Background: Jon Sayles, guitarist - jsguitargeek@yahoo.com
Suggested Selections: The recordings below are organized by nationality (England, France, Spain, Germany, Italy). This tends to bring out the provincial sounds, styles, cadences, melodies intervals and harmonies reflected in each country's musical/cultural spirit. It's interesting that this nationalism-in-composition began as far back as the 1400's and 1500's. But, if you're new to Early and Renaissance, and want to start with a sort of "Greatest Hits" introduction, here are my personal favorites:
If you are interested in reading about any of the composers or selections, scroll down in this site, and check out the song Descriptions. Note that you may have arrived here via searching some Early Music or Renaissance site. If so, please feel free to sample the tunes on this page by clicking the links AND visit other sites of the same persuasion.
In case you're wondering, the selections appearing with two asterisks** below are my favorite, favorites. Kind of like a musical Sophie's Choice, it's hard to pick from the repertoire. But over the 30 years I've played these pieces (on - and mostly off-again), these are the tunes that have stuck with me.
Not quite so early music - lately I've gotten into playing some J. S. Bach chorales, orchestral and keyboard music in parts.
To have a listen to the Bach works, click here...
Finally - if you like Christmas Carols (as my wife does) I recorded a bunch available here.
Musical SelectionsClick the song titles to download and/or play the recordings, assuming your computer is hooked up to speakers. |
Descriptions |
| England |
There is an abundance of English Renaissance music, published as well as recorded. It has a distinctive (I was going to write distinguished) "medieval" - recognizable sound to it. And fortunately, the music (original manuscripts) from the English Renaissance seem to have physically survived far more than the compositions from the European continent (France, Germany, Spain, Italy, etc.). So we've got lots of great listening to do! Start with songs like "Witches' Dance", "Browning", "Can She Excuse", "My Lady Carey's Dompe" and "Ricercare" - if you're new to this style. |
| A lute song by John Dowland (1562-1626). In three sections. Quick and pleasant, this charming tune presents some terrific counter-point in the "B" section between the melody (top treble line) and three other parts. | |
| Another beautiful John Dowland lute song (from his (Third or Last Bookes of Songes or Ayres"), with sad, slow lines that express musical-weeping, etc. in a kind of tone-painting manner. | |
| John Dowland - From "The first booke of songes or ayres of fowre partes with tableture for the lute", 1597. Another four-part Dowland song in three sections. Of particular interest is the third section which contains terrific interplay (a musical exchange) between the 2nd and 3rd parts. | |
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Elway Bevin. 1554-c.1639. Elway
Bevin (hardly a household-name, even in classical music circles) was an
English/Welsh composer - mainly noted in his time for rounds - songs where
different parts play the same melody, beginning at different times (think "Row,
Row, Row, Your Boat" -but with musical substance).
Browning is a round in three parts, and is one of my very favorite early music pieces. Besides the absolutely gorgeous melodies and expressiveness of the individual lines, Elway throws some ridiculous poly-rhythms into the charts. At two separate instances in the piece, Elway basically keeps the middle line on the traditional 1 of 3/4 time, but shifts the treble and bass parts over to 2 and 3. The effect is stunning, almost spacey - as you completely lose track of "1". It sort of reminds me of 1970's free-form Miles Davis the first time I heard it, except that it was written some 400+ years ago. Note that before the mid-1600's music was written without bar lines. These poly-rhythms in Browning clearly expose the free-form structure of "no bar lines" - perhaps better than any other works recorded here. Finally, what is truly striking is the beauty of this piece, is that, in spite of the ultimate complexity and sophistication in the song-writing form and craftsmanship, the melody(s) are haunting, brilliant, sensitive and gorgeous. Who can say - he might have even been inspired by his soul-mate! |
| Anonymous - Incidental music to
Shakespeares' MacBeth Act III. Where... On a stormy night, the witches invoke evil spirits as they brew their magic potions. Macbeth arrives and asks them to prophecy his destiny, In response, they conjure up three apparitions who, in turn, warn him to beware Macduff, that he need fear "none born of woman," and that he will be invincible until Birnam wood marches on his castle. The witches then summon the apparitions of eight kings who proceed past Macbeth, followed by Banquo, carrying a mirror. Terrified, Macbeth recognizes them as Banquo's descendants ("Fuggi, o real fantasima"). Macbeth faints and the witches dance around him ("Ondine e silfide"), then disappear.
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| Anonymous, circa 1524, England. Originally for keyboard (harpsichord or its predecessor), this arresting tune has been recorded widely, and you can find dozens of references to it on the Internet. I apologize for the drop in volume. A dompe was either a lively dance or old English song (my research identifies both definitions for the term). I'd also heard that a dompe was a reference to the broad hoop-skirts that ladies-of-means wore under their dresses to "poof-them-out", as seen in the many paintings from the era. | |
| A four-part Madrigal by Thomas Morley (~1557
- 1602). Haunting and slow, this piece is based on the following poem: April is in my mistress' face. And July in her eyes hath place. Within her bosom is September, But in her heart a cold December. An interesting musical-historic analysis is available at: http://cfaonline.cfa.asu.edu/reynolds/MHL341/ren/morley.april.html |
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| Adrian Willaert (1490-1562) - Willaert played a key role in the development of the ricercare. His Masses usually had three voices, and were highly contrapuntal. This particular ricercare is one of my all-time favorites - with glorious voicings, beautiful melodic lines and a spectacular ending. | |
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John Dowland
(1563 - 1626) - one of Dowland's most serene and nostalgic madrigals.
In four parts this gorgeous song, with its haunting melody and unusual chord
progression has staying power, even for contemporary ears. In an effort to prove that, in spite of this, the year of political and social divisiveness and discord here in the U.S. ... music (including Early and Renaissance Music) can be a powerful and positive means of communication, inclusion and advancement - between societies even countries. Awhile ago the pre-eminent Japanese vocalist and Renaissance scholar (Kuni Yoshimura) downloaded .WAV files for Come Heavy Sleep from my house in N.C. - and recorded a gorgeous vocal track to over it. He's hosting the song on his site, which contains a significant number of beautiful arrangements of Renaissance madrigals. To be honest, going into this mini-project I was not considering the above high-fallutin' politico-philosophical notions. Kuni sings spectacularly, and since plane fares from N.C. to Tokyo are a bit out of my league, the only means of us collaborating (my accompanying him) was through cyberspace. It was only after a bit of time had passed that I realized how fairly amazing Internet technology is - to permit, even realize Marshall Mcluhan's "Global Village" - a concept he began writing about in the 1950's☺ |
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John Dowland (1563 - 1626) - a gorgeous 5-part Pavan. Originally written for Viols, I feel this piece sounds terrific on classical guitar(s). What do you think? |
| Thomas Weelkes (1575 - 1623) - a quick, 3-part madrigal. Very holiday, in spirit. | |
| Thomas Weelkes (1575 - 1623) - an awesome, quick rhythmically fascinating, 3-part madrigal, uptempo, too. | |
| Thomas Weelkes (1575 - 1623) - This is a really gorgeous 5-part Madrigal - with very interesting harmonies. | |
| Thomas Weelkes (1575 - 1623) - You could easily put Weelkes in the same category of genius with Thomas Morley. A terrific, if too short 3-part Madrigal - spirited and funny in tone. | |
| Thomas Weelkes (1575 - 1623) - This has to have been written for some play, during the era. A short 3-part Madrigal - great 4 -to 4 - to 4 /4 time changes. | |
| Thomas Weelkes (1575 - 1623) - A gorgeous 3-part men's chorus madrigal, about the stupidity of materialism and the wonder of love. | |
| William Byrd (1659 - 1695) - A canon (round) in 3 voices. | |
| William Byrd (1659 - 1695) - Sacred music - yet, in round form. | |
| William Byrd (1659 - 1695) - A 6-part Pavan - stately, elegant, beautiful - lots happening, and one that will stay with you, if you listen a few times. | |
| Orlando Gibbons (1583-1625) - A famous choral work in 5-parts. | |
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Orlando Gibbons (1583-1625) - one of my favorite two-part instrumental works. Fast and furious, this little ditty flies at the top of my technical range. Fun tho... |
| Thomas Lupo (1571 - 1627) - English composer of Italian origin, and from a musical family Thomas served the court as a Viol player from 1591. As well as vocal music, he composed many instrumental fantasias (one of which is recorded here). | |
| John Dowland (1563 - 1626) - one of Dowland's more popular 4-part madrigals - fast and all-too-short (I probably could have done a few additional verses) | |
| John Dowland (1563 - 1626) - one of Dowland's more popular slow and haunting 4-part madrigals. | |
| John Dowland (1563 - 1626) - a gorgeous, slow, melodic and beautiful tune. | |
| John Dowland (1563 - 1626) - a cool and up-tempo madrigal. Snappy (no entendres, please!) | |
| John Dowland (1563 - 1626) - another cool and up-tempo madrigal. Gorgeous harmonies. | |
| John Dowland (1563 - 1626) - a slow brooding madrigal. Beautiful melody - terrific chords and the third (tenor) line does some crazy counterpoint - near the end. | |
| John Wilbye (1574-1638) - an incredibly cool 4-part madrigal, played up-tempo, and with verve. This is a really a terrific selection. Special thanks to an incredibly gifted Renaissance singer (Kuni Yoshimura), who offered these carefully considered thoughts on Wilbye: "I've always suspected that Wilbye must have been an accomplished lutenist himself (a lute was bequeathed to him in his father's will and his style of composition suggests familiarity with plucked instruments rather than keyboard)." | |
| Thomas Morley (1557-1602) - A terrific, up-tempo, 5-part madrigal. Sounds good any time of year. | |
| Thomas Morley (1557-1602) - A short but sweet little 3-part choral work. All treble voices. Ends with a kick. | |
| Thomas Morley (1557-1602) - One of Morley's more famous three-part madrigals (Bass, alto, soprano). Played up-tempo to reveal the way-cool rhythmic elements and sophisticated counter-point. This is a new "favorite". | |
| Thomas Morley (1557-1602) - I learned of this stunning 5-part madrigal just a few days ago. It's incredible, bold, dynamic, up-beat. Absolutely great stuff. | |
| Thomas Morley (1557-1602) - This is a classic 5-part madrigal by Morley. Simple, fun, with terrific harmonies and a great melody line. It's one of the more well-known songs on this site, being sung regularly in high school and college choirs. | |
| Thomas Morley (1557-1602) - This is one of Morley's more popular tunes - the words (text) by none less than William Shakespeare. It will be published here by the end of the 2004.. | |
| John Wilbye (1574-1638) - A classic 4-part madrigal, slow and elegant. | |
| John Wilbye (1574-1638) - A fabulous and romantic 5-part madrigal. Soul-mate/inspired. | |
| John Wilbye (1574-1638) - Another terrific Wilbye 4-part Madrigal. Fabulous writing, from a master composer at the top of his game. | |
| John Wilbye (1574-1638) - A cool up-tempo, 5-part madrigal. Sue Iadone gave to this to me years ago. Shame on me for not having played it (until last night). A really fun and interesting piece.. | |
| Thomas Campian (1567-1620) - Another classic 4-part madrigal, slow and elegant. This is a vocal favorite - that like the Silver Swan (above) and unlike many of the rest on this site, is not so obscure. | |
| Thomas Morley (1557-1602) - An absolutely terrific 4-part madrigal. Loads of energy and sweetness. Bursting at the seams with syncopation and rhythm. This one was simply a blast to record - although the drop-C tuning (low E to C) was new, especially as I had to read the line down two octaves. | |
| Thomas Morley (1557-1602) - A quick and fun duet. A bit risqué with the text in the usual in-directed style of the 1600's (we're not talking D.H. Lawrence here). But the title kind of tells you this is not one that would be sung during Sunday mass. | |
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Henry Purcell (1658 - 1695) - Purcell's is really more Baroque than Renaissance in character (you'll find it sounds a lot more like Bach then Elway Bevin. This Bourree is a standard dance form from the period. |
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Henry Purcell (1658 - 1695) - This is a very nice three-part light and quick dance. |
| Thomas Morley (1557-1602) - A cute 3-part tune. Quick, light and very spring-like in spirit. | |
| Thomas Morley (1557-1602) - A 5-part madrigal, very pretty a little sad, about Tom's unrequited love for some hottee of the time named, "Phyllis" (who was apparently sweeter than Amaryllis (that's a flower... I had to look it up!) | |
| Thomas Morley (1557-1602) - A really cool, quick 5-part madrigal. Rhythmic, breezy and fun. | |
| John Dowland (1563 - 1626) - a short, stately dance. But composed with Dowland's flair for the subtle, wonderful harmonies, unexpected chord changes and great melody lines one of (if not the) premier English Renaissance composer of his time simply knocked out. | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - a beautiful madrigal - almost too short. | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - really, really short - cute madrigal | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - very interesting quick tune (at least in my interpretation!). Fantastic and unexpected chord changes throughout. | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - Lovely rhythmic, medium-tempo tune, somewhat like "If my complaints" | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - a really gorgeous, sensitive slow madrigal. ** sorry about the background noise in this recording...I'll go and re-do it in a bit. It's worth a better play... | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - A simple, slow, graceful minuet. Nice sleeping music. | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - A famous Ayre (song). A bit sad, but pretty. | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - Another Dowland unusual harmonic treasure. With unlikely chord changes, mimicking the song title. | |
| John Dowland (1563 - 1626) - from the Ayres for Four Voices - A gorgeous, sad, stately song, with biting dissonance and terrific lines. | |
| John Dowland (1563 - 1626) - A really enchanting, melancholy, slow song - almost sounds like a Christmas Carol. Definitely the kind of tune that might end a Renaissance play. | |
| Robert Jones (1597 - ~1620) - Okay, I took some liberties with this one. But it was fun. A cooking late Renaissance number, with a great beat. And by the sound of things, Kate must of have been some heart-breaker. | |
| John Bennett (1570-1614) - Inspired by a John Dowland tune (Lachrymae) - this is another popular choral madrigal. Beautiful, slow and sweet. | |
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| France |
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| Josquin Des Pres (1450 - 1521). Probably the most important composer before the second half of the 16th century, Josquin is especially noted for the expressive nature of his music, a trait that broke with the medieval tradition of more abstract music. His artistic abilities were compared to those of Michelangelo, and Martin Luther is quoted: "Josquin is master of the notes, which must express what he desires; other choral composers must do what the notes dictate." Josquin was born in Italy, but moved to France mid-way through his life. Come peult is a 4-part chanson. from: http://w3.rz-berlin.mpg.de/cmp/josquin.html | |
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Claude Le Jeune (1503 -1600). This another French chanson, has been recorded and performed by many choral groups. I tend to like the way it sounds as an instrumental. Lots of two and three part rhythmic inter-play between the parts. You may note that this song is somewhat softer than the others, and sounds different (audio-wise). This is because, for all the other songs I used stereo mic'ng, but not Revecy. The parts are still clear in this rendition, and some may like it better - non-stereo mic'd. |
| Johannes Ghiselin (1445 - 1508). Ghiselin - also known as Verbonnet was court composer to the king of France. He was regarded as one of the leading composers of his time. This is terrific little 3-part chanson. | |
| Josquin Des Pres (1450 - 1521). (see above description of Josquin). Se je perdu mon ami - is one of Josquin's most popular chansons. | |
| Josquin Des Pres (1450 - 1521). A beautiful, mysterious, 4-part sacred motet. This is one I need to re-record - it deserves better. | |
| Josquin Des Pres (1450 - 1521). (see above description of Josquin). One of the strangest 4-part songs you'll ever hear. The voice sings one note throughout (D above middle C). In fact, according to Susan Iadone, this particular part is noted in a side-bar as "Vox Regis" (The King's Part)... we leave the interpretation of this note, up to you. Short, quirky and cool. | |
| Jacob Arcadelt (circa 1505 - 1568) - Composed sacred music and madrigals, including this wonderful tune: "The sweet white swan". This tune has an interminable # of meter changes - from 3/2 - to 4/4 back and forth... etc. It gives the work kind of a plain-song, or chant feel. | |
| Guillaume Costeley (1531 - 1606). This terrific chanson, was another choral piece that I believe sounds great as an instrumental. Very jazzy rhythms and inner parts, especially towards the end. Note that, I'm basically doing the Joe and Susan Iadone arrangement of this, where the piece is divided up into three sections, each of which is fractionally slower than the last. For what it's worth, this was not easy to do with a click-track (audible to those listening closely). | |
| Claude Sermisy (1490 - 1562) - a stately delicate 4-part motet. Airy and light - like some fine piece of old French embroidery, this (too short) piece is easy on the ears. | |
| Claude Sermisy (1490 - 1562) - a terrific, light 3-part "almost-a-round" madrigal that bounces in and out of 3 and 4. You can't help but smile listening to this piece. | |
| Claude Sermisy (1490 - 1562) - a composer and priest, this secular piece is hauntingly beautiful - sounding a lot like Dowland, in its harmonic complexity. | |
| Pierre Passereau (1553 - ?) - French composer. A singer at Bourges cathedral, he contributed twenty-three chansons to anthologies published int the middle 1500's. Most of these are humorous, lively and intensely rhythmic - as this selection testifies. (very busy parts!) | |
| Clement Jannequin (1485–1558) - French composer, famous for his descriptive four-part chansons. He also composed motets and spiritual chansons. This one's a slow, strikingly beautiful 4-part motet. I apologize for some weird mic noise, randomly in this recording. I'll go back and re-do it, when I have the time. | |
| Nicholas Craen (1445 - 1507)- Franco/Flemish composer who flourished circa: 1507. Latin for: "He ascended into heaven..." (2nd Psalms, Chapter 8). This is an incredibly intense selection (both rhythmically and melodically) in three parts by a relatively unknown early music composer. | |
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| Spain |
These Spanish selections sound "typically" Spanish, with powerful, brooding lines, and provincial chords & intervals within the parts.
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| Juan del Encina (1468 - 1529). This
beautiful sad, three-part Spanish vocal tune is one of the most simple and
understated treasures in the literature. The entire song is composed of
maybe 100 notes (total, all three parts), but every note counts. ** Note this version was recently re-recorded and mixed. It's probably a bit louder and clearer than other selections on this site. |
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| Anonymous - Another slow, enchanting song about the Spanish moon. Almost mystical in sound, this beautiful four-part selection will remind you of Juan Del Encino's Soy Contento. | |
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Anonymous
- published in the Cancionero de
Uppsala (1596).
One of the
most beautiful melodies of any period,. Si La Noche has a tendency to stick
in your head, after listening to it. In a perfect world, I'd have had either
a baritone vocalist (ideal) or some low viol or wind instrument (bass
recorder would be cool) play the song/lead. But, the three guitar parts give
the song a real Spanish feel. ** Note this version was recently re-recorded and mixed. It's probably a bit louder and clearer than other selections on this site. |
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| Anonymous - Like Ignacio (next
selection), an energetic three-part vocal selection, which sounds terrific
on guitar (as you would expect Spanish music to). This is one of my favorite
up-tempo selections, with much interesting counter-point, and a rhythmic
intensity. |
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| Anonymous - unknown origin. A cute, bright and very guitar-istic three part vocal tune. This is one of my favorites to play - and parts cook along without much effort from the player. Note at the "B" section how the rhythms change from "3" to "6" - a rhythmic expression later called: "Hemiola" - and used by composers to this day (a big favorite of Johannes Brahms). | |
| Anonymous - an adorable 2-part canon, with terrific syncopation and a catchy melody. | |
| Diego Ortiz - 1510-1570. A terrific
two-part bass viol song. I have taken the liberty to amplify the
chords (additional bass notes). Catchy, and fun to play and listen to. Diego Ortiz worked from 1555 to 1570 at the vice-regal court of the Duke of Alba in Naples. |
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| Juan Boscan (1493 - 1542) - a beautiful 3-part Spanish madrigal. | |
| Gabriel Mena (flourished: 1500 - 1528) a terrific bouncy 2-part chase - between two instruments (in this case... one guitar - two tracks). | |
| Juan del Encina (1468 - 1529) - a haunting, lyrical, very-Spanish, slow 3-part madrigal. | |
| Juan del Encina (1468 - 1529) - another 3-part madrigal, quick and cool (this time) - brief too... sorry about that. | |
| Juan del Encina (1468 - 1529) - another, lyrical, very-Spanish, slow 3-part madrigal. | |
| Tomas Luis de Victoria (1548 - 1611) - a gorgeous religious four-part motet. | |
| Johannes Cornago - flourished 1450 - 1475 - He was a Spanish composer, active mainly at the Spanish court in Naples. This is a beautiful, mysterious and translucent 4-part song. | |
| Anonymous - from the Cancioneiro de Uppsala n: XLII - There seem to be no end of terrific, lively adorable(?) short Spanish songs from this volume. All slightly different - and all sound terrific (to this guitarist's ears). | |
| Mateo Flecha (1530 - 1604) bouncy, baritone solo, with 4-part choral harmony, this is a popular vocal piece arranged for four guitars (with an added punchy bass accompaniment thrown in for fun) | |
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| Germany |
You can most definitely hear the heritage of "German" culture and folk-music in these selections. From Heinrich Isaac to Brahms and later...
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Three pieces
arranged by Jorg Schonfelder.
About the Glogauer Liederbuch: A German MS song collection of c.1480, the first to be written out in partbooks. The Lieder, in 3 or 4 parts, are equally divided between sacred and secular texts, and there is also a quantity of pieces apparently for instrumental ensemble -- perhaps the earliest such collection to survive. |
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| Ludwig Senfl (c.1490-1555). Composer to the Court & Chapel of Emperor Maximilian I, Ludwig Senfl studied with Heinrich Isaac (represented by Der Hund). This selection is fabulous, with a macho bass line, and amazing use of interior part ascending/cascading scales. It's also got a terrific ending (just before the repeats), where the counter-point and intense jazz-like rhythmic work in the middle parts (especially 2nd treble line) is just too cool. | |
| Ludwig Senfl (c.1490-1555). Another funky Senfl tune - not quite as boisterous as Ich Weiss Nit, but it chugs along, and was probably in the top 10 list, of OktoberFest tunes, back in the day. One never knows such things 400 years later... but...based on the title we can assume Elslein was some Medieval hottie! | |
| Ludwig Senfl (c.1490-1555). Now this is obviously a bawdy drinking tune. In fact, as I was recording it, I couldn't help but wonder if old Ludwig had been tipping a few while he was composing. | |
| Tielman Susato: Dansereye (1551) - Roughly translated, Schaeffertanz means shepherd's dance - not beer-dance. ** Thanks to Heinz Becker, for the translation! | |
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Heinrich Isaac c. 1445 - 1517. Der Hund (The Dog) - is a terrific up-tempo, instrumental piece that has been one of my favorites for the last 30 years. It's bold, quick and has terrific rhythmic counter-point throughout. |
| Heinrich Isaac c. 1445 - 1517. The composer of Der Hund and La Mi La Sol (see below) I don't think ever penned a bad tune. This one is short, fun, melodic and with some cool odd meter - predating Dave Matthews by, oh, say four centuries. | |
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Michael Praetorious, 1571-1621 - I heard this amazing piece while attending the Hartt College of Music, in the early 1970's. My guitar instructor at the time (Alan Spriestersbach) had arranged it for solo guitar. It sounded great, and I wanted to play it, but was never good enough to master as a solo. So I've recorded the 4-part arrangement. |
| Michael Praetorious, 1571-1621 - I used to play an arrangement of this fast dance piece on solo classical guitar. The melody is actually Italian (La Volta). Cool arrangement by Susan Iadone. | |
| Anonymous - A quick, rhythmically intense, and fabulous short selection. Die Katzenpfote translates roughly into "the cat's feet" - and you can hear the music-imitating-life aspect of this title. | |
| Heinrich Isaac (c. 1445 - 1517). One of Heinrich Isaac's secular songs - "Innsbruck, I must leave you." Seems almost like some kind of Early Music Fraternity pledge song. Almost folk-like in nature. | |
| Heinrich Isaac c. (1445 - 1517). An enjoyable, short 3-part rhythmic and fun part song. Fast, and with terrific over-lapping lines and voices. | |
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Heinrich Isaac c. (1445 - 1517). One of Heinrich Isaac's
secular songs - "I stood upon a morning..." Note - I found a neat little two-part recorder transcription of Ich Stund, found here... |
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| Heinrich Isaac c. (1445 - 1517). One of Heinrich Isaac's secular songs - "I was surrounded by sorrow." This and "Ich stund" (above) and a few others of these slow, pretty numbers are not as impressive musically as their quicker, more polyphonic counterparts. But if you listen, the melodies tend to "stick" in your mind... calm and lovely. | |
Michael Praetorious, (1571-1621) A Michael Praetorious setting of a
traditional Christmas song.
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| Ludwig Senfl (c.1490-1555). Slow and melancholy 5-part song. | |
| Heinrich Isaac c. 1445 - 1517. A cool new, fast and furious four-part song. Awesome counter-point (as you would expect no less from Isaac). | |
| Heinrich Isaac c. 1445 - 1517. A pretty 3-piece polyphonic work, that is vintage Isaac. | |
| Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre), is considered one of the greatest polyphonists of the late Renaissance . This is a stunningly beautiful 4-part (TTBB) sacred madrigal. | |
| Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre). This is an unusual, short, 4-part, very early-sounding (almost chant-like intervals) piece. | |
| Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre) a beautiful, upbeat 4 part (SATB) madrigal, from some sacred mass. | |
| Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre) an interesting 8-part madrigal (2 double SATB choirs). Basically parts echo (echo) one another (one another) throughout. | |
| Orlando di Lasso (1532-1594) - Orlando di Lasso (aka Roland de Lassus & Roland Delattre). This is a cool, laid-back part-song or madrigal in four voices. | |
| Heinrich Isaac (c. 1445 - 1517). A single motif (the musical notes: A, E, A, G - solfeggio) played iteratively in four parts. This is hard-core Early Music - strong, tight harmonic intervals (4ths/5ths) demanding counter-point, an intense piece overall. I wished I'd played it a little better, and will probably go back and re-record it someday. | |
| Samuel Scheidt (1587 - 1654) The German organist and composer Samuel Scheidt was born in Halle in 1587 and - like Purcell above - represents a link from the Renaissance to the Baroque period. This Allemande is short, tuneful and easy on the ears. | |
| Samuel Scheidt (1587 - 1654) A short Courante dance, in standard triplet style. Really interesting chords in the second section. | |
| Ludwig Senfl (c.1490-1555). A cute 5-part song, with repeating motifs throughout. | |
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| Italy |
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| Claudio Monteverdi (1567 - 1643). Scherzi musicali (1607). O Rosetta che Rosetta is a part-song "O Rosetta" from the collection of tunes Monteverdi wrote. This selection would be considered late-Renaissance, even early Baroque, but has always been a favorite of mine. | |
| Giuseppe Pitoni (1657 - 1745). A 4-part choral transcription of a gorgeous, traditional madrigal. | |
| Anonymous - a 3-part light and rhythmically-interesting selection. | |
| Domenico Ferrabosoco (1513 - 1574) - a light and bouncy 4-part motet. Really nice lines, crisp and moving towards Baroque in style. | |
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Josquin Des Pres
(1450 - 1521) - from his "Italian Period": Probably the most important composer before
the second half of the 16th century, Josquin is especially noted for the
expressive nature of his music, a trait that broke with the medieval
tradition of more abstract music. His artistic abilities were compared
to those of Michelangelo, and Martin Luther is quoted: "Josquin is master
of the notes, which must express what he desires; other choral composers
must do what the notes dictate." Josquin was born in Italy,
but moved to France mid-way through his life. from: http://w3.rz-berlin.mpg.de/cmp/josquin.html El Grillo imitates the sound of a cricket. It is a "frottola" - a light-hearted secular work in four parts. |
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Giovanni Pierluigi da Palestrina (~1525-1594) - Palestrina ranks with Orlando di Lasso and William Byrd as one of the greatest Renaissance composer. A prolific writer of masses, motets and madrigals he assimilated and refined polyphonic writing (as you will hear in this beautiful 4-part motet) to produce blended voices in search of the inspirational. |
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| Anonymous (14th century), This amazing monophonic dance (arranged and published by Joe Iadone) is one of my all-time favorites, with terrific melodic licks divided by free-form instrumental breaks (cadenzas) | |
Most of all, thanks to Maryellen Sayles - my wife, the love of my life and partner of 25++ years. This is for you honey. I hope it's all worth it.
I have been grateful to receive links to this site from a number of friends of Renaissance and Early Music, including:
To Bob
- Sheep May Safely Graze - One of my best friend's favorites - in four parts
Chorales:
- Break Forth O Beauteous Heavenly Light - from the "Christmas Oratorio"
- Now Let Us to the Bagpipe's Sound - from the "Peasant Cantata"
J.S. Bach Instrumental works (warning these are kind of big files - note especially if you're using dial-up):
- Aria - from orchestral suite #3
The Goldberg Variations. Well... I was considering recording a slew of these, among my favorite classical pieces on the planet. But a few things intervened: 1. They're incredibly difficult, even multi-tracked, they're beyond or right at the edge of my technique, and, 2. it just so happens that they've been recorded, beautifully by Kurt Rodarmer (check out this review and link: http://inkpot.com/classical/bachgoldgtr.html) . I'm still offering my renditions free to download, but if you're a true Bach/Goldberg fan you owe it to yourself to check out Kurt's effort... stunning.
Partita # in Bb (arranged from keyboard)
English Suite No. 6 in D Minor - Two Gavottes (arranged from keyboard)
Another Gavotte - in A (you've probably heard this one before) - This recording is dedicated to Stacy - and her dad,
Graeme. Good luck at school next year, you've done your family proud, kid-do.
Something Different... A long, long time ago (during the 1970's while I was in college) I bought a fabulous recording named: "Music of the Ozarks" (National Geographic) - it featured raw, live performances captured from amateur musicians in Appalachia. There were some arresting and gorgeous numbers on that recording, and I especially remember one beautiful, plaintiff vocal tune, named: :"Bright Morning Stars Are Rising".
Unfortunately, the album is no longer in print, and while several artists have recorded Bright Morning Stars, I wanted to give it a shot, on guitar. So, here's my attempt at playing a gem from the Ozarks. It doesn't sound anything like the Early music or Bach - but it was fun to do, and if you like it, let me know... I'll record a few others in this genre.
Play Bright Morning Stars Are Rising... Solo guitar. Note... here are the words - you can probably sing them in your head as you listen to the melody line....
Bright morning stars are rising
Bright morning stars are rising
Bright morning stars are rising
Day is a-breaking in my soul
Oh, where are our dear mothers?
Oh, where are our dear mothers?
Oh, where are our dear mothers?
Day is a-breaking in my soul
They are down in the valley praying
They are down in the valley praying
They are down in the valley praying
Day is a-breaking in my soul
Oh where are our dear fathers?
Oh where are our dear fathers?
Oh where are our dear fathers?
Day is a-breaking in my soul
They have gone to heaven shouting
They have gone to heaven shouting
They have gone to heaven shouting
Day is a-breaking in my soul
Bright morning stars are rising
Bright morning stars are rising
Bright morning stars are rising
Day is a-breaking in my soul