contrapuntal style, whereas Domenico Scarlatti's chief interest is
that he was the first composer who studied the peculiar
characteristics of the free style of the harpsichord."

Of Pasquini as a performer on the harpsichord, Mattheson relates "how
on his visit to Rome he found Corelli playing the violin, Pasquini the
harpsichord, and Gattani the lute, all in the orchestra of the
Opera-house." And, once more, in the notice of Pasquini in the same
dictionary, we are informed that the composer "exercised a certain
influence on German musicians." In C.F. Weitzmann's _Geschichte des
Clavierspiels_ there is an interesting reference to some Toccatas of
Pasquini published in "Toccates et suites pour le clavecin de MM.
Pasquini, Paglietti et Gaspard Kerle, Amsterdam, Roger, 1704." A
Toccata was published (most probably one of those in the above work)
by I. Walsh in his

Second Collection
of
Toccates, Vollentarys and Fugues
made on purpose for the
Organ and Harpsichord
Compos'd by
Pasquini, Polietti
and others
The most Eminent Foreign Authors.

Of Polietti,[49] court organist at Vienna before J.S. Bach was born,
Emil Naumann has, by the way, given an interesting account in an
article "Ein bisher unbekannt gebliebener Vorgänger Seb. Bach's unter
den Italienern" (_Neue Berl. Mus.-Ztg._ Jahrgang 29). The Toccatas of