Froberger’s fantasias and canzonas are amongst his most beautifully crafted yet most neglected works. They survive together with toccatas and partitas in a meticulously written autograph manuscript, the Libro Secondo, dated 19 September 1649. This is the first recording of all 14 works on the clavichord. Froberger was a most important figure in the early baroque period, helping to develop the style of the ‘dance suite’ so well-known from the later hands of Bach, Handel and so many more. The instrument used here is a reconstruction (2009, Andreas Hermet) of a South German clavichord which is in the Berlin Musical Instrument Museum. It is an ideal vehicle for the strongly contrapuntal music of Froberger. The clavichord is a small quiet instrument but does have a wide dynamic range and even variable vibrato – an extremely difficult instrument to master. Terence Charlston is one of the UK’s foremost exponents of early keyboard music both as a soloist on organ, clavichord and harpsichord, and as a chamber musician, having been a member of both the London Baroque and Florilegium. He has initiated many new editions and recordings of early music and has developed an international reputation as one of the leaders of this area of music.

“[These works] embody a diverse range of treat­ment — perhaps the fullest and profoundest compendium of keyboard counterpoint before J.S. Bach. [The clavichord’s] sound and capabilities are remarkably well-suited to Froberger's textures. The playing is exemplary. Each piece is taken on its own terms, grounded in deep and patient understanding of its characteristics. This is very fine playing, beautifully recorded.”
– Adrian Lenthall (Musical Opinion)

“This is good to have, as the clavichord was an important household instrument of the time, and certainly Froberger’s music would have been performed on it. Likewise, Charlton’s execution of these works is quite deft.”
– Bertil van Boer (Fanfare)