on period instruments, ended up taking nineteen years, from 1971 to 1990. In addition, Leonhardt recorded Bach's St Matthew Passion, Mass in B minor, Magnificat, and the complete secular cantatas, as well as the harpsichord concertos, Brandenburg Concertos, and most of his chamber and keyboard music; he recorded Bach's Goldberg Variations (three times), Partitas (twice), The Art of Fugue (twice), The Well-Tempered Clavier, French Suites, English Suites (twice), Inventions and Sinfonias, and many other individual works for the harpsichord, clavichord, or organ. To the surprise of some of his associates, Leonhardt accepted the role of Johann Sebastian Bach (played in a wig) in The Chronicle of Anna Magdalena Bach, a 1968 film by Jean-Marie Straub and Danièle Huillet. Between 1974 and 1990, Leonhardt served as editor of the primary scholarly collection of the works of Jan Pieterszoon Sweelinck, which is noted as SwWV or L. Influence and awards The keyboardist, conductor and scholar John Butt said, "...there’s absolutely no doubting the enormous influence [Leonhardt] held over multiple generations of music making in the Baroque field"; in this discussion, Butt spoke of how much he learned from Leonhardt when preparing a chorus for him in the early 1990s. More generally, Leonhardt significantly influenced the technique and style of many harpsichordists through his teaching, editions, and recordings; his students and collaborators included harpsichordists and keyboard players such as Robert Hill, Bob van Asperen, John Butt, Lucy Carolan, Lisa Crawford, Alan Curtis, Menno van Delft, Richard Egarr, John Fesperman, John Gibbons, Pierre Hantaï, Frederick Renz, Elaine Thornburgh, Ketil Haugsand, Siebe Henstra, Philippe Herreweghe, Christopher Hogwood, Ton Koopman, Karyl Louwenaar, Charlotte Mattax, Davitt Moroney, Jacques Ogg, Martin Pearlman (Music Director of Boston Baroque), Edward Parmentier, Christophe Rousset, Louise Spizizen, Andreas Staier, Skip Sempé, Domenico Morgante, Peter Waldner, Francesco Cera, Jeannette Sorrell (Music Director of Apollo's Fire, The Cleveland Baroque Orchestra), Colin Tilney, Glen Wilson, and Chris Mary Francine Whittle. Butt argues that Leonhardt's influence is not necessarily a simple, direct matter, but that some of his students consciously or unconsciously tried to play differently than he did. In comparing recordings of Bach's Goldberg Variations, Butt asserts that a "classic case" of the anxiety of influence is at work in the Goldberg recording by Ton Koopman, in which "what is immediately evident is the incessant ornamentation added to virtually every measure, often regardless of whether there is already obvious ornamentation in the notation.... my immediate