Peter Williams (1937–2016) held the first Chair in Performance Practice in Britain at the University of Edinburgh, where he was first Director of the Russell Collection of Harpsichords and latterly Dean of Music. He was also the first Arts and Sciences Distinguished Chair at Duke University, North Carolina. He authored many books, including The European Organ (1966), Bach: The Goldberg Variations (Cambridge, 2001), Figured Bass Accompaniment (1970), The Organ in Western Culture, 750–1250 (Cambridge, 1993), The Chromatic Fourth during Four Centuries of Music (1998) and The Organ Music of J. S. Bach (Cambridge, 2003).

• 1. Early years, 1685–1703; 2. First appointments, 1703–8; 3. Weimar, 1708–17; 4. Cöthen, 1717–23; 5. Leipzig, the first years; 6. Leipzig, the middle years; 7. Leipzig, the final years; 8. Observations, descriptions, criticisms; Epilogue; Postscript.

'Peter Williams is a master of putting question marks where they belong. He is wise enough to admit that definite answers are rarely possible. Nevertheless, guided by the 1754 Obituary, he gives splendid food for thought with his penetrating insights and truly erudite suggestions.' Gustav Leonhardt

Peter Williams (1937–2016) held the first Chair in Performance Practice in Britain at the University of Edinburgh, where he was first Director of the Russell Collection of Harpsichords and latterly Dean of Music. He was also the first Arts and Sciences Distinguished Chair at Duke University, North Carolina. He authored many books, including The European Organ (1966), Bach: The Goldberg Variations (Cambridge, 2001), Figured Bass Accompaniment (1970), The Organ in Western Culture, 750–1250 (Cambridge, 1993), The Chromatic Fourth during Four Centuries of Music (1998) and The Organ Music of J. S. Bach (Cambridge, 2003).

• 1. Early years, 1685–1703; 2. First appointments, 1703–8; 3. Weimar, 1708–17; 4. Cöthen, 1717–23; 5. Leipzig, the first years; 6. Leipzig, the middle years; 7. Leipzig, the final years; 8. Observations, descriptions, criticisms; Epilogue; Postscript.

'Peter Williams is a master of putting question marks where they belong. He is wise enough to admit that definite answers are rarely possible. Nevertheless, guided by the 1754 Obituary, he gives splendid food for thought with his penetrating insights and truly erudite suggestions.' Gustav Leonhardt

Peter Williams (1937–2016) held the first Chair in Performance Practice in Britain at the University of Edinburgh, where he was first Director of the Russell Collection of Harpsichords and latterly Dean of Music. He was also the first Arts and Sciences Distinguished Chair at Duke University, North Carolina. He authored many books, including The European Organ (1966), Bach: The Goldberg Variations (Cambridge, 2001), Figured Bass Accompaniment (1970), The Organ in Western Culture, 750–1250 (Cambridge, 1993), The Chromatic Fourth during Four Centuries of Music (1998) and The Organ Music of J. S. Bach (Cambridge, 2003).

• 1. Early years, 1685–1703; 2. First appointments, 1703–8; 3. Weimar, 1708–17; 4. Cöthen, 1717–23; 5. Leipzig, the first years; 6. Leipzig, the middle years; 7. Leipzig, the final years; 8. Observations, descriptions, criticisms; Epilogue; Postscript.

'Peter Williams is a master of putting question marks where they belong. He is wise enough to admit that definite answers are rarely possible. Nevertheless, guided by the 1754 Obituary, he gives splendid food for thought with his penetrating insights and truly erudite suggestions.' Gustav Leonhardt