Pasquini’s reputation rested above all on his legendary virtuosity as a performer and composer of keyboard music. Indeed, it must have been a unique experience to hear him improvise at S. Maria in Aracoeli and S. Maria Maggiore (where he was organist for over half a century) or in ensemble with Corelli, Scarlatti and Lulier. He was also an excellent pedagogue and taught an entire generation of harpsichordists such as Gasparini, Gaffi, Zipoli, della Ciaia, Krieger and Muffat, just to mention a few. The organ compositions included here come from the autograph manuscript L. 215 at the Staatsbibliothek in Berlin, which contains the “Sonate per Gravecembalo, composte dal Sig. Bernardo Pasquini e scritte di sua mano in questo libro. A. D. 1702 Aprile” (“Sonatas for harpsichord, composed by Sig. Bernardo Pasquini and written by his own hand in this book. April 1702 A. D.”). The only exception is the Introduzione e Pastorale found in the miscellanea DD. 55 preserved at the Museo Internazionale e Biblioteca della Musica of Bologna. To his contemporaries, however, Pasquini’s vocal compositions were as well-known as his instrumental works. In addition to the many operas, oratorios, cantatas, and motets for solo voice.