musical Instruments (Oxford: Oxford University Press, 1992)Google Scholar, and White, Harry, ‘“If It's Baroque, Don't Fix It”: Reflections on Lydia Goehr's “Work Concept” and the Historical Integrity of Musical Composition’, Acta musicologica 69/1 (1997), 94–104 CrossRefGoogle Scholar.
5 See Breig, Werner, ‘The Instrumental Music’, in The Cambridge Companion to Bach, ed. Butt, John (Cambridge: Cambridge University Press, 1997), 129 Google Scholar. A similar case, pointed out to me by Steven Zohn, is the Sonata in E flat major, bwv1031, for Flute and Obbligato Harpsichord (the attribution to J. S. Bach is contested), which survives in the collection of Sara Levy in an arrangement for flute, violin and basso continuo. See the manuscript D-B SA 3587, and the recording by the Raritan Players ( Zohn, Steven, Rebecca Harris and Rebecca Cypess) on the album In Sara Levy's Salon (Acis Productions, APL00367, 2017 Google Scholar).
6 See Zohn, Steven, Introduction to Carl Philipp Emanuel Bach, Keyboard Trios II, ed. Zohn with Appendix ed. Buch, Laura (Los Altos: Packard Humanities Institute, 2010)Google Scholar, xiv–xvi; Sheldon, David A., ‘The Transition from Trio to Cembalo-Obbligato Sonata in the Works of J. G. and C. H. Graun’, Journal of the American Musicological Society 24/3 (1971), 395–413 CrossRefGoogle Scholar; Stinson, Russell, ed., Keyboard Transcriptions from the Bach Circle (Madison, WI: A-R Editions, 1992)Google Scholar; and Stinson, Russell, The Bach Manuscripts of Johann Peter Kellner and His Circle: A Case Study in Reception History (Durham, NC: Duke University Press, 1990)Google Scholar, chapter 4, ‘Kellner as Copyist and Transcriber? A Look at Three Organ Arrangements’.
7 Couperin, François, ‘Avis’ to Concert instrumental sous le titre d'Apothéose composé à la mémoire immortelle de l'incomparable Monsieur de Lully (Paris: author and Le Sieur Boivin, 1725)Google Scholar, unpaginated. My italics in the translation. All translations are mine unless otherwise indicated.
8 See the accounts in Stevens, Jane, The Bach Family and the Keyboard Concerto: The Evolution of a Genre (Warren, MI: Harmonie Park, 2001), 48–49 Google Scholar, and Falck, Martin, Wilhelm Friedemann Bach: Sein Leben und seine Werke (Leipzig: C. I. Kahnt, 1913), 62–63 Google Scholar.
9 See Stevens, The Bach Family and the Keyboard Concerto, 49, and Schulenberg, David, The Music of Wilhelm Friedemann Bach (Rochester: University of Rochester Press, 2010), 87–89.Google Scholar
10 See Rigel, Henri-Joseph, Trois duo pour le forte-piano et clavecin . . . On peut exécuter ces duo en quatuor sur le piano-forté avec deux violons et violoncelle qui sont gravés séparément, et qui se vendent en place du clavecin pour le même prix. Les personnes qui voudront le tout pour varier, payeront 9 lt (Paris: author[, 1778])Google Scholar. The combination of harpsichord and piano, to be discussed at length in the following pages, is called for in the duets and trios by Mme Brillon (most of which are held in manuscript in the library of the American Philosophical Society, US-PHps), and in the four symphonies concertantes of Jean-François Tapray, Opp. 8, 9, 13 and 15, published between 1778 and 1783. On the latter see Bruce Gustafson, Introduction to Tapray, Jean-François, Four ‘Symphonies concertantes’ for Harpsichord and Piano with Orchestra ‘Ad libitum’, ed. Gustafson (Madison, WI: A-R Editions, 1995).Google Scholar
11 D-B Mus. MS 9130.
12 S-Sk S 237:1–2.
13 See, for example, the manuscript arrangement of Pleyel's trios in D-Dl MS Mus. 3980-Q-7; the partbooks are labelled ‘Cembalo I’ and ‘Cembalo II’, with the latter combining the violin and cello parts of the trios in a grand staff. A similar configuration appears in D-Dl MS Mus. 3568-Q-2, a manuscript containing the Op. 2 trios of Johann Samuel Schroeter. Although the two partbooks are not designated explicitly for keyboard duo, one partbook contains the obbligato keyboard part, and the other places the violin and cello lines on a single grand staff, thus rendering them playable by a single keyboardist. See the discussion and the reproduction of pages from this manuscript in Cypess, Rebecca, ‘Timbre, Expression, and Combination Keyboard Instruments: Milchmeyer's Art of Veränderung ’, Keyboard Perspectives 8 (2015), 15–18 Google Scholar.
14 On the collection of two-keyboard arrangements of concertos initiated by Elector Friedrich August III in Dresden see Engländer, Richard, ‘Die Instrumentalmusik am sächsischen Hofe unter Friedrich August III. und ihr Repertoire’, Neues Archiv für sächsische Geschichte und Altertumskunde 54 (1933), 75–84 Google Scholar, and Rosenmüller, Annegret, Die Überlieferung der Clavierkonzerte in der Königlichen Privatmusikaliensammlung zu Dresden im letzten Drittel des 18. Jahrhunderts (Eisenach: Wagner, 2002), 177–196 Google Scholar.
15 The sources are described in Kilian's, Dietrich Critical Report to the organ trios in the Neue Bach Ausgabe, series 4, volume 7 (Kassel: Bärenreiter, 1988), 59 Google Scholar.
16 The manuscripts associated with van Swieten are in Salzburg, A-Sm D 2 3/1245, and Vienna, A-Wgm Q 11719. Russell Stinson has attributed these arrangements to C. P. E. Bach or W. F. Bach, but as I show in this study, the arrangement practices reflected in these manuscripts appear in numerous other two-keyboard arrangements as well, so there may be no need to attribute them to any single arranger. See Stinson, Russell, J. S. Bach at His Royal Instrument: Essays on His Organ Works (New York: Oxford University Press, 2012), 110 CrossRefGoogle Scholar. Stinson notes, too, that the string-trio arrangements of movements from the organ trios from the circle of the Baron van Swieten, though normally attributed to Mozart (k404a), bear no clear connection to him. Neal Zaslaw's entry on these arrangements in the forthcoming Neue Köchel catalogue is likewise sceptical of their relationship to the composer; I am thankful to Zaslaw, editor of the Neue Köchel, for sharing this entry with me.
17 Fanny von Arnstein's copy of the Bach organ trios in the two-keyboard arrangement is now housed in the Österreichische Nationalbibliothek, A-Wn Mus.Hs.5008. That the source dates from her period in Berlin (before 1776) is confirmed by the presence of her maiden name, Vögelchen Itzig, on an interior title-page. For more on this source, and its significance in the musical culture of Vienna in the late eighteenth century, see Wolff, Christoph, Mozart at the Gateway to His Fortune: Serving the Emperor, 1788–1791 (New York: Norton, 2012), 58–63 Google Scholar.
18 This page, preserved in F-Pn W.3 (7), is reproduced and transcribed in the Appendix to Carl Philip Emmanuel Bach, Keyboard Trios II. Laura Buch's explanation of the process for producing the two-keyboard arrangement is on page 79.
19 The manuscript is in D-Dl Mus. 3374-Q-7. The printed edition of the quintets presents flexible scoring options, with the first and second highest parts designated for flute or violin and oboe or violin respectively. See Christian Bach, Johann, Six quintetto a flute, hautbois, violon, taille, & basse (Amsterdam: J. J. Hummel, ?1784).Google Scholar
20 This manuscript is described in Mahrenholz Wolff, Barbara, Music Manuscripts at Harvard: A Catalogue of Music Manuscripts from the 14th to the 20th Centuries in the Houghton Library and the Eda Kuhn Loeb Music Library (Cambridge, MA: Harvard University Press, 1992), 21–22 Google Scholar.
21 Nikolaus Forkel, Johann, Über Johann Sebastian Bachs Leben, Kunst, und Kunstwerke (Leipzig: Hoffmeister und Kühnel, 1802), 31 Google Scholar. Translated in Forkel, Johann Sebastian Bach: His Life, Art, and Work, trans. with notes and appendices by Sanford Terry, Charles (London: Constable, 1920), 82–83 Google Scholar.
22 The Ciaconna for solo violin from the Partita No. 2 of J. S. Bach with the piano accompaniments of Mendelssohn and Schumann was reproduced in Chaconne für violin solo von Joh. Seb. Bach mit Klavierbegleitung von Rob. Schumann und F. Mendelssohn Bartholdy (Leipzig: C. F. Peters[,1889]). See also Lester, Joel, ‘Reading and Misreading: Schumann's Accompaniments to Bach's Sonatas and Partitas for Solo Violin’, Current Musicology 56 (1994), 24–53 Google Scholar.
23 Maunder, Richard, Keyboard Instruments in Eighteenth-Century Vienna (Oxford: Clarendon, 1998), 6–16 Google Scholar. See also Maunder's extensive listing of keyboard instruments of various types advertised in Vienna between 1721 and 1800, which gives a sense of the richness and diversity of the keyboard culture of this period, at 137–197.
24 Henry van der Meer, John, ‘Die klangfarbliche Identität der Klavierwerke Carl Philipp Emanuel Bachs’, Mededeelingen der Koninklijke Nederlandsche Akademie van Wetenschappen, Afd. Letterkunde 41/6 (1978), 135 Google Scholar.
25 On experimental and combination keyboard instruments see especially Latcham, Michael, ‘Franz Jakob Späth and the “Tangentenflügel”: An Eighteenth-Century Tradition’, Galpin Society Journal 57 (2004), 150–170 Google Scholar; Latcham, ‘Swirling from One Level of Affects to Another: The Expressive Clavier in Mozart's Time’, Early Music 30/4 (2002), 502–530 CrossRefGoogle Scholar; Latcham, ‘Mozart and the Pianos of Johann Andreas Stein’, Galpin Society Journal 51 (1998), 114–153 CrossRefGoogle Scholar; Latcham, ‘The Apotheosis of Merlin’, in Musique ancienne: instruments et imagination. Actes de rencontres internationales ‘harmoniques’, Lausanne 2004 / Music of the Past: Instruments and Imagination. Proceedings of the ‘Harmoniques’ International Congress, Lausanne 2004, ed. Latcham, Michael (Bern: Peter Lang, 2006), 271–298 Google Scholar; Latcham, ‘Johann Andreas Stein and the Search for the Expressive Clavier ’, in Cordes et clavier au temps de Mozart / Bowed and Keyboard Instruments in the Age of Mozart, ed. Steiner, Thomas (Bern: Peter Lang, 2010), 133–216 Google Scholar; Steblin, Rita, ‘Early Viennese Fortepiano Production: Anton Walter and New Inventions by Johann Georg Volkert in 1777–1783’, Studien zur Musikwissenschaft 55 (2009), 269–302 Google Scholar; Giovanni Paolo Di Stefano, ‘The “Tangentenflügel” and Other Pianos with Non-Pivoting Hammers’, Galpin Society Journal 61 (2008), 79–104 Google Scholar and 242–244; Schott, Howard, ‘From Harpsichord to Pianoforte: A Chronology and Commentary’, Early Music 13/1 (1985), 28–38 Google Scholar; and Michael Latcham, ‘Harpsichord-Piano’, in Grove Music Online www.oxfordmusiconline.com (25 June 2015). An overview of the development of the piano that, however, largely skirts the issue of hybrid instruments can be found in Good, Edwin M., Giraffes, Black Dragons, and Other Pianos: A Technological History from Cristofori to the Modern Concert Grand, second edition (Stanford: Stanford University Press, 2001)Google Scholar.
26 Many of these inventions are discussed in Dolan, Emily I., The Orchestral Revolution: Haydn and the Technologies of Timbre (Cambridge: Cambridge University Press, 2013)CrossRefGoogle Scholar, chapter 1, ‘Lessons at the Ocular Harpsichord’. Orchestrions are automated instruments designed to sound like an orchestra.
27 Volume 8 (2015) of the journal Keyboard Perspectives was devoted to combination instruments. In addition to Cypess, ‘Timbre, Expression, and Combination Keyboard Instruments’, see Annette Richards, ‘Ghost Music: Or, The Otherworldly Voice of the Glass Harmonica’, 1–42; Robin Blanton, ‘Making Public: J. A. Stein's “Funny” Keyboards and the Habermasian Public Sphere’, 71–94; and Eleanor Smith, ‘The Claviorgan: Not for Amateurs![?]’, 133–154.
28 Latcham, ‘The Apotheosis of Merlin’, 287.
29 Latcham, ‘The Apotheosis of Merlin’, 289.
30 Schubart, C. F. D., Ideen zu einer Ästhetik der Tonkunst (Vienna: J. S. Degen, 1806), 288 Google Scholar, trans. in Dolan, The Orchestral Revolution, 49–50.
31 Adlung, Jakob, Musica mechanica organoedi. Das ist: Gründlicher Unterricht von der Struktur, Gebrauch und Erhaltung, etc. der Orgeln, Clavicymbel, Clavichordien, und anderer Instrumente, in so fern einem Organisten von solchen Sachen etwas zu wissen nöthig ist (Berlin: Friedrich Wilhelm Birnstiel, 1768), 109 Google Scholar; Adlung, Musical Mechanics for the Organist, that is, Fundamental Instruction Concerning the Structure, Use, and Maintenance, etc. of Organs, Harpsichords, Clavichords, and Other Instruments, to the Degree that it is Necessary for an Organist to Know Something about Such Things, trans. Quentin Faulkner (Lincoln, NE: Zea E-Books, 2011), 109 Google Scholar. Earlier two-player harpsichords include the ‘mother-child’ virginals by the Ruckers family, described in, for example, Kottick, Edward L., A History of the Harpsichord (Bloomington: Indiana University Press, 2003)Google Scholar.
32 Coburger Wöchentliche Anzeige (28 May 1779), 85. See also the definition of ‘Doppelflügel’ in Ludwig Pölitz, Karl Heinrich, Handwörterbuch der Wissenschaften und Künste nach ihrer allmähligen Entwickelung bis zu ihrer gegenwärtigen Gestalt, two volumes (Regensburg: In der Montag- und Weißischen Buchhandlung, 1805), volume 1, 265.Google Scholar
33 Latcham, ‘The Apotheosis of Merlin’, 276–284.
34 Milchmeyer, Philipp Jacob, ‘Beschreibung eines mechanischen Clavierflügels, erfunden und verfertiget von dem Hof-Mechanicus und Mitgliede der musicalischen Academie Seiner Churfürstlichen Durchlaucht zu Pfalz-Bayern in München, P. J. Milchmeyer’, Mazagin der Musik 1/2 (1783), 1024–1028 Google Scholar. A table showing the Veränderungen of this instrument appears on the following unnumbered page. This description is extremely important for the information it provides about repertoire. See also Latcham, ‘Swirling from One Level of the Affects to Another’, 505. For more on this instrument see Cypess, ‘Timbre, Expression, and Combination Keyboard Instruments’.
35 Milchmeyer, ‘Beschreibung’, 1027.
36 Latcham, ‘Swirling from One Level of the Affects to Another’, 513.
37 Musikalische Real-Zeitung 1 (1790), 148.
38 Augsburger Intelligenzblatt 40 (5 October 1769), trans. in Latcham, ‘Swirling from One Level of the Affects to Another’, 507. Another single-player instrument that likewise participated in the aesthetics of hybridity was the clavecin roïal, invented by Johann Gottlob Wagner, a rectangular table-top instrument with uncovered hammers. Citing a description of 1779, Latcham notes that the clavecin roïal encompassed the sounds of the harpsichord, piano and hammered dulcimer: ‘Wagner seems careful not to mention any of the effects as the main one, giving the impression that his Clavecin roïal could, at the player's will, be transformed into a harpsichord, a piano, or a Pantalon’. See Latcham, ‘Swirling from One Level of the Affects to Another’, 508. C. P. E. Bach owned a clavecin roïale upon his death: see the Verzeichnis des musikalischen Nachlasses des verstorbenen Capellmeisters Carl Philipp Emanuel Bach (Hamburg, 1790); facsimile edition with preface and annotations in Rachel Wade, W., The Catalog of Carl Philipp Emanuel Bach's Estate (New York: Garland, 1981)Google Scholar. See also Wollny, Peter, ‘Carl Philipp Emanuel Bachs Rezeption neuer Entwicklungen im Klavierbau: Eine unbekannte Quelle zur Fantasie in C-Dur Wq 61/6’, Bach-Jahrbuch 100 (2014), 175–187 Google Scholar.
39 Emanuel Bach, Carl Philipp, Versuch über die wahre Art das Clavier zu spielen, trans. as Essay on the True Art of Playing Keyboard Instruments by Mitchell, William J. (New York: Norton, 1949), 172 Google Scholar.
40 Latcham, Michael, ‘Pianos and Harpsichords for Their Majesties’, Early Music 36/3 (2008), 379–388 CrossRefGoogle Scholar; see also C. P. E. Bach, Essay, trans. Mitchell, 172.
41 Adlung, Musica mechanica organoedi, volume 2, 117.
42 Burney, Charles, A General History of Music from the Earliest Ages to the Present Period, four volumes (London: author, 1776–1789), volume 4, 596 Google Scholar, quoted in Latcham, ‘Pianos and Harpsichords for Their Majesties’, 388.
43 C. P. E. Bach, Essay, trans. Mitchell, 431.
44 Advertisement in the Leipziger Zeitungen of 1765, quoted in Latcham, ‘Franz Jakob Späth and the “Tangentenflügel”’, 166.
45 Komlós, Katalin, Fortepianos and Their Music: Germany, Austria, and England, 1760–1800 (Oxford: Clarendon, 1995), 26 Google Scholar.
46 Komlós, Fortepianos and Their Music, 24–30.
47 Libin, Laurence, ‘The Instruments’, in Eighteenth-Century Keyboard Music, ed. Marshall, Robert L., second edition (New York: Routledge, 2004), 5 Google Scholar.
48 The recording by Andreas Staier and Christine Schornsheim of Mozart's works for two keyboards on the vis à vis, a combination piano-harpsichord by Johann Andreas Stein, is an important first step, but as I hope to show, this only scratches the surface of the repertoire that would have been considered well suited to combination instruments. Staier, Andreas and Schornsheim, Christine, Mozart am Stein Vis-a-vis (Harmonia Mundi 901941, 2007 Google Scholar).
49 Milchmeyer, ‘Beschreibung’, 1027–1028. My italics in the translation.
50 Milchmeyer, ‘Beschreibung’, 1028.
51 This is the question that I address in Cypess, ‘Timbre, Expression, and Combination Keyboard Instruments’.
52 See Latcham, ‘Harpsichord-Piano’, as well as the numerous other sources by Latcham cited above.
53 A letter from Johann Friedrich Silbermann in Strasbourg to Sara Levy responding to her enquiry concerning the prices of harpsichords and pianos is reproduced in Wollny, Peter, ‘ Ein förmlicher Sebastian und Philipp Emanuel Bach-Kultus’: Sara Levy und ihr musikalisches Wirken, mit einer Dokumentensammlung zur musikalischen Familiengeschichte der Vorfahren von Felix Mendelssohn Bartholdy (Wiesbaden: Breitkopf & Härtel, 2010), 53–54 Google Scholar.
54 Adlung, Musica mechanica organoedi, volume 1, 165. Adlung's advice on the use of a wide range of stops is discussed in Frederick Frank Jackisch, ‘Organ Building in Germany during the Baroque Era according to the Treatises Dating from Praetorius’ Syntagma musicum (1619) to Adlung's Musica mechanica organoedi (1768)’ (PhD dissertation, Ohio State University, 1966), 212–242.
55 On Adlung's ideal of variety in organ registration see Yearsley, David, Bach's Feet: The Organ Pedals in European Culture (Cambridge: Cambridge University Press, 2012), 72 CrossRefGoogle Scholar.
56 See Lescat, Philippe, Introduction to Georg Friedrich Kauffmann, Harmonische Seelenlust, 1733–1740 (Courlay: Jean-Marc Fuzeau, 2002)Google Scholar, xviii.
57 See Gustafson, Bruce, ‘France’, in Keyboard Music before 1700, ed. Silbiger, Alexander (New York: Routledge, 2004), 106–107 Google Scholar.
58 See Stinson, J. S. Bach at His Royal Instrument, 110; Owen, Barbara, The Registration of Baroque Organ Music (Bloomington: Indiana University Press, 1997), 164 Google Scholar; Fredric Harmon, Thomas, The Registration of J. S. Bach's Organ Works: A Study of German Organ-Building and Registration Practices of the Late Baroque Era (Buren: Knuf, 1978), 249–252 Google Scholar.
59 See Yearsley, Bach's Feet, 199. See also J. Bach, S., A Trio [six trios], Composed Originally for the Organ . . . Adapted for Three Hands Upon the Piano Forte, ed. Wesley, Samuel and Frederick Horn, Charles (London: Charles Frederick Horn, ?1810)Google Scholar.
60 An 1865 gloss on Heinrich Christoph Koch's Musikalisches Lexicon confirms this point: in defining the term ‘Trio’, Arrey von Dommer explained that ‘In organ playing one frequently finds trio compositions for two manuals of different registers and obbligato pedal, which is the foundation of all capable and thorough handling of the organ. Bach's organ sonatas, with their strict, three-voice style . . . are exemplary organ trios (‘Im Orgelspiele findet der Triosatz für zwei verschieden registrirte Manuale und obligates Pedal vielfache Anwendung, er ist die Grundlage aller tüchtigen und durchbildeten Behandlung der Orgel. Bach's Orgelsonaten, in ihrer Setzart den strengen dreistimmigen Instrumentalsonaten sich anschliessend . . . sind Muster des Orgeltrio’). Dommer, Arrey von, Musikalisches Lexicon: Auf Grundlage des Lexicon's von H. Ch. Koch (Heidelberg: Academische Verlagsbuchhandlung von J. C. B. Mohr, 1865), 886 Google Scholar.
61 See Forkel, On Johann Sebastian Bach's Life, Genius, and Works, excerpt translated in The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents, ed. David, Hans T. and Mendel, Arthur, revised and enlarged by Christoph Wolff (New York: Norton, 1998), 438–439 Google Scholar; and Koster, John, ‘Reflections on Historical Harpsichord Registration’, Keyboard Perspectives 8 (2015), 101–105 Google Scholar. General principles of Bach's organ registration practices, as well as instances in which he did prescribe registration in his scores, are discussed in Stauffer, George, ‘Bach's Organ Registration Reconsidered’, in J. S. Bach as Organist: His Instruments, Music, and Performance Practices, ed. Stauffer, George and Ernest May (Bloomington: Indiana University Press, 1986), 193–211 Google Scholar. Descriptions of the organs associated with Bach are given in Wolff, Christoph and Zepf, Markus, The Organs of J. S. Bach: A Handbook, trans. Lynn Edwards Butler (Urbana: University of Illinois Press, 2006)Google Scholar.
62 Koster, ‘Reflections on Historical Harpsichord Registration’.
63 The Englishman Sir George Smart heard Felix and Fanny Mendelssohn playing Bach's organ music on two keyboard instruments when he visited their home in 1825. See Stinson, Russell, The Reception of Bach's Organ Works from Mendelssohn to Brahms (New York: Oxford University Press, 2006), 16 CrossRefGoogle Scholar. The English edition of the organ trios issued by Samuel Wesley and Karl Friedrich Horn described above presented an arrangement of the works for three hands at the piano.
64 See Rebecca Cypess, ‘At the Crossroads of Musical Practice and Jewish Identity: Meanings of the Keyboard Duo in the Circle of Sara Levy’, in Sara Levy's World: Gender, Judaism, and Bach in Enlightenment Berlin, ed. Rebecca Cypess and Nancy Sinkoff (forthcoming), and Wollny, ‘Ein förmlicher Sebastian und Philipp Emanuel Bach-Kultus’, 40–42.
65 An analogous case is C. P. E. Bach's Fantasy Wq61/6: Peter Wollny has identified a manuscript that shows where the player should engage the piano and harpsichord stops on the single-player combination instrument known as the clavecin roïale, one of which the composer owned at his death. This instrument did not allow for the coupling of both mechanisms, but it allows the stops to be juxtaposed in succession. The published version of this piece – part of the Kenner und Liebhaber series – did not contain such indications. See Wollny, ‘Carl Philipp Emanuel Bachs Rezeption neuer Entwicklungen im Klavierbau’.
66 The concertos for two keyboards by Antonio Soler were also written for a vis à vis instrument that contained two facing organs, and the composer prescribed registrations for each part; see Bovet, Guy, ‘The “Face-to-Face” Organ of the Infante Don Gabriel de Bourbon and the Six Concertos for Two Organs by Father Antonio Soler’, The Organ Yearbook 27 (1997), 41–46.Google Scholar
67 On the nineteenth-century repertoire for keyboard duet see, for example, Daub, Adrian, Four-Handed Monsters: Four-Hand Piano Playing and Nineteenth-Century Culture (New York: Oxford University Press, 2014)CrossRefGoogle Scholar, and Christensen, Thomas, ‘Four-Hand Piano Transcription and Geographies of Nineteenth-Century Musical Reception’, Journal of the American Musicological Society 52/2 (1999), 255–298 CrossRefGoogle Scholar.
68 Mozart, too, owned two keyboard instruments, as he explained in a letter to his father in 1781. He used one for ‘Galanterie’ and the other, which contained a sixteen-foot stop, ‘wie eine Orgel’, for fugues. See Nohl, Ludwig, Mozarts Briefe (Salzburg: Verlag der Mayrischen Buchhandlung, 1865), 302 Google Scholar, cited in Koster, ‘Reflections on Historical Harpsichord Registration’.
69 Mattheson, Johann, Kleine General-Baß-Schule worin Nicht nur Lernende, sondern vornehmlich Lehrende, aus Den allerersten Anfangs-Gründen des Clavier-Spielens überhaupt und besonders, Durch Verschiedene Classen u. Ordnungen der Accorde Stuffen-weise, Mittelst Gewisser Lectionen oder stündlicher Aufgaben, zu Mehrer Vollkommenheit in dieser Wissenschaft, Richtig, getreulich, und auf die deutliche Lehr-Art kürtzlich angeführet werden (Hamburg: Jon. Christoph Kitzner, 1735), 60 Google Scholar.
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75 Thormählen, ‘Playing with Art’, 372.
76 Le Guin, Elisabeth, Boccherini's Body: An Essay in Carnal Musicology (Berkeley: University of California Press, 2006), 184 Google Scholar. Original italics.
77 The literature on sympathy is too extensive to cite or explore in depth in this context. Some important works that explore the connections between the arts and the cultivation of sympathy in society are Benjamin Redekop, W., Enlightenment and Community: Lessing, Abbt, Herder, and the Quest for a German Public (Montreal: McGill–Queen's University Press, 2000)Google Scholar; Marshall, David, The Surprising Effects of Sympathy: Marivaux, Diderot, Rousseau, and Mary Shelley (Chicago: University of Chicago Press, 1998)Google Scholar; and Lamb, Jonathan, The Evolution of Sympathy in the Long Eighteenth Century (New York: Routledge, 2016)Google Scholar.
78 Mendelssohn, Moses, Philosophische Schriften, two volumes (Carlsruhe: Christian Gottlieb Schmieder, 1780), volume 2, 54–56 Google Scholar; trans. Daniel O. Dahlstrom in Mendelssohn, Philosophical Writings (Cambridge: Cambridge University Press, 1997), 152–153 Google ScholarPubMed.
