publications

Publications and Recordings

Books

Bach's Continuo Group: Players and Practices in His Vocal Works.  Studies in the History of Music, 3.  Harvard University Press, 1987. 264 pp.

Bach and the Patterns of Invention. Harvard University Press, 1996, 270 pp., paperback edition, 2004.  [‘Bach e i modelli dell’Invenzione’ in Ovunque lontano dal mondo: Elogio della Fantasia, ed. Enzo Restagno (Milan, Longanesi & C, 2001), 7-46, trans. Giovanni Bietti - chapters 1 and 8]

Articles

J.S. Bach's Experiment in Differentiated Accompaniment: Tacet-Indications in the Organ Parts to the Vocal Works.  Journal of the American Musicological Society 32 (1979), 321-334.

Early Music Defended against its Devotees: A Theory of Historical Performance in the Twentieth Century.  The Musical Quarterly 69 (1983), 297-322.

Muzyka dawna wzieta w obrone przed jej enthuzjastami: teoria wykonania historycznego w XX wieku [translation into Polish by Magdalena Nowak with author's 1997 Postscriptum], Canor 19 (1997), 27-39; translation into Korean by Hae-Guen Kang in Journal of the Music Research Center, Hangyang University (Seoul) 16 (2002), 89-115.

The Metaphorical Soloist: Concerted Organ Parts in Bach's Cantatas.  Early Music 13 (1985), 237-247.  Also in J.S. Bach as Organist: His Instruments, Music, and Performance Practices, ed. George Stauffer and Ernest May.  Bloomington: Indiana University Press, 1986, 172-189.

J.S. Bach's Concerto Ritornellos and the Question of Invention.  The Musical Quarterly 71 (1985), 327-358.

The Articulation of Genre in Bach's Instrumental Music. The Universal Bach: Lectures Celebrating the Tercentenary of Bach's Birthday. Philadelphia: American Philosophical Society, 1986, 10-37.

J.S. Bach and the Status of Genre: Problems of Style in the G-Minor Sonata, BWV 1029.  Journal of Musicology 5 (1987), 55-78.

The Hermeneutics of Lament: A Neglected Paradigm in a Mozartian Trauermusik. Music Analysis 10 (1991), 329-343.

Mozart as Early Music: A Romantic antidote. Early Music 19 (1992), 295-309.

Matters of Kind: Genre and Subgenre in Bach's Well-Tempered Clavier.  A Bach Tribute: Essays in Honor of for WilliamF. Scheide, ed. Paul Brainard and Ray Robinson. Kassel: Bärenreiter Verlag, and Chapel Hill: Hinshaw, 1993, 101-119.

Hermann Levi’s shame and Parsifal’s guilt: A critique of essentialism in biography and criticism. Cambridge Opera Journal  6:2 (1994), 125-145.

Bachian invention and its mechanisms in The Cambridge Companion to Bach, ed. John Butt. (Cambridge:  Cambridge University Press, 1997), 171-192.

Hermann Levi, The New Grove Dictionary of Music and Musicians, 2001.

Music and Motive in Thomas Mann’s Wälsungenblut, Resounding Concerns, London German Studies VIII, ed. Rüdiger Görner (Munich: iudicium verlag, 2003), 86-113

Published Congress and Colloquium Papers

Zur Frage der Cembalo-Mitwirkung in den geistlichen Werken Bachs.  Bachforschung und Bachinterpretation heute. Bericht über das Bachfest-Symposion 1978 der Philipps-Universität Marburg, ed. Reinhold Brinkmann.  Leipzig: Neue Bach-Gesellschaft, 1981, 178-184.        

The Capellmeister and his Audience: Observations on 'Enlightened' Receptions of Bach.  Alte Musik als ästhetische Gegenwart: Bericht über den internationalen musikwissenschaftlichen Kongreß Stuttgart 1985, ed. Dietrich Berke and Dorothee Hanemann.  Kassel: Bärenreiter, 1987, 180-189.

[Problems of Teaching and Research.]  The Contemporary Humanities: Theory and Practice. Proceedings of a symposium on the occasion of the tenth anniversary of the Society of Fellows in the Humanities, April 1987.  New York: Columbia University, 1988, 42-44.

Early Music and the Repression of the Sublime. Papers from ‘The Early Music Debate: Ancients, Moderns, Postmoderns’, Berkeley Early Music Festival and Symposium 1990. Journal of Musicology 10 (Winter, 1992), 108-112.

Music Analysis and the Historical Imperative. Papers from a Round table on “Music Analysis: Systematic vs. Historical Models” held at meetings of the International Musicological Society, Madrid, 1992, Revista de Musiologia: Actas del XV Congreso de la SIM, 16: 1 (1993) [1994], 407-419.

Idiomatic Betrayals: François Couperin as composer for the viol.  François Couperin: Nouveaux Regards.  Actes des Rencontres de Villecroze 4 au 7 octobre 1995, III: 3. Paris: Éditions Klincksieck, 1998, 205-221.

Musical Editions

Jean Baptiste Bréval.  Drei leichte Sonaten für Violoncello und Bass  (with Anne-Marlene Gurgel).  Leipzig: Edition Peters, 1980.

Johann Sebastian Bach.  Drei Sonaten für Viola da Gamba und Cembalo, BWV 1027-1029[with Concluding Remarks and Critical Notes].  Frankfurt and Leipzig: C.F. Peters, 1985.

Edited Texts

Abstracts of Papers Read at the Fifty-Eighth Annual Meeting of the American Musicological Society. 4-8 November 1992. Pittsburgh, Pennsylvania. Ed. Laurence Dreyfus. Madison, Wisconsin: A-R Editions, Inc., 1992

Solo and Chamber Recordings

Johann Sebastian Bach.  Sonatas for Viola da gamba and Harpsichord, BWV 1027-1029.  Laurence Dreyfus, viola da gamba and Ketil Haugsand, harpsichord (Simax PCD 1024, 1986)

Marin Marais.  Pièces de violes(1701).  Laurence Dreyfus, viola da gamba and Ketil Haugsand, harpsichord.  (Simax PCS 1053, 1989)

Historische Instrumente der Leipziger Sammlung, Historical Instruments of the Leipzig Collection. Antoine Forqueray, Suite No. 5 with Laurence Dreyfus, viola da gamba and Maria Bräutigam, harpsichord [=Rundfunk der DDR Produktion, Leipzig, 1977] (Christophorus 74605, 1990)

Jean-Philippe Rameau, Pièces de clavecin en concert, with Ketil Haugsand, harpsichord, and Catherine Mackintosh, violin, produced by Arne Akselberg and Laurence Dreyfus. (Simax PCS 1095, 1993) Nominated for a 1994 Gramophone Award

William Byrd, Songs and Sonnets, with Concordia, Rachel Platt, soprano, and Laurence Dreyfus, treble viol. (Meridian Records, 1994)

Sylvia McNair, The echoing Air: Music of Henry Purcell with Christopher Hogwood, harpsichord, Paul O'Dette, archlute, and Laurence Dreyfus, cello and viola da gamba.  (Philips 446 081-2, 1995) Winner of the 1995 Grammy Award for the Best Classical Vocal Recording

Henry Purcell. The Complete Fantasias for Viols. Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax PSC 1124, 1996) Winner of the 1997 Gramophone Award - Best Baroque (Non-Vocal) Recording. Diapason d’Or (April 2003). Choc du Monde de la Musique (April 2003).

Still Music of the Spheres. Consorts of William Byrd and Richard Mico, Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax Classics PSC 1134, 1997) Nominated for the 1999 Gramophone Award - Best Early Music Recording.

JS Bach, Art of Fugue, BWV 1080 (1-11, 19). WA Mozart, Johann Sebastian Bach's Fugues arranged for Strings, K405, Fuga, K401 Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax Classics PSC 1135, 1998).

Byrd Song, Consorts and Songs by William Byrd, Phantasm, Laurence Dreyfus, director, with Ian Partridge, tenor, and Geraldine McGreevy, soprano, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Simax Classics PSC 1191, 1999).

Matthew Locke, Consorts of Three and Four Parts, Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (Global Music Network, 2000).

William Lawes, Consorts in Four and Five Parts, Phantasm, Laurence Dreyfus, director (Channel Classics, CCS 15698, 2000). Editor’s Choice, Gramophone, August 2000. Nominated for 2001 Gramophone Award - Best Baroque Instrumental Recording.

Fairest Isle, Barbara Bonney, soprano with Phantasm, Laurence Dreyfus, director, William Byrd, Though Amaryllis dance in green, O Lord how vain,  and John Jenkins, Fantasy No. 9 a4 (Decca, 2000). Nominated for 2002 Grammy Award – Best Vocal Recording of the Year

William Lawes, Consorts in Six Parts, Phantasm, Laurence Dreyfus, director (Channel Classics, CCS 17498, 2002) Choc du Monde de la Musique (September 2002)

Orlando Gibbons, Consorts for Viols, Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (AVIE AV 0032, 2004) 2004 Gramophone Award Winner, finalist Gramophone Record of the Year

Michael East, Complete Fantasias a5, and Orlando Gibbons, Two verse anthems, Phantasm, Laurence Dreyfus, director, included in O Sapientia: Advent from King’s College London, in collaboration with The Choir of King’s College London, David Trendell, director (Herald HAVPCD 296, 2004).

Four Temperaments:  Byrd, Ferrabosco, Parsons, Tallis. Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (AVIE AV 2054, 2005) Editor’s Choice, Gramophone, June 2005. Nominated for Gramophone Award in Early Music, August, 2005.

John Jenkins, Six-Part Consorts. Phantasm, Laurence Dreyfus, director, postproduced by Jonathan Freeman-Attwood and Laurence Dreyfus (AVIE AV 2099, 2006)