Johann Mattheson’s Pieces de clavecin and Das neu-eroffnete Orchestre

In this important study, Margaret Seares places Johannes Mattheson¿s Pièces de clavecin (1714) in the context of his work as a public intellectual who encouraged German musicians and their musical public to embrace a universalism of style and expression derived from contemporary currents in music of the leading European nations. Seares¿s understand