Saturday, April 11, 2020

Music during hard times

Recently, I've begun to realize the following:

  • Large personal libraries, whether of books, printed music, or recordings, are a liability
  • If you don't have it memorized, you don't have it
  • Pianos, organs and other similar instruments will fall into disrepair, then become unusable
  • Composers and players will need to be more creative making music with less-than-ideal tools

Some of this sounds like heresy.  For instance, I love books, scores, and recordings, and I've always surrounded myself with them.  Yet, when I had to make a move from the East Coast to the Midwest, with little time and not much money, most of them couldn't come along.  Today, while I miss them, I'm in no hurry to re-buy.  Stability, now more than ever, is an illusion; why buy something only to have it sit unused most of the time, and then have to get rid of it?

Many of my early-music friends discourage memorization.  They point out, rightly, that it wasn't the way things were done in the 18th century and before; Clara Schumann started doing it during her concert tours, and the other concert pianists of the day followed her example.  But today it isn't possible to count on having music to play from.  Once, I thought public and university libraries would fill the gap, supplying the music I wanted to learn and play but didn't own.  Now that they're all closed, it's clear that was too optimistic.

What about digital libraries?  IMSLP, the Internet Archive (which hosts the National Emergency Library), Wikisource, and the Wikimedia Commons (where scans of the books in Wikisource are kept, along with huge amounts of other digital media) are playing key social roles.  Many libraries are active in lending digital collections and providing online resources.  Excellent, as long as your laptop or tablet doesn't get damaged, lost, or stolen, and you have power and internet access.  These days, it's harder to guarantee those things.

So I memorize every piece I play.  At the moment I have with me two relatively small boxes of printed music, down from perhaps ten times that much.  But I doubt I'll ever learn it all.  I'm taking my time on it.

Ask any pianist to tell you about the worst piano they ever played, and you'll get a story.  When someone (especially a non-musician) says a venue has a "fine concert grand", expect an upright, out of tune, possibly missing a string or two, and with one or more broken actions.  Want to get the piano repaired?  The cost will be added to the cost of renting the hall.  If the venue has a good piano, there's likely to be an extra charge to use it, and the organizers may balk.  Once upon a time, I rashly agreed to pay to have a piano tuned.  When I got to the venue, not only had the piano not been tuned, but it had mechanical issues that suggested a technician hadn't been near it in awhile.  The organizers didn't refund my money.  That's not my "worst piano" story, but it shows the trend.

I'd be happy to be wrong about pipe organs; perhaps they're in better shape.  Leave a comment and let me know!

All of this leads to the next point: instead of assuming, as we have, that the instruments on which our music will be played will be in good repair, we composers will have to start making the opposite assumption.  Pieces will have to be written for the instruments to which the players have access, and for the abilities of those players.  Yes, it would be great to have a virtuoso performer on every instrument, and have that instrument be a fine one, in excellent playing condition.  But fine instruments, and their maintenance, cost money, and fewer and fewer musicians have that.  The best players (when not locked down at home) are frantically busy making a living; it costs to hire them, and they don't have much time to rehearse.  So we'll make do with the performers who are available, and they'll play the instruments they have.

Keyboardists increasingly have to have, and bring, digital instruments.  This is already a pretty well-established trend for non-classical gigs, but if you can't count on the venue having a decent piano, you're better off bringing one than taking your chances.

Which leads to a side note for composers: digital instruments can often do things that an acoustic instrument can't; for instance, a push of the button can change a "piano" into an "organ", a "marimba", and so on.  So why not take advantage of those capabilities?  Why keep trying to pretend you're writing for an acoustic piano if you know you're not?  Needless to say, calling for things acoustic pianos can do that digital pianos can't isn't particularly wise.  At the very least, a "digital ossia" might be called for: what should the performer do if they're playing a digital keyboard?

It's also worth thinking about the range of the music.  While a full, professional digital piano has 88 keys, and no one disagrees about that, smaller keyboards and controllers are pretty common.  I've seen controllers with as few as 13 notes!  If you don't have your own keyboard, you're at the mercy of whatever you're offered.  If you get invited to display your skill on a keyboard with five octaves or fewer, you could be in a bind if you don't have something suitable in your repertoire.  Forewarned is forearmed.

But when the power goes out, digital keyboards turn into bricks.  I don't know of any answer for that, except learning how to play another, acoustic, instrument or several.  Maybe an acoustic toy piano would be a good investment.  Those don't sound like pianos, either, but they don't need a lot of maintenance, and they don't need a constant supply of electricity.

Thursday, August 1, 2019


Today I did something I never expected to do. I pulled out all of my old notebooks, including compositions from my very first scribbles (I was five) all the way through my first two years of college. I went through each of them, carefully tore out most of the pages, and tore them in half. Then I delivered them to the recycle bins downstairs.

Every composer in the Western tradition, loosely speaking, writes every note with at least one eye on posterity. Even if no one other than us values our work, we have to assume that, at some point, they might. We imagine our leavings treated the way we treat those of the composers who've gone before us: diligently preserving them, eagerly searching them for clues to the development of talent and mastery, including them in beautifully printed and bound editions of the complete works.

Most of us realize, on some level, that's a fantasy. It would be, if not impossible, at least not easy, for every composer's complete output to be saved, let alone treated with any special reverence. Libraries and archives have limited capacity, and “the cloud” (i.e. other people's computers) may have other ideas about what it wants to store. In any case, it makes no promises unless it's paid to, and sometimes not even then.

Going through those notebooks has been a complex process. A small part of it has been, “Wow … I don't remember writing that; it's not bad!” A lot of it has been, “Wow … that belongs in the recycle bin!” And a lot of it has involved saying goodbye, not just to a big pile of paper with musical notation scribbled on it, but to the childhood and young adulthood during which that musical notation was put onto that paper.

A few of the pieces are tied to events, like the one I wrote when my grandfather died. A very few of the pieces were performed; a song or two, and an Easter Cantata some of my cousins kindly sang through for me one afternoon. A collection of short pieces was published; they were written with Leonard Kilmer, my piano teacher at the time, and performed at the summer music camp at the local college. I was younger than most of the kids at that camp. I also gave a talk about aleatory music there that year.

Leonard introduced me to modern techniques by way of Vincent Persichetti's harmony book. I was in junior high school, and the modal melody and quartal-secundal harmony I learned from him have been important ever since. This was the time the school orchestra performed a piece of mine, for violin and strings. Playing the solo was a thrill, a happy time in a tough stretch, and I'm grateful to the kind friends who made it happen. During that period, I wrote my first music worth keeping. A Lament for voice and piano survives in an arrangement for soprano saxophone and piano.

But a lot of the music just shows me trying, and failing, to reproduce the grand pieces I admired. It's too bad, in a way, that I didn't look at other models; today I'd suggest, for instance, that someone wanting to write a cantata take a look at one by Buxtehude (“Alles, was Ihr tut”, perhaps); someone wanting to write a piano concerto could check out the pasticcio concertos of Mozart … and begin by writing a sonata in the style of the ones he used. But in those days, I wasn't big on taking advice from anyone. To be fair, a lot of the young musicians whose work I find online fall into the same trap, trying to run before they can walk properly.

But the biggest realization during the whole process of creative destruction has been that the future I'd been imagining, the one in which my works could be gathered, treasured, and preserved, is most likely not the future to which we are headed. There are too many problems facing the human race right now, and the genesis of my musical language isn't a priority.

A few pages have been saved, for now, but the reprieve is likely temporary. After watching (and being part of) the process of cleaning up after the deaths of a number of friends, and after a number of house moves, mine and others', it's clear the choice is only whether I want to put these things into the recycle bin now, when I can do so with my own two hands, or whether I want them put there (or into the trash), by someone else. Today I'm choosing to take action on my own behalf.

Tuesday, January 1, 2019

End of one year, beginning of another

Recently I've been thinking a lot about this blog, and what I'm hoping to accomplish.  Ultimately it's about you: if what you find here doesn't make your life better in some way, what's the point?  How can I make it easier for you to find what you are looking for, and make use of what you find?  I'm posting about my experiences, but hoping you'll find some value, even if only to shake your head at my pratfalls.

So, what has this year been for me, musically speaking?

This has been a year to reconsider and re-evaluate.  What am I doing?  Why?

I didn't play in public often in 2018.  The vast majority of my music-making has been at home, or in small gatherings.  Right now, that's for the best.

This year I've been working on chorale preludes by Telemann, various organ pieces by Pachelbel, a sonatina by Clementi (Op. 36, No. 3 in C Major), a suite by Buxtehude (F Major), and so on.  This was also a year full of The Well-Tempered Clavier, book I; I've been working on memorizing the first several preludes and fugues (numbers 1-3 basically done, 4-6 in progress).  Underlying all of this has been a re-examination of technique.  It's been about thinking, and listening, as much as playing.

I've been going, slowly, through Clara Bell's translation of Philipp Spitta's biography of Bach, and matching his descriptions, where possible, with the pieces they're about.  While Spitta's opinions can't always be accepted without question, this three-volume set (formerly bound as two) does cover a large number of composers and pieces, and, in the age of the internet, you can hear most of them pretty easily, on YouTube, SoundCloud, or elsewhere.  This makes a great introduction (or re-introduction, if you already knew some music history) to some fine music, the people who made it, and the times and places they lived.  It's also a way to approach questions of what makes good music, and what makes music good.  Spitta doesn't hide his opinions, and even disagreeing with him is a learning experience.  He's dated, of course; comparing his work with more recent writing is part of the experience.

Composing?  2018 was a pretty dry year.  A goal for 2019 is to write more.

But the biggest goal for 2019?  Finding my way again, figuratively speaking.  Right now I feel lost.

Wishing you and those you care about health, happiness, and success for the coming year.

Tuesday, June 19, 2018

Seventy Solos for the Hammond Organ or Reed Organ

I'm a big fan of anthologies, especially older ones.  They almost always have worthwhile things I haven't heard of, and even if the music doesn't turn out to be particularly exciting, there are things to learn.  An anthology speaks to the historical moment when it was made, to the taste of the compiler(s), performers and audiences of the time.

Seventy Solos for the Hammond Organ or Reed Organ, compiled by Frederic Archer and published by G. Schirmer in 1944, is worth browsing.   The Hammond Organ, as its Wikipedia entry makes clear, got a much higher profile for its use in jazz and popular music than it did in the Classical world, yet from this anthology it's clear that, at the same time as Ethel Smith and others were using the instrument in popular genres and styles, the Hammond Organ was still being thought of as a cheaper alternative to a pipe organ.  Apparently many churches agreed; thousands bought them.

Many of the composers represented are familiar: J. S. Bach, Beethoven, Clementi, Gounod, Delibes, Lully (here spelled "Lulli"), Mendelssohn, Mozart, Paradisi (Paradies), Reinecke, Rossini, Schubert and Spohr are all included.  A fair number of these are transcriptions.  The Clementi piece, "Andante con espressione", is from the Sonatina in F Major, Op. 36, No. 4, originally for piano.  The anthology doesn't announce the fact.  Beethoven is represented by an "Adagio", which is a brief excerpt from the "Adagio molto" of Piano Sonata No. 5 in C Minor, Op. 10 No. 1.  Again, no reference is made to the original.  "Andante cantabile" by Mozart is from Piano Sonata No. 10 in C Major, K. 330.  "Marche de la cloche" by Leo Delibes is from Coppelia.  If a collection like this one were published today, mention of the sources of the transcriptions would be expected.

A four-part arrangement of "Liebster Jesu, wir sind hier" by Bach carries no mention of the name of the chorale.  Again, someone who wanted to compile a similar collection today would hopefully include that information.

Other pieces in the collection are clearly marked as transcriptions, and the sources are (at least partly) identified: a chorus from William Tell by Rossini, a quartet from Woman of Samaria by W. S. Bennett, a trio from Athalie by Mendelssohn, "Funeral March" from the cantata, The Legend of St. Cecilia, and a duet from the opera, The Lady of Killarney by Julius Benedict.

August Reinhard had a particular interest in the harmonium, so while a registration for the Hammond Organ is provided, it's likely the "Marcia" here was originally a harmonium piece.

Paradisi is best known for his Toccata (from Sonata VI); the Andante in this collection is new to me.

A lot of the composers are new to me.  I hadn't heard of Théodore Salomé, L. Mourlan, J. Schlute, Gustav Merkel, J. B. Jaillet, A. Justin, Hubert Ferdinand Kufferath, William Vincent Wallace, Ignace Leybach, or several others.  J. Wanaus, represented here by the "Choeur de Pelerin", was another new name.

Louis Lefébure-Wely is the best-represented composer in the anthology, with eight different selections.  No other composer comes close.

Archer also included four of his own pieces; I wasn't able to find them on YouTube or SoundCloud.
A few other pieces of his are on IMSLP.

Here, perhaps, is a point worth remembering: keyboard instruments have always been pretty generous about sharing their repertoire.  Organ pieces can be, and have been, played on the piano, and vice versa.  When new instruments (or new versions of older instruments, depending on your view) were developed, they took over repertoire from their predecessors.  Pianists play material originally written for the harpsichord and clavichord without batting an eyelash, though not all harpsichord music works well on the piano, and harpsichord-lovers may cringe.

If you're in a situation where you need a lot of short pieces of moderate difficulty, this collection will serve.  It also contains enough pieces for many enjoyable evenings of reading through things.

Thanks to YouTube user Chris S, some of whose videos are linked above.  Want to hear more music for reed organ?  Click over to his channel.

The notes of some of Chris's videos mention earlier collections by Archer, including Reed Organ Album (1914) and Complete Method for the American Reed Organ.

Saturday, April 7, 2018

Crossing Bridges: Book and Arts Fair, and starting a new piece!

An intercultural arts festival, Crossing Bridges, will take place in New York City from Saturday, May 19, 2018 through Tuesday, May 22, 2018, and I've been invited to write and perform a new piece at the opening event! The event will take place at the Brooklyn Public Library at 240 Division Ave. in Williamsburg, Brooklyn, from 11:00 AM to 6:00 PM.

I'm excited.  Events like this are a big deal for me, because there's a chance to meet so many wonderful people, and hear and read so much fine writing of all kinds.  Being invited to perform a piece of mine is icing on the cake!

This, however, requires a new piece, and that takes thought and work.  I've decided to take you along on the journey.

At an event in 2016, I presented a song I'd written, about a gardener who separates the fallen leaves (this was in fall/winter) carefully by color.  Of course, the wind comes along and mixes them up again, and the gardener thinks, "Isn't it more beautiful this way?"   The song is in Esperanto, and it's written in a mode known in Persian music as Avaaz-e Bayaat-e Isfahaan, in Azerbaijani music as Şüştər (Shushtar), and by other names in other musics of the general area.  You probably already know this mode, even if you know nothing about Central Eurasian or Middle Eastern music, because it has the familiar augmented second, much like the Western harmonic minor scale.  When anyone from the West first tries to write Middle Eastern-sounding music, this mode is the one they usually fall into.  It's probably about as intercultural as you can get.

For this event, I'd like to do something different.  I've been given a poem for inspiration, but I'm planning a keyboard piece.  The poem is called "Cruzando Puentes" ("Crossing Bridges"), and it's by Juan Navidad.  On a quick reading, the line that captures my attention is about "the most beautiful dreams" being "written from rage and injustice" (my translation).  I think I can work with that.

Saturday, December 31, 2016

Fun with Five Octaves

Partial list of music that can be played on a 61-key keyboard:

Johann Georg Albrechtsberger: Andante for organ in F Major

Carl Philipp Emanuel Bach:
Sonata in B Minor, Wq 62-22
Sonata in D Minor, Wq 65-15
Sonata in G Minor, Wq 65-27
Sonata in C Minor, Wq 65-31

among others; the famous "Solfeggietto" won't fit

Johann Sebastian Bach:
Most of the Well-Tempered Clavier Books I and II, and the Inventions and Sinfonias (Sinfonia #6 doesn't fit)

"English" Suites:
  • I in A Major, BWV 806: Prelude, Sarabande
  • II in A Minor, BWV 807: the whole suite
  • III in G Minor, BWV 808: Allemande, Courante, Sarabande, Gavottes I and II, Gigue
  • IV in F Major, BWV 809: the whole suite
  • V in E Minor: the whole suite
  • VI in D Minor: the whole suite

"French" Suites, BWV 812-817:
All of Suites I, II, III, IV and V; all but the Bourée from Suite VI

  • I in B-flat major, BWV 825: Sarabande, Menuet I and II, Gigue
  • II in C Minor, BWV 826: Courante, Saraband, and Rondeau
  • III in A Minor, BWV 827: Fantsia, Sarbande, Burlesca, Scherzo, Gigue
  • IV in D Major, BWV 828: Allemande, Courante, Aria, Sarabande, Menuet, Gigue
  • V in G Major, BWV 829: Tempo di Minuetto, Passepied
  • VI in E Minor, BWV 830: Toccata, Allemande, Courante, Sarabande, Tempo di Gavotta, Gigue
Goldberg Variations, BWV 988: Variations 6 and 18 require transposing the keyboard down an octave; Var. 24 contains a high d''' which will be out of range if the keyboard is transposed down to reach the G' at the low end.

Chorale preludes from Kirnberger's collection:
  • "Wer nur den lieben Gott lässt walten"
  • "Ach Gott und Herr" a 2 klav.
  • "Christ lag in Todesbanden" Fantasia a 3 Canto fermo in alto (but how will you bring out the chorale tune?)
  • "Christum wir sollen loben schon" Fughetta
  • "Gelobet seist du, Jesu Christ" Fughetta
  • "Herr Christ, der ein'ge Gottes Sohn" Fughetta
  • "Nun komm'' der Heiden Heiland" Fughetta
  • "Vom Himmel hoch, da komm' ich her" Fughetta
  • "Gottes Sohn ist kommen" Fughetta
  • "Lob sei dem allmächt'gen Gott" Fughetta
  • "Durch Adams Fall ist ganz verderbt" (separating the voices will require some work)
  • "Liebster Jesu, wir sind hier" (1 and 2)
  • "Ich hab' mein' Sach' Gott heimgestellt"
  • "Wir Christenleut'" (may be possible; definitely not easy)
  • "Allein Gott in der Höh' sei Ehr'"
  • "In dich hab' ich gehoffet, Herr"
  • "Jesu, meine Freude" Fantasia
Other pieces:
Canzona, BWV 588

Béla Bartók: 
  • All of Mikrokosmos, vol. II
  • All of Mikrokosmos, vol. III except Variations and the second Chromatic Invention
  • These pieces from Mikrokosmos, vol. IV: Notturno, Thumb Under, Crossed Hands, In the Style of a Folk Song, Diminished Fifth, Major and Minor, Through the Keys, Playsong, Children's Song, Clashing Sounds, Intermezzo, Variations on a Folk Tune, Bulgarian Rhythm (1 and 2), Theme and Inversion, Triplets in 9/8 Time, Dance in 3/4 Time, Fifth Chords, Two-Part Study
  • These pieces from Mikrokosmos, vol. V: Chords Together and Opposed, Staccato and Legato, Boating, Change of Time, New Hungarian Folk Song, Major Seconds Broken and Together, Studies in Double Notes, Perpetuum Mobile, Whole-tone Scale, Merry Andrew (this one has some held tones that may not work well)
  • These pieces from Petite Suite: Whirling Dance, Bag Pipe
  •  Rumanian Christmas Carols 1st Series: Number 10 is the only one that won't fit.
  • Rumanian Christmas Carols 2nd Series
  • Rumanian Folk Dances, nos. 2-5
Ludwig van Beethoven:
  • 6 Ländlerische Tänze
  • Rondo in A Major
  • Menuett in E-flat Major
  • Allegretto quasi andante, from Seven Bagatelles Op. 33, No. 2
  • Two Preludes through all the major keys, Op. 39
  • Tempo di Menuetto from Sonata in G Major, Op. 49, No. 2
  • Rondo in C Major, Op. 51, No. 1
  • Bagatelles, Op. 119, Nos. 4, 5, 8, and 9 
  • Six Minuets for piano, WoO 10, Nos. 1, 3 and 4
  • Seven Ländler for piano, WoO 11
  • Ecossaise in G Major, WoO 23
  • Rondo in A Major, WoO 49
  • Piano Sonata in C Major, WoO 51
  • Nine Variations on a March by Dressler, WoO 63
  • Six Easy Variations on a Swiss Song, WoO 64
  • Variations on "Nel cor piu non mi sento", WoO 70
  • Waltz in D Major, WoO 85
  • Ecossaise in E-Flat Major, WoO 86
  • Sonatinas in G Major and F Major, Anh. 5, 1 and 2 (possibly not by Beethoven)
Johannes Brahms:
Waltz, Op. 39/3 (piano solo version)
Waltzes, Op 39/2, 3, 6,  9, 10, 11, 12, 15, and 16 (simplified piano version by Brahms)

Dietrich Buxtehude: All of the keyboard suites

Cecile Chaminade: These pieces from Children's Album, First Series, Op. 123:
Prélude, Intermezzo, Canzonetta, Rondeau, Gavotte, Gigue, Romance, Barcarolle, Air de Ballet, March Russe

Frédéric Chopin: the following Mazurkas:
  • Op. 6, no. 2
  • Op. 7, nos. 1, 4, and 5
  • Op. 17, nos. 3 and 4
  • Op. 24 no. 3 contains a long note but is otherwise playable
  • Op. 33 no. 3
  • Op. 50 no. 2
  • Op. 67 no. 3
  • Op. 68 nos. 3 and 4
  • Op. posth. B-flat major, D Major (two of them), and C Major
      Waltz Op. 69/1 "L'adieu"

Muzio Clementi:
  • Sonatina in C Major, Op. 36, No. 1
  • Sonatina in C Major, Op. 36, No. 3
François Couperin:
from Ordre II:
  • Menuet
  • La Charoloise
  • La Diane
  • Fanfare pour la Suitte de la Diane
  • La Florentine
  • La Babet
  • Les Papillons
from Ordre III
  • Gavotte
  • L'Espagnolette
  • Les Matelotes Provencales
from Ordre VI
  • Les Moissonneurs
  • Les Langueurs-Tendres
  • Le Gazoüillement
  • La Bersan
  • Les Bergeries
  • La Commére
  • La Moucheron
Louis Couperin:
  • Chaconne, C Major
  • Passacaille, C Major
  • Sarabande, C Major
  • Menuet, C Major
  • Chaconne, C Minor
  • Chaconne, G Major
  • Branle de Basque, F Major
Jean-François Dandrieu: most of the 25 Noëls
         (but you will have to do some thinking about changes of registration and contrasts of color)

Louis-Claude Daquin: Le Coucou

Antonín Dvořák: Humoresque

Elizabeth Jacquet de la Guerre: Rondeau

Many of the pieces in The Fitzwilliam Virginal Book

César Franck:
  • L'Organiste, vol. 1 (59 pieces), FWV 41
  • 5 Pieces for harmonium, FWV 26
Girolamo Frescobaldi:
  • Gagliarda, G Minor
  • Passacaglia, B-flat Major
  • Fugue in G Minor
Johann Jakob Froberger:
Most of the organ music (occasional chords have to be re-written because they require the pedal)
Toccatas 3-15 from the collection linked above
Note that Toccata #17 is actually by Johann Caspar Kerll

Alberto Ginastera:
“In the First Pentatonic Minor Mode”, No. 5 from Doce Preludios Americanos

Lodovico Giustini: Sonate da cimbalo di piano e forte detto volgarmente di martelletti, Op. 1
(the first known published music specifically for the fortepiano)

Edvard Grieg: These pieces from Lyric Pieces:
  • "Arietta", Op. 12, No. 1
  • "Watchman's song", Op. 12, No. 3
  • "Elfin Dance", Op. 12, No. 4
  • "Album-Leaf", Op. 12, No. 7
These pieces from Op. 38:
  • "Skipping Dance", Op. 38, No. 5
  • "Elegy", Op. 38, No. 6
  • "Waltz", Op. 38, No. 7
Alexandre Guilmant: Noël Écossais

Georg Frideric Handel:
almost everything in this collection, including:
Fugues in G Minor (G. 264, HG II/iv/1 and G. 231, HG II/iv/2), B-flat Major (G. 37, HG II/iv/3), B Minor (G. 27, HG II/iv/4), A Minor (G. 17, HG II/iv/5), and C Minor (G. 83, HG II/iv/6) 
  • B-Flat Major (G. 30-33, HG II/ii/7), 
  • D Minor (G. 108-111, HG II/ii/4, G. 112-117, HG II/i/3, G. 118-122, HG II/ii/3 and G. 123-126, HG II/iii/1)
  • E Minor (G. 160-162, HG II/ii/5, G. 163-167, HG II/1/4)
  • The Prelude and Allemande from the suite in E Major (G. 145-146, HG II/i/5)
  • Suite/Sonata in F Major, G. 175-179, II/i/2
  • F Minor (G. 193-197, HG II/1/8)
  • F-Sharp Minor (G. 204-207, HG II/i/6)
  • Suite (Partita) G Major, (G. 211-217, HG II/ii/8)
  • G Minor (G. 26-249, HG II/ii/6, G. 250-255, HG II/i/7 (all but the Gigue and Passacaille), G. 260-263, HG II/iii/2)
Sonatina, B-Flat Major,  G. 40, HG II/iii/10
Sonata, C Major, G. 56-58, HG II/iii/12
Sonata, C Major, G. 59, HG II/iii/11
Fantasia, C Major, G. 60, HG II/iii/4
Capriccios in  F Major (G. 183, HG II/iii/8) and G Minor (G. 270, HG II/ii/3)
Chaconnes in F Major (G. 184, HG II/iii/5) and G Major (G. 228, HG II/ii/2 and G. 229, HG II/ii/9)
Minuet, G Minor (G. 242, part of HG II/ii/1)
... and many others

Franz Joseph Haydn:
  • Sonata in D Major (1767)
  • Sonata in C Major, Hob. XVI/1: Allegro
  • Sonata in G Major, Hob. XVI/8
Pieces for Mechanical Clocks, Hob. XIX:1-32

Stephen Heller: Preludes, Op. 81/4, 12, 15, and 18

Fanny Hensel: Mélodie (Op. 4, No. 2)

Johann Caspar Kerll:
Toccata VII (it was included, incorrectly, in the Froberger collection above, where it's number XVII.)

Edward MacDowell:
from Woodland Sketches, Op. 51:
"To a Wild Rose", "Will o' the Wisp", "In Autumn", "From Uncle Remus"
Transpose the keyboard down an octave to play "At an old Trysting Place", and "A Deserted Farm"

from Sea Pieces, Op. 58:
Transpose the keyboard down an octave to play "A.D. 1620" and "Song"

from New England Idylls, Op. 62, transpose the keyboard down an octave to play "With Sweet Lavender"

Ursula Mamlok: Number 2 from Three Bagatelles for harpsichord or piano

Marianne Martinez: Sonate No. 3

Padre Martini Giambattista: Fugue in E Minor

Etienne Louis Méhul: Elevation in A flat

Leopold Mozart:
  • Geheime Liebe
  • Menuet in D Minor
  • Menuett in F Major (from the Notebook for Anna Maria (Nannerl) Mozart)
  • Polonaise (Allegro) in C Major
  • Sonata in C Major
  • Sonata in F Major
  • Sonata in B-flat Major

W. A. Mozart:
complete sonatas
  • Sonata in E-Flat Major, K. 282
  • Sonata in C Major, K. 545
individual movements
  • Sonata in F Major, K. 280, II. Adagio
  • Sonata in B-Flat Major, K. 281, III. Rondo. Allegro
  • Sonata in G Major, K. 283, II. Andante
  • Sonata in D Major, K. 284, II. Andante [Polonaise en Rondeau]
  • Sonata in D Major, K. 311, II. Andante con espressione
  • Sonata in C Major, K. 330, I. Allegro moderato
  • Sonata in C Major, K. 330, III. Allegretto
  • Sonata in A Minor, K. 331, III. Alla Turca. Allegretto
  • Sonata in F Major, K. 332, II. Adagio
  • Sonata in F Major, K. 332, III. Allegro assai
  • Sonata in B-Flat Major, K. 333, II. Andante cantabile
  • Sonata in F Major, K. 533, I. Allegro
Other pieces:
Minuets in G Major, K. 1/1e, F Major, K. 2, F Major, K. 4, F Major, K. 5, C Major, K. 6, D Major, K. 94/73h, and D Major, K. 355/576b
Variations on "Laat ons juichen", by Graaf, K. 24
Variations on "Willem van Nassau", K. 25
Variations on a Minuet by Fischer, K. 179/189a
Adagio for glass harmonica, K. 356/617a
Fugues in E-Flat, K. 153/375f, and G Minor, K. 154/385k (both completed by Simon Sechter)
Allegro in B-Flat, K. 3
Courante from Suite in C Major/Minor, K. 399/385i
Contradance "Das Donnerwetter", K. 534
Andantino, E-Flat Major, arranged from Gluck, K. 236/588b 

Christian Gottlob Neefe: Minuetto
Allegretto in C

Johann Pachelbel:
At least the following chorale preludes:
(numbering and page numbers, where given, are from this collection)
  • “Ach, Gott vom Himmel sieh darein”, P. 1 (the shorter setting)
  • “Ach, Herr, mich armen Sünder”, P. 3 (the shorter setting)
  • "Christe, der du bist Tag und Licht", P. 63
  • "Da Jesus an dem Kreuze stund", P. 70
  • Durch Adams Fall ist ganz verderbt”, P. 103 and P. 105
  • Es spricht der unweisen Mund wohl”, P. 114 and P. 115
  • Es woll' uns Gott genädig sein, P. 118
  • "Herr Gott, dich loben alle wir", P. 183 (the chorale tune in the pedals has to be played an octave higher)
  • "Gott Vater, der du deine Sonn'", P.. 178
  • "Ich hab' mein' Sach' Gott heimgestellt", P. 202
  • "Jesus Christus unser Heiland, der den Tod", P. 218
  •  "Jesus Christus unser Heiland, der den Tod", P. 219 (take the chorale tune up an octave)
  • "Jesus Christus unser Heiland, der von uns", P. 51
  •  "Komm Gott Schöpfer, heiliger Geist", P. 223
  • "Komm heiliger Geist, Herre Gott", P. 225
  • "Kommt her zu mir, spricht Gottes Sohn", P. 227 (take the chorale tune up an octave)
  • "Lob sei Gott in des Himmels Thron", P. 237
  • "Mag ich Ungluck nicht widerstahn", P. 241
  • "Nun laßt uns Gott dem Herren", P. 388
  • "Nun lob mein' Seel' den Herren", P. 47
  • "O Lamm Gottes unschuldig", P. 393
  • "Vater unser im Himmelreich", P. 48
  • "Vom Himmel hoch, da komm' ich her", P. 52 (take the chorale tune up an octave)
  • "Was mein Gott will, das gescheh' allzeit", P. 488
  • "Was mein Gott will, das gescheh' allzeit", P. 489
1 in D minor, 2 in E-flat major, 3 in G major, 4 in G minor, 5 in A major, 6 in A minor
1 in C major, 2 in D minor, 3 in D major, 4 in C major (take the pedal part up an octave),
6 in D minor
E-flat major, p. 28, P. 127
G minor, p. 29, P. 128
Ricercares in F-sharp minor (P. 421) and C major (P. 418)
Prelude and Fugue in E minor
Toccata and Fugue in B-flat major 

1, 2 (P. 143), 3 (P. 144), 4 (P. 148), 5 (P. 149), 6 (P. 145), 7 (P. 146), 8 (P. 150), and 9 (P. 151) in C major, 10 in C minor, 11 in D major, 12 in F major, 13 in G major, 
14 in C major, 15 in G minor, 16 and 17 in A minor, 18 in D minor, and 19 in G minor

Bernardo Pasquini: Partite sopra l'aria della Folia d'Espagna

Camille Saint-Saens: Fugue, Op. 61, No. 2

Domenico Scarlatti:
The Cat's Fugue

At least the following sonatas:
  • E-flat Major, K 306
  • C Major, K. 308 and K. 309
  • B-flat Major, K. 310 and K. 311
  • D Major, K. 312 and K. 313
  • G Major, K. 314G Minor, K. 315
  • F Minor, K. 316
  • D Minor, K. 317
  • F-sharp Minor, K. 318 and K. 319
  • A Major, K. 320, K. 321, K. 322, and K. 323
  • G Major, K. 324 and K. 325
  • C Major, K. 329 and K. 330
  • B-flat Major, K. 331 and K. 332
  • D Major, K. 333
  • B-flat Major, K. 334
  • D Major, K. 335 and K. 336
  • G Major, K. 337 and K. 338
  • C Major, K. 339 and K. 340
  • A Minor, K. 341
  • A Major, K. 342, K. 343 and K. 344
  • D Major, K. 345 and K. 346
  • G Minor, K. 347
  • F Major, K. 349, K. 350, and K. 351
  • D Major, K. 352 and K. 353
  • F Major, K. 354 and K. 355
  • E-flat Major, K. 474, L. 203
Franz Schubert:
  • Moments Musicaux Op. 94/2, Op. 94/3
  • Variation on a Waltz by Diabelli
  • Andante (C Major)
  • Allegretto (C Major)
Clara Schumann: Fugue, Op. 16, No. 1

Robert Schumann: 
These pieces from Kinderszenen, Op. 68:
Von Fremden Länden und Menschen, Kuriose Geschichte, Hasche-Mann, Bittendes Kind
Fugues No. 2 and No. 6, from Seven Pieces in Fugal Form, Op. 126

Florent Schmitt: Prelude in G Minor

Alexander Scriabin: Preludes Op. 15/4 and 5, Op. 74/4

Jan Peterszoon Sweelinck:
At least the following chorale preludes and variations on chorale tunes:
  • Allein zu dir, Herr Jesu Christ
  • Es spricht der unweisen Mnd voll
  • Nun freut euch, lieben Christen gemein (both sets, #47-48 in Seiffert) 
  • Nun komm der Heiden Heiland
Fantasia chromatica
Toccata in a (#29 in v. 1 of the collected works, ed. Seiffert)Toccata in C
Variation sets:
  • Est-ce Mars
  • Paduana Hispana
  • Paduana Philippi
  • Unter der Linden grüne

Pyotr Ilyich Tchaikovsky:
  • Chant sans Paroles, Op. 2, No. 3
  • Humoresque, Op. 10, No. 2
  • Feuillet d'Album, Op. 19, No. 3 (transpose the keyboard down an octave)
  • From The Seasons, Op. 37:  November ("Troika")
  • Most of Album for the Young, Op. 39 
  • Chanson Triste, Op. 40, No. 2 (transpose the keyboard down an octave)
  • Valse, Op. 40, No. 9
Georg Philipp Telemann:
  • Twelve Easy Chorale Preludes
  • Fantasias for Harpsichord, TWV 33:1-36

Things to think about:

  • This is NOT a list of music that is easy to play!
  • These pieces range from two octaves below middle C to three octaves above
  • Some of the pieces require long held tones, which may die out too soon (in voices named "piano")
  • Some of these pieces were written for organ; use a voice named something like "church organ" (or maybe "chapel") to play them
  • Most of the important music for piano, harpsichord, and organ is not on this list
Note added April 7, 2018: I've been expanding this list as I've run across appropriate music.  It would be good to know if anyone finds it at all helpful.

Note added January 2, 2019: Shortening my comments, and moving them to the bottom of the list.