Fortunato Chelleri’s Cantate e arie con stromenti (1727): A souvenir of London by Michael Talbot

“…Although he failed to have any of his operas performed there, he distinguished himself as a harpsichordist and cellist and left a permanent record of his visits in the form of a published collection of cantatas and arias (1727) that demonstrates his considerable merit as a composer. …”
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A Blend of Traditions: The Lute’s Influence on Seventeenth-Century Harpsichord Repertoire by Audrey S. Rutt

“…The lute’s impact on the harpsichordists of the seventeenth century is not a facet that can be ignored; rather, an understanding of the lute tradition is essential to an understanding of the harpsichord tradition. …”
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Individuality in harpsichord performance: Disentangling performer- and piece-specific influences on interpretive choices by Bruno eGingras, Pierre-Yves eAsselin, Stephen eMcAdams

“…Twelve professional harpsichordists recorded three pieces representative of the Baroque harpsichord repertoire, including three interpretations of one of these pieces, each emphasizing a different melodic line, on an instrument equipped with a MIDI console. …”
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Perceiving individuality in harpsichord performance by Réka eKoren, Bruno eGingras

“…Six professional harpsichordists, three prize-winners and three non prize-winners, made two recordings of two pieces from the Baroque period (a variation on a partita by Frescobaldi and a rondo by François Couperin) on an instrument equipped with a MIDI console. …”
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