*David Ledbetter (http://davidledbetter-music.com) was Principal Lecturer and research fellow at the Royal Northern College of Music, Manchester. He is currently an independent researcher in 17th- and 18th-century keyboard music and performance practice, with a particular interest in how an understanding of context and structure may deepen and enrich performance. Publications include Harpsichord and Lute Music in 17th-Century France (Macmillan/Indiana University Press), Bach’s Well-tempered Clavier: The 48 Preludes and Fugues, and Unaccompanied Bach: Performing the Solo Works (both Yale University Press).
 Titles and quotations are given with original orthography.
 École de piano du Conservatoire Royal de Bruxelles, ed. Auguste Dupont and Gustave Sandré (Leipzig: Breitkopf & Härtel, [1884–1891], IIIième livraison: Clavecinistes français.
 Le Trésor des pianistes: 19me livraison, ed. Louise Farrenc (Paris: Alphonse Leduc, 1871).
 Jean-Henry D’Anglebert. Pièces de clavecin, ed. Kenneth Gilbert, Le Pupitre 14 (Paris: Heugel, 1975); Bruce Gustafson, French Harpsichord Music of the 17th Century, 3 vols. (Ann Arbor, Mich.: UMI Research Press, 1979), 1:94. The phrase “Attribuées à D’Anglebert” for the pieces from Rés. 89ter in Gilbert’s first printing was deleted from subsequent reprints.
 “Forensic handwriting analysis” has recently been used to “prove” that Anna Magdalena Bach not only copied out J.S. Bach’s Cello Suites BWV 1007–1012, but actually composed them.
 Harris gives welcome clarification of the publication history of the Pieces: first edition of 1689; second issue with seven pages replaced by corrected ones (1693–1703); third issue by Christophe Ballard using the same stock for the musical text, but with a new title page (1703); second edition by Estienne Roger (Amsterdam, ), copied from the second issue but omitting the Principes de l’accompagnement. The first edition is reproduced by Minkoff with an important introduction by Denis Herlin to which Harris has brought numerous refinements (Geneva, 2001), and is reviewed by this author in the Journal of Seventeenth-Century Music 11, no. 1 (2005) http://sscm-jscm.org/v11/no1/ledbetter.html. A different copy of the first edition, together with Rés.89ter in a second volume (Courlay: Fuzeau, 1999), is reviewed by Kenneth Gilbert in the Journal of Seventeenth-Century Music 6, no.2 (2000) http://sscm-jscm.org/v6/no2/gilbert.html (Fuzeau has now rectified the mistake with rectos and versos that earned a berating from the reviewer). The second issue, published by Broude Brothers (New York, 1965) without editorial matter, is the most elegant facsimile; published as well is the second edition by Performers’ Facsimiles (New York, [n.d.]). In 1750, J.-B.-C. Ballard possessed two manuscripts of “pieces de clavecin” by D’Anglebert, now apparently lost, which may have contained the intended sequel to the Livre premier of 1689.
 For example, for an obvious correction in No. 16 Chaconne de Phaeton, m. 57.
 According to Roesgen-Champion, no doubt quoting Eitner, who lists L’Année musicale ou choix des nouvelles musique [sic] en tous genres (Liège: Bertrand, 1776), with a location in D-Mbs. The issue containing work(s) of D’Anglebert is not in the current Mbs catalogue.
 Colin Tilney, The Art of the Unmeasured Prelude for Harpsichord (London: Schott, 1991). In the subsequent pieces the number of waves in compound ornaments is variable and does not seem significant.
 Douglas Maple, “D’Anglebert’s Autograph Manuscript, Paris, B.N. Rés.89ter: An Examination of Compositional, Editorial, and Notational Processes in 17th-Century French Harpsichord Music,” 2 vols. (Ph.D. diss., University of Chicago, 1988), 1:203–6.
 2d ed. (Paris: author, 1717), 24.
 See Catherine Massip, “Recherches biographiques,” in Oeuvres des Gallot, ed. Monique Rollin (Paris: CNRS, 1987), xix.
 David Chung, “D’Anglebert in Multiple Texts,” Early Music 39, no. 4 (November 2011): 624–26.