I just bit the bullet and announced an official program for a clavichord
concert I am giving on triple-fretted meantone instrument. It is mostly
Cabanilles, who writes not in keys but in liturgical modes. The group I
selected I give below.

Sometimes they work very oddly in meantone. Final cadence in the
Passacalle is b-d#-f# -- e-b-e-g#. Given that the so-called d# in the
penultimate chord is really an e-flat, it certainly gives you a sense of
resolved dissonance. But it also leaves you with a very vivid memory of
dissonance.

When I put programs together, key relationships are always in the back of
my mind -- but this time it wasn't key relationships, it was mode
relationships, and the dynamics were really interesting. I have 3 pieces
in a row in teh 5th tone, and they don't sound remotely alike. An pre-HIP
editor would have said the first was in B-flat major, the second was in C
major, the third in D major. 'Pedazo de Musica' is also in 5th tone, feels
like C major. It feels perhaps like an early proto-'An die Musik' song by
Schubert; but the title simply means 'piece of music'.

Putting together large groups of music to perform that one has never heard
anybody play is an odd feeling. Well, I own an organ recording of some of
this stuff, but when he plays pieces I play, I don't recognise them. He's
famous and I'm not; I suppose that should be making me nervous...

Judy

Music of Juan Bautista Cabanilles (1644-1712, Valencia)
        Gallardas III, in the 4th tone
        Tiento XVI, 5th tone with B-flat
        Batalla Imperial in the 5th tone
        Tiento Pange Lingua' in the 5th tone, punto alto
        Pasacalles III in the 3rd tone
        Pedazo de Music in the 5th tone
        Diferencias de Folias, tone 1