REPERTOIRE OF THE 17^th CENTURY & OLDER
updated: 01/23/2006

FOR PURPOSES OF CLARITY, THE CONTENTS-LISTING OF EACH ANTHOLOGY / COLLECTION WILL BE LISTED HERE SEPARATED BY A DOUBLE LINE, THUS:

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OK, got that? Good; me too. Let’s go!

COLLECTIONS

“Ballades, Rondeux & Virelaise from the 14th – 16th Cents”

Fine anthology from the Ancient Music Ensemble of Zurich. Besides our old friend A. Non., contains five songs by Machaut, four by Francesco Landini, one by a really obscure tune-smith named GUGLIELINI EBERO (Born ?...died ??) and three by GUILLAME DUFAY. Want the whole collection (sure you do!), then you’ll be getting 44:47 worth of music. OR, I can email you the contents and you can, as always cherry-pick a custom program.

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“Choral Music from the Lowlands”, w/ the Netherlands Chamber Choir, Felix de Nobel, conductor. [Let me be obstinate, here: this, for me, is the most joyous, life-affirming, ravishing beautiful collection of choral music in my collection. The selections are mostly rather short, and half are secular in nature – i.e., meant to entertain or tell a story, not to orient your thoughts toward Heaven. I saw this outfit once, live (I guess they’re defunct, now) and it comprised perhaps forty-five voices; its tone was pure as sunlit rainwater; its phrasing was breathtaking; its dynamic range was awesome, and the lyrics were audible at “pppp”, and could fill a good-sized auditorium at “fff”. De Nobel was the Robert Shaw of Holland (and formerly Mengelberg’s chorus master – I interviewed him backstage and he had many very interesting things to say about Mengelberg’s so-called “collaboration” with the Nazis, such as “the poor man had the political sophistication of a six-year-old; Goebbels led him around like a cow with a ring in its nose…”) and he had an enormous repertoire, little of which was ever released over here. Epic Records, however, did release this awesome collection, which contains the following (all in all about 24 minutes’ worth of heart-stopping glory)]:

di LASSO: Matona mia Cara

OBRECHT: Parce Domine

OCKGGHEM: Kyrie et Gloria

Des PRES: Ave Maria

SCHUYT: O Leyda Gratiosa

SWEELINCK: Madonna con Quest’occhi

TOLLIUS: Della Veloce Sona

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“EL SIGLO DE ORO” – Spanish liturgical music from the Renaissance:

Source is mint box set of the “Das Alte Werk” series from Telefunken, a label and a series that became extinct in this country about 1985. Superb performances by the Pro Cantione Antigua directed by Bruno Turner. Ravishing acapella blend in a lofty but clear acoustical space, sometimes augmented for color and pomp by the London Cornett & Sackbut Ensemble. Altogether a splendid achievement, and one which has not been duplicated on CD, at least not in this hemisphere. Contents and timings:

CABALLOS, Rodrigo (1530 -0 1611):

Hortus Conclusus (5:35)

De CASTRO, Juan ( b. c. 1540; supposedly died before he turned 20)

Angelus ad Pastore Ait (2:08)

LOBO ALONSO (1555 – 1617):

O quam suavus est (4:51)

ESQUIVEL, Juan (1565 – 1613):

Veni Domine, et noli tardere… (2:50)

GUERRERO, Francisco (1528-1599):

O Domine, Jesu Christe (3:55)

Salve Regina (8:15)

Ave Virgo Sanctissima (7:45

Magnificat ( 7:45

De MORALIS, Christobal (1500 -1553):

O Crux, Ave, spes unica (3:40)

De-MACHAUT, Guillaume:

Notre Dame Mass. John McCarthy, cond.; Vienna Renaissance Players & London Ambrosian Singers. No timings given

NAVARRO, Juan ( 1525 – 1580):

In Passione Positus (6:01)

PUJOL, Juan (1573 _ 1626):

Laudate, Dominum…

Da VICTORIA, TOMAS LUIS (1548 – 1611):

Ave Maria (5:01)

Beati Immaculatus (2:56)

Domine non sum Dignus (3:25)

Duo Seraphim clamabant (3:57)

Magnificat (8:26)

Quam Pulchri sunt Gressus tui (4:24)

O, Sacrum Convivium (4:36) (More decorative setting of…)

O Sacrum Convivium (4:04)

O Ildephonse for 2 Choirs, Organ & Winds (2:50)

Sancta Maria (4:20)

Salve Regina for Double Choir, Organ & Basso Continuo. (11:30)

Senex Puerum Portavit (3:20)

Super Flumina Babylonis (5:18)

Di VIVANCCO, Sebastien (1550 -01622):

Stabat Mater (3:40)

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PALESTRINA:

The Garden of Love – Cantores in Ecclesia. Michael Howard/ BBC Chorus. (T: approx. 2 hours). (How does a devout Catholic composer describe “The Song of Songs” in pure vocal tone? By garbing the sensual Biblical verses with some of his most gorgeous music, evoking the voluptuous with the most chaste of instruments. My Source here is a 196-something BBC production, later recorded as a two disc deluxe set on the grand old L’Oiseau Lyre label. A copy passed through the record store I worked in, (as a $3.00 cut-out, no less! ) about 1978, and I had enough sense to grab it (with my employee discount, it came to $2.30) because…I’ve never seen another copy. Anywhere. Source discs are as close to immaculate as you could wish, sonics are appropriately luminous, and stereo adds such presence and clarity to Palestrina’s harmonies and intricacies of counterpoint. although of course in mono. Be ye pagan voluptuary or True Believer, you’ll delight in the sheer gorgeousness of sound!

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“Instrumental Dances of the Late Rensaissance”. Super-rare anthology of Hungarian, Turkish, Bulgarian & Romanian numbers from the manuscript collections dated 1400-1600, although the original works might be much, much older. Set contains 32 numbers in all, including a couple that were ostensibly composer for a dancing bear. Performances by Camerata Hungarcia Ensemble are not the last word in elegance and polish, but boy to they pour on the paprika! Entire collection – and I can’t imagine anyone cherry-picking two or three items, especially not in Hungarian and by “Anon” – times-out to approximately 46 minutes (when I make the first dub, I’ll get a precise timing on this gem)

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



[A number of you have emailed and asked me to go ahead and list-out the full contents of this award-winning but long out-of-print box set. You do realize, I trust, that we’re talking about 78 selections, most of them lasting less than five minutes…? You realize that if I do this and nobody orders anything from the listings, I will suffer a clinical depression and become even more whiney, cynical, and obstinate than I already am?

Okay, then, as long as we understand each other…

All performances are by members of the Amsterdam Syntagma Musicum, under the direction of their founding conductor, Kees Otten]

Anonymous, 13th Century --

13th Century: “Lasse! Que Deviendrai je…” [Monophonic troubadour ballad, contralto voice. Time: 4:01]

“ “ : “Deus, in Adjutorium…” [From a ms. Found near Liege; a “conductus” – a religious-context song in which all voices hit the same syllables simultaneously; here assigned to a tenor, a contralto, recorder, cornett. Fiddle & bells. Time: 2:06]

13th Century: “Ave Maria” [Set for tenor & contralto; 2 recorders, a fiddle, and a portative organ. Time: 3:20]

13th Century: “Chanson”. [Baritone accompanied by cow bell… Time: .58 seconds]

“ “ : Dansse Real. [Rare early ms. of instrumental music – which in those days was so often improvised that few examples of it survive in written form; recorder, fiddle, & tambourine. Time: 1:18]

13th Century: “Alle Psallite Cum Luya” segues into Instrumental Motet [Contralto & tenor voices, with 2 recorders, portative organ, fiddle & percussion; Voice or voices improvised on the familiar “Allelujah”, immediately followed by an instrumental motet, played only by a pair of recorders. Time: 2:04]

13th Century: Robin’s M’aime, motet. [Contralto, tenor, fiddle. One of the earliest “Robin Hood” ballades, clearly influenced by the earliest-known such ballad attributed to a single composer – see: Adam de la Halle’s “Li Jus de Robin & de Marion”.

13th Century: Ductia. [A drinking song in the style of a motet; scored for Cornett, shawm, & percussion. T: 1:34]

13th Century: Ciz Chans Veult Boire? A tavern song, which lead into the ditty listed above; scored for contralto, tenor, 3 recorders, fiddle & percussion. T: 1:14]

13th Century: Agnus Dei. Manuscript # 68 of the Worchester Cathedral; scored for Contralto, tenor, 2 recorders, portative organ, & fiddle. 2:06]

Anonymous, 14th Century –

“Di Molen van Paris” and “Het Dunct mi Wesen Verre”. [Two songs clearly based on one another, one ms. Located in Paris, the other in Prague, although the kyrics are in Dutch! Scored for Tenor & contralto, portative organ, fiddle, percussion, & a pair of recorders. Total time: 1:31]

The Mass of Tournei: Kyrie & Sanctus only. [Excerpts from the first “mass” thought to have been the work of a single composer, although we don’t know who he was. The ms. Almost certainly dates from around 1320 A.D. and is scored for small choir, 2 recorders, portative organ & fiddle. Total time: 3:08]

Contre le Temps. [A fine example of the popular “virelai” form (ABBAA), which was widespread during the late Middle Ages. Time: 1:30]

“Lamento di Tristano” & “Trotto” [Sorry; no relation! Two up-tempo dance numbers, the first an “estampe” and the second, a “rota”. Time: 3:23]

Kyrie. From the Codex Faenza, scored for portative organ, fiddle & recorder. Time: 1:07]

Benedicamus Domino. [Notice the very subtle use of dissonance on the part of this unknown but highly skilled composer! Scored for contralto, tenor, recorder & viol. Time: 1:35]

Anonymous, 15th Century ---

Five Popular Lieder: Bruder Konrad; Es Suld Ein Man; Das Jaegerhorn; Ich Sachz Eyns Mols; Czenner Greyner. [All five are from the “Glogauer Liederbuch”, which was compiled around the end of the 15th Century & touch upon many aspects of everyday life, from the gently humorous to the openly ribald. Scored for contralto, tenor, spinet, viols, percussion, cornets, gemshorn, & crumhorn. Total time: 3:27]

WORKS WITH ATTRIBUTED AUTHORSHIP

Agincourt, Perrin de (13th Century): Ballade. [Played on a shwam. T: 131]

das Rosas. [Played on a gemshorn. T: 1.03]

Corniyshe. William, { 1465-2523): Trolly Lolly. [Contralto, tenor, 3 recorders 7 viols. Time: 1:02]

Dufay, Giullaume ( c. 1400-1474): Flors Florum. [Scored for cvontra;to & tenor, w/ 2 recorders, portative organ & fiddle. Time: 4:27]

Dufay: Resvelons nous REesvelons Amoureux. [ 0:31]

Dunstable, John (1380-1453): Sancta Maria. [Contralto, tenor & fiddle; time: 2:40]

De Encina, Juan (end of 15th Century) O Reyes Magos Benditos. [An early version of the “villancico: or :”Xmas Carol”, in this case a soloist, either tenor or contralto, accompanied simioly by a Kortholt. Time: 2:48]

FACOLI, Marco (16th Century): Aria Della Signora Moretta & Aria Della Marchetta Saporita. [Twin versions of the same basic ditty, one designed to be played wuith the keys, the other to be stroked seductively. One hopes the musician was successful in either case. T: 1:39]

Da Firenze, Gherardello (14th Century): Agnus Dei. [Contralto & tenor only; time: 1:38]

Da Firenze, Lorenzo (14th Century): Sanctus. [An unusually emotional “sanctus” by this accomplished Florentine composer. T: 3:16]

Gannassi, Silvestro (1492- ? ) : Ricercar [Viol. 1:10]

Giovanni Giacomo Gastoldi (1556 – 1622): Musica A Due Voci. [Muted cornett, basso continuo accompaniment, what’s going on here?? Ah, yes, the Baroque period is suddenly here! No turning back now, cavaliers! In fact, thus piece can be played, contrapunctista, with the following one for a decidedly ornamental romp;

Martino Pesenti (c. 1600-1648): Gagliarda. [Cornett, spinet, viols. Time, when both played together, 2:42]

Des Prez, Josquin des (1440 – 1521): Agnus Dei. [Contralto, tenor. Time; 1:04}

“ “ “ “ “ “ ): La Bernardina. [2 recorders, portative organ & recorders]

Des prez: Baisez Moy. [all the above instruments plus crumhorn, racket, whatever ekse was lying about, unplayed.]

Gulielmus, ____ (end of 15th Century): La Bassa Castiglia. [Recorder, portative organ. Recorder riffs an improvisation over a popular dance tune of the time, a practice now becoming more and more common. Time: 1:22]

De la Halle, Adam (c. 1237-1286): Dieus soit en Cheste Maison. [Scored for contralto, tenor, 2 fiddles, 3 recorders. Time: 3:19]

De la Halle: Robins M’aime. [Another slight – 1:11 – Robin Hood ballad, scored for contralto & gemshorn.]

Hendrick, Isaac (1450 – 1517): Innsbruck, Ich muss dich Lassen. [He’s leavin’ on a jet plane/ don’t know when he’ll be back again/ Innsbrook, he hates to go-o-o! Time: 2:02]

Hendrick: Ecce Virgo. [Composed secular and religious works with equal fervor, dividing his time between Austria and the Netherlands. Time: 1:04]

Henry VIII (1491 – 1547) : O My Hart. [Contralto, tenor, 3 recorders 7 viols. Time: 1:03]

Jacopo de Bologna (14th Cenrtury): Non al Suo Amante. [A clean & simple duet with tenor & contralto. T: 3:35]

Landini, Francisco (c. 1330-1397): Echo La Primavera. [Contralto & tenor; T: 1:46]

Legrant, Guillaume (15th Century: Wilhelmus Legrant. [Very early example of clavichord music; time: 2:03]

Legrant: Or Avant, Gentiltz Fillettes. [Contralto, tenor, recorder, viol, & fiddle. Time: 0:45]

Van Lublin, Jan (16th Century) : Doulce Memoire. [Early solo version of a popular tune, performed on a spinet. Time; 5:07]

De Machaut, Guillaume (c. 1300 – 1377): Trop Plus – Biaute – Je Ne Suis. [Tri-partite motet with complex tenor line & elaborate accompaniments by recorders, cornets. Fiddles, portative organ, & viols. Time: 1:40]

Obrecht, Jacob (1453- 1505): Fuga. [An instrumental canon, notated in two bass clefs, which was ripped off & published by another composer, Glareanus the Theorist, who – if this were a short story by Poe or Hawthorne or Lovecraft, would have been driven mad by the shrieking bells… Time: 1:33}

Ockeghem, Johannes (c. 1425 – 1495): Kyrie. [For contralto, tenor, 2 recorders, portative organ and viols. Time: 1:57]

Ortiz, Diego (16th Century) : Recercade Segunda Sobre La Misma Cancion. [Harpsisichord & viols. Time: 4:00]

Othmayr, Kaspar (1515-1553): Von Himmel Hoch. [A personal friend of Martin Luther, Othmayr scored this charming Christmas song for two recorders. Time: 2:20]

Paumann, Conrad (1415 – 1473): Unnamed Piece. [Though blind, Paumann enjoyed a very successful career & is generally credited with being the first important composer for keyboard instruments, solo. Time: 1:16]

Perotinus of Notre Dame (12th Century): Allelujah. [Two recorders, cornett, fiddle, contralto & tenor. T: 1: 13]

Resinarius, Balthasar (c. 1480 – 1546}: Nun Komm der Heiden Heiland [Another friend of Luther’s, who indicated a scoring of small chorus, portative organ, and viols. Time: 1:20]

Sandrin, Pierre (16th Century) : Doulce Memoire. [Contralto, tenor, recorder, & viol. Time: 3:07]

Tassin, ? (13th Century): Chose Tassin I. [A “chose” was…well, shit, I don’t know; the program notes don’t say and neither do my reference books. The past tense of a “choose”, perhaps… Anyway, this ditty’s scored for a “one-handed flute” – don’t ask, don’t tell –and a tabor. T: 1:00]

Tassin: Chose Tassin II. [Been there, tried that, still don’t know what a “Chose” happens to be. Scored for fiddle & drum, lasts 9.57]

Richard coeur de Lion (1152-1199): Ballade. [Yep: King of England; great Crusader; friend of Robin Hood; notorious gay party-guy; so-so composer. That’s him. T: 1:06]

Turnhout, Gerard von ( c. 1525 – 1580) : Compt al wit Zuyden. [Music became capable of expressing effects, as in this somewhat flamboyant “religious” song by a decidedly secular composer. Time: 1:34

Valderrabanco, Enriqua, Pavana. [One of the earliest surviving songs written expressly for the lute, which became guitar of its day – i.e., the solo instrument of greatest favor and most rich expressiveness. Here, the player might sing or not as he/she choses, but if the piece were so well known that the audience already knew the woods, the soloist might be well advised ti shut up and let his calloused lute-fingers tell the tale alone as is the case in this example…Time: lodamlamatursee\s

De la Rue, Pierre (c. 1460 – 1518): Mijn Hert Altijt Heeft Verlanghen. [A Dutch rendering of a song made popular from its appearancve in the song-album of Margaretha of Austria. Performed here by contralto & tenor, with 2 recorders. Time: 2:06]

Sachs, Hans (1494 – 1576]: Salve Ich Grusz dich Schoene.. [For tenor alone. T: 2:01]

Susato, Tielman (16th Cent.): De Post. [Pictorial tone-painting novelty, scored for 4 crumhorns. Time: 0.29]

Sweelinck: Marchans qui Traversez. [Composed around 1612; for contralto & tenor. Time: 5:37]

Sweelinck: Tocatta. [Scored for spinet; we’re entering the world of Bach, now, kiddies. Time: 2:24]

Walther, Johann (1494 – 1570): Ein Fest Berg… [No, Bach wasn’t the first to use this Lutheran chorale… Scored for tenor, contralto & shawm. Time: 1:14]

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“Excerpts from the Bartfa Collection” (Glad you asked! Situated in NW Hungary, the ancient trading center of Bartfa was a crossroads for travelers throughout the 15th-17th Centuries. An enlightened and tolerant local ruler, Prince Gregory Stanchotz Horvath, began amassing a library of artwork and manuscripts in his castle; descendents expanded and protected this now-priceless collection, which includes political broadside pamphlets, popular songs sheet music, lute tablatures, poems, and hundreds of historically valuable woodcuts. The Bartfa Collection includes the only surviving examples of the work of once-popular tunesmiths and itinerant virtuosi such as Arthopius, Blanckenmueller, Dragoni, Lagkner, Theuberus and Zanotti. Our Scource: a beautiful 1972 Hungariton compilation (in stereo) chock-full of galliards, dances, chansons, and fantasias. Requires 1.5 CDs, so you might want to add another 35-40 minutes’ worth of something or other. Performers are various members of the excellent Camerata Hungarica. (Because it takes very precise work to fit the whole collection on to one CD, without distortion or editing out anything, I’m also compelled to charge an extra $2.00 for this particular set, in order to make it worth the time and painstaking effort involved. Fair enough?

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Kees Otten’s “Guide to Rennaisance Music”: I don’t know if Otten and his excellent “Syntagma Musicum of Amsterdam” are still active as such, but about 25 years ago they put out a magnificent two-disc survey of ALL the representative composers and compositional styles of the 13th-17th Centuries. Comprising 72 vocal and instrumental selections, the variety and richness is marvelous: chansons, ballades, motets (both secular & religious), dances, solo pieces for virginal, clavichord, portative organ, recorders – all played (and/or sung) with uncommon zest and devotion. One appealing feature is that not too much space is given to Dufay, Machaut, Sweelinck, et. al., who are well-represented in numerous other anthologies; but we do get at least a piquant taste of works by Balthazar Resinarius, Diego Ortiz, Martino Pesanti, Marco Gacoli, and many others who are not exactly household names. It’s fascinating, for instance, to compare the setting of “Ein Fest Burg…” composed by Johann Walther (1494-1570), with Bach’s vastly more familiar arrangement. So there’s plenty here for the Renaissance specialist, and for the uninitiated, the collection as a whole is a perfect introduction to the glorious music of this period. Now, I am not about to type out 72 entries, most of which last less than five minutes. I will be happy, however, to email you a list of what’s here by your favorite composers, in case this might be a place to find a small gem that’s eluded you elsewhere. But the complete collection runs a total of 75:44 – a perfect fit for a single 80-minute CD. A lot of wonderful music for the asking price!

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“Music from the Court of Carl Theodore”: Prime examples of the “Mannheim School”, a loose designation for the stylistic bridge between Bach and Haydn. Performing is the “Kurpfalzischer Chamber Orchestar” (No, I never heard of them either, but they play with vigor and commitment, if not always the last degree of virtuosity). Conductor is Wolfgang Hoffman (never heard of him, either, but some of you might). No timings are given on the Scource, but the average length is obviously 10-15 minutes per work. The pieces assembled here are not, neglected masterpieces, but none is less than well-crafted and each has its moments of real interest:

Cannabich, Christian (1731-1798): Sinfonia Concertante in F major

Rossler, Anton Franz (1750-1792): Sinfonia in G minor.

George Joseph Vogler (1749-1814) : Four examples from Mannheim’s “Comic Ballet” genre, a peculiar sub-genre that never caught on in a big way.

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“The Royal Brass Music of King James I”. (One side at a time is enough for me, thank you, but this 21-composition anthology is a brass-aficionado’s dream, featuring as it does the then-unknown Maurice Andre as First Trumpet, and the legendary Thurston Dart as conductor. Source was one of the first 10-12 albums issued by the lamented L’Oiseau Lyre label, way back about 1961. Collectors who specialize in this period will recognize all the composers’ names, I imagine, but for the rest of us, there’s stuff by Anthony Holborne, Giles Faenaby, and “Tony” Ferrabosco – well, I’ve heard of him! Source pre-dates the custom of putting timings on labels, but each selection runs about 3-4 minutes, tops. In addition to Maurice Andre, the other trumpet is Jean Pirot and – in case you’re wondering – the trombones are all French-sounding, too: Maurice Suzan, Andre Arque, Camille Verdier, and Bernard Gallot. Ol’ James I really got around….)

“Music for St. Marks”: Glorious works for multiple choruses & ensembles, recorded circa 1969 in Chapel of King’s College Cambridge, w/ Sir David Wilcox, the Wilbraham, Brass Soloists, & The Bach Choirs. Contents:

Gabrieli:

Angelus ad Pastores air (T: 2:46)

Buccinate in Neomenia tuba (T: 4:33)

Canzon septimi toni (T: 3:43)

Hodie Christus natus est (T: 6:10)

Hodie complete sunt (T: 4:18)

O Domine Jesu Christe (T: 4:14)

O magnam mysterium (T. 3:10)

Omnes gentes, plaudite minibus (T: 4:14)

Scheidt:

In dulci jubilo (T: 3:26)

Schuetz:

Psalm 150 (T: 9:23)

Alphabetical Listings, starting with everyone’ favorite early music man, Mr. “A”

ANONYMOUS (English, pre 1600 -- ):

Estampie; Saltarello; Samson dux fortissimae; Te Deum (British Museum & Cambridge, performed as a suite by Thomas Binkley; “Studio for Early Music” (T: 28:56)

ANONYMOUS (Flemish, Dutch, etc.):

Mij quam eyn hope. (Dutch, c. 1350) Thomas Binkley; Studio for Early Music

AONYMOUS (Florentine):

Frotollas, galliards, pavans, and Allenans (as in “Allamnan left, with your right hand, grab a Medici and head for the barn!”): wonderfully vital and color-splashed collection of Good Time Tunes, as restored by Michael Morrow & conducted by John Beckett, as Scourced from a fine long out-of-print Argo anthology (“A Florentine Festival”). Approximate time: 36 minutes.

ANONYMOUS (French and Burgundian):

Il est de bonne heure ne; Tres douce regard (rondeau); Ma, tres dol rossignol; He, Robinet; Filles a marier; Le joli tetin; Je suis d’Allemagne. Thomas Binkley; Studio for Early Music (T: 24:56)

ANONYMOUS (German):

Ich soring an disem ringe (c. 1450). Thomas Binkley; Studio for Early Music

ANONYMOUS (Hungarian):

“Adest Festum”, antiphonal psalm, 13th Century. Schola Hungarica Male Choir

Surrexit Christus Hodie (12th Century) Schola Hungarica Male Choir.

Heyduck Dance. Janos Sebastyen, harpsichord.

Three Fugues from the “Roskovsky Collection” of organ pieces, 14th-16th Century, w/ Gabor Lehotka, organist.

“Mielic Bogaci Wegrowie” (“Chronicle about the Hungarians). Liszt Academy Chamber Choir.

Short Renaissance Dance. Janos Sebastyen, harpsichord.

ANONYMOUS (Spanish):

(Ballad) Rodrigo Martinez; Dale su le das; Venid a sospirar; El Fresco ayre. Thomas Binkley; Studio for Early Music (Suite; time: 19:15)

ALBICASTRO, Henrico:

Concerto Gross Op. 6, in F. Marriner: Academy St. Martin-in-the-Fields.

ALBRECHTSBERGER, Johann Georg (1736-1809):

Notturno for Four Instruments. Musica Antiqua Hungarica playes.

d’AMIENS, Guillaume (13th Century, Polish):

Trouvere Songs (3). Kazimierz Piwkowski; Ensemble Fistulatores et Tubicinatores Varsovienses.

BAKFARK, Balint (1507-1576):

Fantasias and Ballads for Lute. Daniel Benko, lute. (The Hungarian John Dowland? Highly interesting music for those who enjoy the period and the instrument. 14 short works here, mostly 4-6 minutes long and sensitively played.)

Lute Fantasy No. 9. Andras Kecskes, lute.

BARBIREAU, Jacob (1409-1491):

“Peacock Dance”. Musica Antiqua Hungarica

BARSANTI, Francesco (1690-1760):

Concerto in D major for 2 Horns & Orch. [SEE “Stagliano” under “Virtuosi & Chamber Ensembles”]

BINCHOIS, Giles: c. 1400 – 1460)

De plus en plus. Thomas Binkley; Studio for Early Music.

--- ? BORLET (c. 1047)

He, tre doulz roussignol. Thomas Binkley; Studio for Early Music.

BRUHNS, Nikolaus (1655-1697):

Prelude & Fugue No. 3 in E minor. Jacques van Oortmerssen, organ. [6:05]

BRUMEL, Antoine (c. 1480-1520):

“O Domine Jesu Christe”, a personal prayer. Konrad Ruhland; Capella Antiqua, Munich

BYRD, William:

Non Nobis Nomine. Sandy Bull, guitars & banjo. [Meltingly beautiful transcription by a young virtuoso whose life was cut tragically short by a drug overdoes in the mid-Sixties. Bull dubbed the three voices in Dyrd’s motet, two on guitar and one on banjo. The results are not as odd as you might think – the plangentcy of the instruments somehow “works”. See also Carmina Burana.]

Pavan for the Steak of Salisbury. [See “Stokowski” under “Conductors”]

CARA, Marco (died c. 1527):

A Frotolla, “Il non compro”. John Beckett; Musica Reservata.

CIMAROSA:

Concerto for Oboe & Strings (Arr. Sir Arthur Benjamin). MITCH MILLER, oboe; Daniel Seiderberg; Seiderberg Little Symphony. (Source disc is an old “Black Label” Mercury, which means inevitably that surfaces are pretty grungy, but the rarity of Miller as a classical player makes this highly desirable anyhow.)

CLARKE, Jeremiah:

“Trumpet Voluntary” w/ John Wilbraham, trumpet; Douglas Gamley; National Philharmonic Orchestra

CORELLI, Archangelo:

Concerto Grosso in D, Op. 6/ No. 2. Societa Corelli

Concerto Grosso in D, Op. 6/ No. 2. Societa Corelli.

Concerto Grosso in G Minor, op. 6/ no.

Concerto Grosso Op. 6, No. 7. Marriner; Academy St-Martins-in-the-Fields

Concerto Grosso in G minor, op. 6/ no. 8. Societa Corelli.

“ “ “ F, Op. 6/ No. 9. Societa Corelli. [Except for the Marriner, all these performances are from a 1955 RCA LP, in VG condition. The “Societa Corelli” eschews period instruments but do keep things to authentic proportions. The emsemble was apparently conductor-less, and if one were feeling churlish, one could cite instances of less-than-perfect attacks/releases and dynamic shifts that don’t quite click as they should. But to hell with that stuff – these guys play with warmth and love, and the music blooms under their bows. This was also eviderntly a pretty rare release – I can recall seeing just one other copy over the last 35 years and it was not in playable condition. If you’re in the mood, this is a treasurable release.]

COUPERIN, Francois:

Les Baricades Misterieuses. Anthony Newman, harpsichord (Time: 2:10)

Pieces de Violes – Suite No. 1 in E Minor. Desmond Dupre & Dennis Nesbitt, viola da gamba; Thurston Dart, harpsichord. [One of the earliest LPs from the great L’Oiseau-Lyre label; very authentic – Couperin’s own accent markinsg are strictly observed – but filled with warmth and emotion.]

Suite No. 2, A Major. Thurston Dart, harpsichord; Desmond Dupre & Dennis Nesbit, violas da gamba.

DARUTI, Girolamo (1561 - ? ):

Ricercare for Organ. Gabor Lehotka, organist.

DAVY, Richard (c. 1465 – 1507):

The Passion According to St. Matthew. Grayston Burgess; Ian Partridge, Evangelist; Christopher Keyte, Jesus; The Purcell Consort of Voice & Choristers of All Saints.

DEMANTIUS, Christoph (1567 – 1643)

“Tympanum Militaire”, excerpts from. Liszt Academy Chamber Choir.

DESPREZ, Josquin (c. 1450 – 1521):

Absalon, Fili Mi. Konrad Ruhland; Capella Anbtiqua Munich. (T. 2:51)

Ma bouche Rut. Musica Antiqua Hungarica.

Miserere Mei, Deus. Konrad Ruhland; Capella Antiqua Munich. (T. 12:20)

Missa La Sol Fa Re Mi. Konrad Ruhland; Cappela Antiqua Munich. (T. 23:43)

Planxit Autem David. Konrad Ruhland; Cappela Antiqua Munich. (T. 10:45.

Je Ne Me Ouis Tenir d’Aimer. Konrad Ruhland; Capella Antiqua Muncich. (T. 5:23)

Invioloata et Casta es Maria. Konrad Ruhland; Capella Antigua Munich. (T. 4:26)

DITTERSDORF, Karl Ditters von:

“Arcifanfano, the King of Fools”, Opera Buffa, Act One ony. Eva Lewhoczky, soprano; Buadepst Philharmonic members; Miklos Erdelyi, conducting.

ENCINA, Juan (1468-1529):

Fata la parte. Thomas Binkley; Studio for Early Music.

Villancicos (3). Kazimierz Piwkowski; Ensemble Fistulatores et Tubicinatores Varsovienses.

Van EYCK, Jacob:

Untitled Organ Piece, 1646. Herman Jeurissen, French horn; Carlos Noerdijk, piano [0:57]

FANTINI, Girolamo (c. 1600-1660):

Chiamata No. 3 – Fanfare from. Roger Voisin, trumpet; Emanuel Vardi; Kapp Sinfonia

Ciamata No. 6 – Fanfare from. “ “ “ “ “ “ “

FESTA, Costanzo (1490-1545):

“Lively” madrigal. John Beckett; Musica Reservata.

FEVIN, Antoine de (1473-1512)

Flaute d’argent. Thomas Binkley; Studio for Early Music.

FINK, Heinrich (c. 1445 – 1527)

Oh, Beautiful Woman! Musica Antiqua Hungarica.

FISCHER, Johann Kaspar (1665-1746):

Suite No. 8, Le Journal de Printemps. Roger Voisin, trumpet; Emanuel Vardi; Kapp Sinfonetta

De FLORENTIA, Donato (14th Cent):

Come da lupo. Thomas Binkley; Studio for Early Music.

FOGLIANO, Giacomo (1468 – 1555):

L’amor donna. Thomas Binkley; Studio for Early Music.

FRYE, Walter (fl. 1428)

Ave Regina Coelorum. Musioca Antiqua Hungarica.

FUX, Johann Joseph (1660-1741):

Serenade in 8 parts for Winds & Strings. Harnoncourt; Concentus Musicus. (T: 34:32)

Rondeau for 7 Instruments. “ “ “ (T: 4:15)

Sonata a Quattro, for Winds, Strings & Brass. “ “ “ (8:40)

GABRIELI, Giovanni:

Canzon Septimi Toni. Musica Antiqua Hungarica.

In Ecclessiis (or, as I like to think of it, “the motet from Heaven”). Felix de Nobel; Netherlands Chamber Choir & Chamber Orchestra, Holland Festival, 1970. (T. 13:14)

GAMOLKA, Mikolaj (c. 1535-1591):

Melodies from the Polish Psalter. Kazimierz Piwkowski; Ensemble Fistulatores et Tubicinatores Varsovienses.

GANASSI, Silvestro (1492 - ? ):

Ricercar. Thomas Binkley; Studio for Early Music.

GOUDIMEL, Clause (1514-1572)

Psalm 102. Male Choir of the Hungarian Peoples Army & Brass, percussion group from Budapest Philharmonic; conducted by Istvan Kis.

HAMMERSCHMIDT, Andreas (1611 – 1675):

“Oh my Sweetheart, Oh, my Love!” Musica Antiqua Hungarica.

HAYDN, Michael:

“The Happy Return-Encounter”, Aria and recitative. Zsolt Bende, baritone; members of Budapest Philharmonic Orch, conducted by Miklos Erdelyi.

HOMILIUS, Gottfried August:

When Adam Fell – chorale prelude for trumpet & organ. E. Power BIGGS & Roger VOISIN. (Rarely heard work by one of Bach’s pupils.)

KLABON, Krzyzstof (1550-1616):

Songs for the Slavic Calliope (2). Kazimierz Piwkowski; Ensemble Fistulatores et Tubicinatores Varsovienses.

KRAKAWA, Mikolaj (16th Cent.):

Five Popular Dances. Kazimierz Piwkowski; Enesmble Fistulatores et Tubicinatores Varsoviensis. (Obscure but charming.)

KREBS, Ludwig:

Chorale Prelude for Trumpet & Organ. E. Power BIGGS & Roger VOISIN, trumpet. (Rare recording of a work by one of Bach’s favorite pupils.)

KUSSER, Johann Sigismund (1660 – 1727):

Overture for Court Orchestra. Liszt Academy Chamber Orchestra

LANDINI, Francesco (1325-1397)

Gran piant. Thomas Binkley; Studio for Early Music

Ecco la primavera. “ “ “ “ “ “

De LA RUE, Pierre:

Oh, my Heart. Thomas Binkley; Studio for Early Music.

LAURENTIS the Elder (c. 1500):Studio for Early Music.

“Mij heft een piperken.” Thomas Binkley; Studio for Early Music.

LEOPOLITA, Marcin (d. 1589):

Missa Paschalis. Edmund Kajdasz; Mixed Choir of the Wroclaw Radio

LOCATELLI, Pietro:

Concerto Grosso Op. 1, No. 9.Marriner; St. Martins in the Field

LULLY:

Carousel Music, 1668. Roger Voisin, trumpet; Emanuel Vardi; Kapp Sinfonetta

LURANO, Fillipo de (16th Century)

Se me grato. Thomas Binkley; Studio for Early Music.

LUZZASCHI, Luzzasco (1545 – 1607)

O, dolcezzi! Thomas Binkley: Studio for EarlyMusic.

LEOPOLITA, Marcin ( d. 1586), (Chorus master at the Krakow Court, about whom we know a single substantial fact: he was “dismissed” in 1564.)

Missa Paschalis. Edmund Kadasz ; Choir of the Wroclaw Radio (T.approximate 23”)

De MACHAUT, Guillaume:

Notre Dame Mass. John McCarthy, cond; Vienna Renaissance Players & Ambrosian Singers. No timing given [My God, what a starkly magnificent work!]

MALVEZZI, Christofano (1547-1597): (Malvezzi gets top billing, but there’s also one number here by his colleague. Emilio de’Cavaliera. See description below for a rough idea of what an “Intermedio” was – this one contains madrigals, courtly dances, and a very interesting “sinfonia” for orchestra alone. Together, they all make a dandy little suite.)

“Sesto Intermedio”. John Beckett; Musica Reservata. (approx. 13 minutes)

MARCELLO. Alessandro (1684-1750):

“Largo” from Concerto Grosso for unison Violins & Four Harps. New York Harp Ensemble.

MARENZIO, Luca (1553-1599):

“Secundo Intermedio” – as the name implies, an “Intermedio” was a suite of incidental music to be played between the (often long) scene changes at a festive, Formal Occasion presentation of a masque or drama. Composers wanted to entertain the crowd while the stage hands took a LOT of time arranging the elaborate trappings of the next act; so these suites might include madrigals, choruses, ballet numbers, troubadour ballads, “battle music” illustrative of some recent blood-letting or other. In other words, no profound musical objective here, just sheer distracting spectacle and crowd-pleasing. Which Marenzio seems to have been very, very good at providing. Conductor John Beckett’s selection of five specimens works quite well as a sort of generic Renaissance Hi-Jinks suite. w/ Musica Reservata. (Time: approx. 12 minutes)

MILAN, Luis:

Pavane & Gigue for English Horn & Strings. MITCH MILLER, Eng. Horn; Daniel Seiderberg; Seiderberg Little Symphony. (See comments under “Cimarosa” re: disc condition. Musty, ticky-poppy surfaces are always encountered on older Mercury “Black Labels”, but it’s listenable & you may live another 300 years without seeing a copy in better condition.)

MONTEVERDI, Claudio:

MONTEVERDI:

“Sinfonia da Guerra” – Fanfares from. Roger Voisin, trumpet; Emanuel Vardi; Kapp Sinfonetta

“Orfeo”, toccata from. John Beckett; Musica Reservata

MOSTO, Gian Battista (1540 – 1597):

Instrumental Pastorale. Musica Antuqua Hungarica.

Da NOLA, Giovanni Domenico (c. 1510-1592)

Chichilichi (???) Thomas Binkley; Studio for Early Music

A “frotolla”, “Tre chiechi siamo”. John Beckett; Musica Reservata.

OBRECHT, Jacob (1377-1505:

“Ic draghe de mutze clutze”. Thomas Binkley; Studio for Early Music

Pekiel, Barttomiej ( d. 1670), Organist of the Royal Chapel, Warsaw:

Missa Pulcherrima. Edmind Kajdasz; Chorus of the Wraclaw Radio

PALESTRINA, Giovanni:

“Laetus Hyperboreum”. Liszt Aacdemy Chamber Choir.

Miss Assumpta Est Maris. Paul Boepple; The Dessof Choirs [The work is glorious, of course, and the Source is weird: a plain white-jacketed “Rarities” LP published, in microscopic numbers, by New York’s legendary The Record Hunter (long fallen to the wrecking ball, and the last time I was there, in the mid-Seventies, it was but a pale shadow if its former glory; the staff was the snottiest, rudest, most incredibly knowledgeable set of vinyl-dweebs in North America; if they didn’t have it, they knew who did – although you almost had to grovel to get the information out of them. For a while, there, in the Sixties, they published their own Rarities label, like this item it was mostly niche-market esoterica known only to the cognoscenti. Sound is mono, of course, and a trifle dim, and I cringe to admit that I’d never heard of Paul Beopple OR The Dessof Choirs when I bought it, but the singing is sumptuous and the registers well balanced. Like ALL Record Hunter Rarities I’ve seen, it came ought of the shrink wrap bearing light surface swash and the occasional resounding “pop!” but basically my copy’s in as good condition as any you’ll find.) (None of which has anything to do with Palestrina or Renaissance polyphony, but I thought you’d find it interesting.)

PEIRE, Vidal (c. 1196 – 1204):

Troubadour Song “An no mori per amor”. Musica Antiqua Hungarica.

PEKIEL, Bartolomeij (d. 1670):

Missa Pulcherrima. Edmund Kajdasz; Mixed Choir of Wroclaw Radio

PETZOLD, Johann Christian (1639-1694):

“Hora Decima” (“Ten O’Clock”). Roger Voisin, trumpet; Emanuel Vardi; Kapp Siinfonetta

PICCHI, Giovanni (mid-17th Cent.):

Hungarian Pavan (“Oadiana dutta la Ongara”). Nusica Antiqua Hungarica.

Di PISTOIA, Lodovico Guistini:

Sonata No. 1 in G Minor. Mieczyslaw Horszowski, piano.

Sonata No. 7 in C Major. Mieczyslaw Horszowski, piano.

POGLIETTI, Alessandro (1630 – 1683)

Toccatina on the Hungarian Rebellion. Zsuzsa Pertis, harpsichord.

PRAETORIUS, Michael:

Dances (6). Kazimierz Piwkowsaki; Ensemble Fistulatores et Tubicinatores Varsovienses. (Yeah, OK, so you’ve never heard of this band either, and I’d just as soon not have to type the name again in my life, but they’re equal to any other early music ensemble you can name, with an earthy sense of rhythm and uniquely pungent blend of sonorities. From the album illustrations & what little I can read of Polish, they seem to play on some rare and valuable instruments. I’d stack this version of the Praetorius foot-stompers up against anybody’s!)

PURCELL:

“The Fairy Queen”, Sinfonia from. Roger Voisin, trumpet; Emanuel Vardi; Kapp Sinfonetta

Trumpet Voluntary. Samuel Krauss, trumpet; Ormandy; Philadelphia Orchestra

RAADOMSKI, Nicolaj (c. 1430):

Instrumental piece. Kazimierz Piwkowski; Ensemble Fistulatores et Tubicintores Varsoviensis.

RAMEAU:

Sarabande from Zoroastre. Anthony Newman, harpsichord. (Time: 1: 14)

RAUCH, Andreas (1592 – 1656):

“With Pleasure and Joy” (All Lust und Freud!). Musica Antiqua Hungarica.

ROMANINI, Antonion (1567 – 1613):

Toccata for Organ. Gabor Lehotka, organ

De la RUE, Pierre (c. 1450-1518):

Missa Pro Defunctis. Konrad Ruhland; Capella Antiqua, Munich. [An austerely beautiful work by a composer about whom we know next to nothing, other than the sad fact that he died at a very early age. As usual with Ruhland & his musicians, the performance is exquisite.]

SACHS, Hans (1494-1576):

Nachdem David war redlich. Thomas Binkley; Studio for Early Music.

SCHMELZER, Johann Heinrich (1623-1689):

Sonata Natalitia for 3 Ensembles. Harnoncourt. Concentus Musicus, Vienna. (T: 2:50)

Sonata I, 8 parts, for 18 Insrruments. “ ; “ “ “ (T: 3: 52))

Sonata II, 8 parts, for Double Ensemble. “ “ “ “ (T: 5:15)

Sonata 4 “La Carolietta” Harnoncourt; Conscentus Musicus Vienna (T: 6:15)

Sonata in 3 parts, for 11 instruments. “ “ “ “ (T: 4:40)

Sonata IV in 6 Parts. Harnoncourt; Consecntus Musicus, Vienna. (T: 4:21)

Sonata in 5 Parts for 12 instruments. Harnoncourts; Concentus Musicus. (T: 7:00)

Sonata in 3 parts, Strings & Cembalo. “ “ “ (T: 5:44)

SIMONELLI, Matteo (c. 1618 – 1696)

Missa Buda Exugnata (Kyrie section). Liszt Academy Chamber Choir.

SENFL, Ludwig (c. 1490-1555):

“Quis dabit oculis nostris” for the Emperor, Maximilian I. Konrad Ruhland; Capella Antiqua, Munich

“Non moriar sed vivam”, (Dedicated to Martin Luther). “ “ “ “

SPEER, George Daniel (1636 – 1707):

Sonata for Cornet and three trombones. Members of Musica Antiqua Hungarica.

STOKHEM, --- ? (1458 – 1490) (Choirmaster to King Mathias)

Je suis d’Allemagne. Musica Antiqua Hungarica.

STOLTZER, Thomas (1480-1526) – A major, recent, and most felicitous discovery for me! Stoltzer was court composer to Ludwig II of Hungary/Bohemia, and left more than 150 works in every style of his time, from Church music of great seriousness to charming instrumental ditties. Not to stretch an analogy, but I am reminded of Albrecht Deurer (damn, I wish these keyboards had umlauts!), at least in terms of range and technical skill. His death was as absurd as his career was stellar: he fell into a freezing river during a trip from the court at Ofen to Prague, and was dead before his companions could fish him out.

The Four German Psalms:

Psalm 37, “Fret not thyself because of Evil-Doers” (Time: 19:19)

Psalm 12, “Help Lord, for the Faithful Fall” (Time: 7:05)

Psalm 13, “How long wilt Thou forget me, O Lord?” (Time: 4:35)

Psalm 86, “Bow down thine ear, O Lord”. (Time: 10:32)

Also these works by Stoltzer:

Missa Duplex, for any time of the Year. (Time: 17:14)

Accessit ad pedes (And stood at his feet), a responsory. (Time: 3:48)

O admirabile commercium (O, wondrous exchange…), a Christmas antiphon (T: 2:54)

In Gottes Namen fahren wir (In God’s name fare we forth) (Time: 1:20)

Koenig ein Herr… (King and Lord of all…) (4-part setting of lyrics by Duke Albrecht of Prussia) (Time: 5:47)

De Sancto Martino (Hymn to St. Martin) (Time: 2:42)

Octo Tonarum Melodiae (Delightful instrumental pieces for varied combos; total timing is 9:11)

All performances by the Capella Antiqua of Munich; Konrad Ruhland, conductor

“Benedicam Dominum in omni Tempore” Musica Antiqua Hungarica

“Erzeurne dich nicht” Chamber Choir of the Liszt Academy; Members, Budapest Phil.

STRADELLA, Alessandro (1644-1682)

Concerto Grosso in D Major. Paillard; His Chamber Orchestra

Sinfonia avanti il Barcheggio, D Major; Paillard Chamber Ensemble

Sinfonia in A Major. Paillard Chamber Ensemble

Sinfonia avanti il Damone in G Minor. Paillard Chamber Orchestra

Sinfonia in F Major. Paillard Chamber Orchestra

Sonata a Quattro in D Major for Double Orch. Paillard Chamber Orchestra

Sonata in D Major (a otto Viole con una Tromba). Paillard Chamber Ensemble

Sonata for Trumpet & Two String Orchestras. Roger Voisin; Emanuel Vardi; Kapp Sinfonetta.

SWEELINCK:

Canticum Honorem Nuptiarum (Hymn for a Wedding). Felix de Nobel; Netherlands Chamber Choir. (Time: 4:36)

TINCTORIS, Johannes (1435 – 1511):

Virgo Dei. Musica Antiqua Hungarica.

TINODI, Sebastyen (c. 1505 – 1556)

Verse Chronicle for Lute. Josef Gregor, bass; Andras Kecskes, lute.

Tomasi, Henri:

Holy Friday Processional. w/ Hedwig Bilgram, organ [7:07]

TORELLI, Giuseppe:

“Christmas Concerto”, Op. 8/ no. 3. New York Harp Ensemble.

Concerto Op. 6, No. 10. Marriner; St. Martins in the fields (Their FIRST LP)

TROMBONCINA, Bartolomeo:

A “frotollo”, “Io son l’occello.” John Beckett; Musica Reservata

VAET, Jacobus (? – 1567):

“Continuo lacrimas” for Pope Clement. Konrad Ruhland; Capella Antiqua, Munich

VAJVANOVSKY (1640-1693):

Sonata Vesperina in C. Libor Pesek; Czech Chamber Ensemble.

“ in D for 5. “ “ “ “

“ in G for 4. : Libor Pesek; Prague Chamber Ensemble

“ Overture for two horns & Strings. Pesek Czech Chamber Ensemble

“ in C (four movement symphony, really). Pesek; Czech Chamber Ensemble.

“ Natalis. Pesek; Czech Chamber Ensemble

“ Venatoria in D. Pesek; Czech Chamber Ensb. (Vejvanofsky is hardly a household word, but these festive and sprightly pieces for trumpets, strings, and organ will have your toes taping joyously enough.

VAILLANT, Jean (14th Century):

Par Maintes fois. Thomas Binkley; Study for Early Music.

VERDELOT, Phillipe ( d. 1552)

Se me grato. Thomas Binkley; Studio for Early Music.

Da VICTORIA:

Sanctus” from Requiem Mass. Felix de Nobel; Netherlands Chamber Choir [4:48]

Officium Defunctorum. Felix de Nobel; Netherlands Chamber Choir (Exquisite)

WAGENSEIL, Georg Christoph (1715-1777):

Divertimento in E-flat Major. Janos Sebestyen, harpsichord.

WAELRANT, Hubert (1517 – 1595):

“Al sic u vinde.” Thomas Binkely; Studio for Early Music.

WERNER, Gregorious Josef (1715 – 1777) (An avatar of Viennese Classicism):

“Hirtenlied” (The Shepherd’s Songs) Cantata – Excerpts. Chamber Choir of the Liszt Academy.

WILLAERT, Adrian (1480-1562):

Fantasia and Ricercare. Musica Antiqua Hungarica.

WOLKENSTEIN, Oswald von (1377-1445):

Ave Mater O Maria. Schola Hungarica Male Choir.

In Suris sub oraiten. Thomas Binkley; Studio for Early Music.

Gar wunniklaich. “ “ ; Studio for Early Music.