he wrote sonatas for _gravicembalo_. Here are his words:--

"Landsberg possédait un recueil manuscrit original de pièces d'orgue
de Pasquini, dont j'ai extrait deux toccates, composées en 1697. Ce
manuscrit est indiqué d'une manière inexacte dans le catalogue de la
bibliothèque de ce professeur (Berlin, 1859) de cette manière:
Pasquini (Bernardo) _Sonate pei Gravicembalo_ (libro prezioso). Volume
grosso _E scritto di suo (sua) mano in questo libro_. Ce même
catalogue indiqué aussi de Bernard Pasquini: _Saggi di
contrapunto_--Anno 1695. Volume forte. _E scritto di suo (sua) mano in
questo libro_. Malheureusement ces précieux ouvrages sont passés en
Amérique avec toute la bibliothèque musicale du professeur Landsberg."

Whether these precious volumes actually went to America seems
doubtful. Anyhow both volumes are now safely housed in the Berlin
Royal Library. It may be mentioned that the first contains no real
sonata: its contents consist principally of suites, toccatas,
variations, and fugues.

In the story of Italian instrumental music, Pasquini is little more
than a name. The fourth volume of A.W. Ambros' _History of Music_
concludes thus:--"So ist uns von dem gerühmten Meister nichts
geblieben, als seine Name u. seine stolze Grabschrift in San Lorenzo
in Lucina." (Thus of the famous master (_i.e._ Pasquini) nothing
remains except his name and his proud monument in San Lorenzo in
Lucina). The writer of the article "D. Scarlatti," in Sir George
Grove's _Dictionary of Music and Musicians_, remarks that the famous
harpsichord player and composer "has been called a pupil of Bernardo
Pasquini." But he considers this "most improbable, seeing that
Pasquini was of the school of Palestrina, and wrote entirely in the