Antica nova: Suite #1 for Harpsichord (1987-96), and: Antica nova: Suite #4 for Harpsichord (1987-96), and: Harpsichord Sonata #1 (1998), and: Harpsichord Sonata #2 (1998), and: Harpsichord Sonata #3 (1998), and: Semi-Suite: for Harpsichord (One or Two Manuals) or Piano, and: Vignette: for Harpsichord (1975), and: Elegy (Canaanite Fantasy No. 3): for Harpsichord [1990], and: Pegasos: fur Cembalo [1991], and: Tre preludi: per clavicembalo (1964/1975), and: E for E: na klawesyn solo = for harpsichord solo [1991], and: Tiento: pour clavecin (original pour guitare) [1957] (review)

It has been more than a hundred years since the harpsichord was rescued from extinction. The story of its disappearance and resurrection is familiar to most musicians and historians. After being rapidly supplanted by the piano during the last decades of the eighteenth century, it ceased to be a viable musical instrument throughout the nineteenth. The harpsichord was rarely played during the romantic period, and even then only as a charming curiosity—and composers would never consider writing new music for it. Thanks to the efforts of pioneers such as Wanda Landowska, Arnold Dolmetsch, Ralph Kirkpatrick, and others in the early decades of the twentieth century, however, the harpsichord began to be played and heard again. It has now fully regained its position as the preeminent keyboard instrument for the music composed during the baroque era.

Almost as soon as the harpsichord reappeared, contemporary composers, intrigued by its unique sonorities, began to write music for the instrument. Two of the earliest twentieth-century compositions were Ferrucio Busoni's Sonatina ad...