Released ca. 1957 by Expériences Anonymes EA 0013
The harpsichord on this record is a Pleyel, and has two. manuals and six pedals, The lower manual has an eight-foot stop, a four-foot stop and a coupler; the upper, two eight-foot stops – one nasal- and the lute.
Also released 1966 by Musical Heritage Society MHS 679 title: Music Of The 16th And 17th Centuries, Volume 1: English Keyboard Music
Recorded at Esoteric Sound Studios, N. Y. C. by JERRY NEWMAN
Production: BEVERLY MERRILL

Side A
00:00 Anonymous: O Ye Happy Dames 0’56
00:55 Richards Edwards: When Griping Griefs 1’06
02:01 William Munday: Tres Partes In Una 0’59
03:00 John Redford: Christe Qui Lux with a Meane 0’49
03:50 John Redford: Christe Qui Lux 0’44
04:34 John Redford: Eterne Rex Altissime 1’21
05:55 William Blitheman: Gloria Tibi Trinitas III 1’11
07:07 William Blitheman: Gloria Tibi Trinitas IV 1’51
08:58 Newman: Pavan 2’53
11:51 Newman: A Fansye 1’11
13:02 Thomas Tallis: Ex More Docti Mistico 1’11
14:13 Thomas Tallis: O Ye Tender Babes 2’15
16:29 Thomas Tallis: Natus Est Nobis 0’27
16:56 Galliard (Selected From The Mulliner Book ca. 1570) 3’27

Side B
20:22 Thomas Tomkins: The Perpetual Round 4’04
24:27 John Bull: In Nomine 3’36
28:03 William Byrd: Ut Re My Fa Sol La 3’31
31:34 Thomas Tomkins: Fortune My Foe 9’28

PAUL WOLFE was born in Waco, Texas. He majored in music at the
University of Texas, from which he received his Master’s Degree in 1950. Mc. Wolfe has studied piano with Webster Aitken and harpsichord with Denise Restout. He is now studying with Madame Wanda Landowska. Mc. Wolfe has appeared in concerts in many eastern universities and in New York City.

Larry Palmer (ca. 1998) wrote for lyrichordmedia at
In Paul Wolfe’s first recordings of early Italian and early English music, we find ourselves aurally close to the early years of the harpsichord revival, for the instrument on which he recorded these works is a striped zebra-wood Pleyel from 1907. Between the Ionic columns, which form the legs of the instruments stand, is a lyre containing six pedals. These pedals worked in reverse to those of most harpsichord makers: off when down, on when raised. The registers engaged and disengaged by these devices include two sets of strings for the lower keyboard (one at unison pitch, one an octave higher). The upper keyboard controlled one unison stop, which could be plucked by two different sets of plectra, one of which gave a more nasal sound. A set of tiny dampers, known as a buff (or lute) stop, could be engaged with this set of strings to create a dry, pizzicato sound; and there was a mechanical coupling device to allow both keyboards to be played together. The plectra, which pluck the strings, were of hardened leather.

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