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The quartet was a rare form in the baroque period: you will look for one in vain in Bach's output, almost in vain in Handel's; Vivaldi wrote some chamber music for four instruments, but in concerto form. The fact is that the contrapuntal idiom of the late baroque fitted well on two upper parts...

Turini. Sonata in A major for two violins and continuo. Biber. Sonatas Nos. 4 and 5 for two violins, two violas and continuo. Muffat. Sonata No. 2 in G minor for two violins, viola and continuo, "Armortico Tributo". Scheidt. Pavane in A major. Byrd. Quintet No. 3, In nomine". Lupo. Fantasia for...

Prelude in C minor. Capriccio in D minor. Fantasia in A minor. Fantasia in E minor. Fugues: No. 1 in C major; No. 2 in C minor; No. 3 in D major; No. 4 in D minor; No. 5 in E flat major; No. 6 in E minor; No. 7 in B flat major; No. 8 in F minor.

But there are some fine things in the other two as well—the sustained drive of the Moonlight finale, the wonderfully springy rhythm in the allegretto; and there are countless sensitive touches in the first movement of the Pathitique, such as the faint but perceptible softening of the second...