ahrgang 29). The Toccatas of
Pasquini, published by Roger, and a so-called "Sonata,"[50] printed by
Weitzmann in the work just referred to, constitute, we believe, all
that has hitherto appeared in print of this composer.

And yet surely Pasquini may lay claim to a place in the history of
instrumental music and the sonata, for he not only wrote suites, but
also sonatas for the harpsichord, or, to be quite exact, for two
harpsichords. Some, at any rate, of his music is to be found in the
British Museum. There are three volumes (Add. MSS. 31,501-3). On the
fly-leaf of the first is written:--

"Ad Usum Bernardi Felicij Ricordati de Baggiano in Etruria."

Then comes in pencil a note probably made when the volumes came into
the possession of the British Museum:--

"These are original MSS. by the hand of Bernardo Pasquini, 1637-1710,
the greatest organist of Italy in the second half of the 17th century,
and written for his nephew B. Ricordati. They are the only MSS. of
Pasquini known to be in Europe. This vol. is dated at the end, Dec.
3, 1704; at the beginning, May 6, 1703."

And now for its contents. The first piece is a short suite,[51]
consisting of a Tastata (the old term for Prelude), a Corrente and an
Aria; and it shows that Pasquini could write homophonic as well as
polyphonic music. Then follows a piece in the key of D major, headed

"A due Cembali, 1704, Bernardo Pasquini,"

which consists of three movements. First one commencing with chords,
after which, fugal imitation. Next we have a fugal movement, like the
preceding one, in common time; lastly, one in six-eight time. All
three movements are in the same key. The part for each cembalo is
written on a separate stave, the one below the other. Only the bass
notes are written, and the upper parts are indicated by figures. But
this will be clearer presently, for we shall give one or more
illustrations. At the close of the six-eight movement is written
_fine_, and on the following page another piece begins in C major,
marked merely 2a, commencing thus:--

[Music illustration]

This theme reminds one of Bach's Adagio from the 2nd Organ Concerto--

[Music illustration]

or even Handel's "Along the Monster Atheist strode."[52] The movements
of this second piece are similar in structure and character to those
of the first. Next we have a piece of lighter character in two
movements, and, apparently, for one cembalo: there is, of course, only
one bass part