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Medieval music
O homo considera
Organ Estampie
Procurans Odium
Ductia
Renaissance music (with diminutions)
Pierre Bonnet
Juan del Encina
Claude Gervaise
Tielman Susato
Orlando Di Lasso
Alfonso Ferrabosco II
Vincenzo Galilei
Johannes Ghiselin
Thomas Lupo
Thomas Morley
Juan Ponce
Thomas Ravenscroft
Johann Sebastian Bach
Georg Friedrich Handel
Henry Purcell
Giovanni Gabrieli
Johann Heinrich Schmelzer
Antonio Vivaldi
Franz Joseph Haydn
Transcriptions of ethnic music
Roumanian dance
Bulgarian dance
O homo considera - Isorhythmic motet of early 14th century origin.
The full title is: O homo considera / O homo de pulvere / Contratenor /Filiae Jerusalem. This piece is in the Oxford Anthology of Medieval music. I have taken the liberty of changing two notes in the published edition that don't make any sense to me: measure 44, 3rd voice (Contratenor) original D, measure 67, 3rd voice (Contratenor) original quarter note D.
Pierre Bonnet
Alors, que mon coeurAmor con fortuna
Triste España
Pues que ya
Ay, triste que vengo[Midi versions of the 4 Encina pieces recorded on the CD Landscapes]
Bransle 2
Bransle Gay II - from the CD Landscapes
Bransle Gay VII - from the CD Landscapes
Bransle X - from the CD LandscapesAllemaigne
Nachtanz I & II
Orlando Di Lasso (c.1532 - 1594)
O la, o che bon eccho!The text is as follows: [where "/" = bar line]
O / la, / o / che bon / eccho / Pigliamo/ci / pia/cere / Ha, ha, ha, ha, / ha! / Ri/diamo / tutti. / O bon com/pagno, / Che / voi tu? / Vo/ria che tu can/tassi / una / can/zona. / Perche? / Perche / si? / Perche / no? / perche non / voglio / Per/che non voi? / perche / non mi piace / taci, di/co / Taci / tu! / O gran pol/tron! / Signor, / si! / Or/su no piu! / An/diamo! / A/dio, bon'ec/ccho! A/dio, bon'ec/cho! / Rest'in / pace! / Basta, / ba/sta, ba/sta, ba/sta! / basta, / basta! / ba//staMais qui pourroit estre celuyAlfonso Ferrabosco II (ca. 1575 - 1628)"
Fantasia (on a hexachord)
Pavana III ("Four Notes Pavan")Vincenzo Galilei (ca. 1520 - 1591)
Ricercare del quarto tuono
Ricercare del ottavo tuono
ContrappuntoJohannes Ghiselin (ca. 1460 - ca. 1535)
La AlfonsinaFantasy a 3Il Lamento - from "The First Booke of Canzonets to Two Voyces", 1595Juan Ponce (ca. 1480 - ca. 1530)
Ave Color ViniThis composition is structured like a religious hymn in obviously sarcastic contrast to the original Latin text. Here is a translation of the text:
All hail to thee, colour of clear wine; hail, taste without parallel. By your power you are worthy of inebriating us. O how happy is the person guided by the pure vine. May every table be made easy by your presence. How pleasing in hue, how fragrant a bouquet, how titillating to the palate, what a sweet slur to the tongue. How happy is the belly which you enter; happy the gullet that you numb; happy the mouth that you cause to stutter; O blessed lips! Therefore, let us all praise wine, let us exalt topers. Let us drinkers never be brought to confusion for ever and ever. Amen.Thomas Ravenscroft (ca. 1582-ca.1635)
Tobacco fumes awayThe text is as follows: [where "/" = bar line and "_" means a slurred syllable]
1. To-bac-co fumes a/-way all na-sty rheums, but / health a-way it / ne-ver_ lightly frets; / and nap-py ale makes mirth, make (as / April rain doth earth) / spring like the plea___-sant / Spring, where / ere it soak_ing / wets. But in_ that spring of / mirth such / mad-ness, mad-ness, mad-ness, mad-ness / mad-ness high dot_ grow. As fills a fool by birth, a / fool, a fool by birth with / crot-chets*, with crot-chets with / crot-chets, with ale and to-/bac-co, to-bac-co to-/bac-co, with ale and to-/bac-co, to-bac-co to-/bac-co, with ale and to-/bac-co.
*crotchets: whimsical fancies2. One clears the brain, the / o-ther glads the heart, which / they re-tain by na-ture_ and by / art; / the first, the first by na-ture, / na-ture clears, by / art makes gid-dy will, / the last by na-ture / cheers, by / art makes heay-y / still. So we_ whose brains else / low, else low, swell / high, swell high, swell high, swell / high with crot-chet / rules. Feed / on these two, feed on these / two these two as fat as / head-y, as head-y, as / head-y, as head-y [and] / gid-dy, [and] gid-dy [and] / gid-dy, as head-y [and] / gid-dy, [and] gid-dy [and] / gid-dy, as head-y [and] / gid-dy fools.
Johann Sebastian Bach
Cantata BWV 106:Actus TragicusThis file is not really meant to be listened to. It contains ONLY the 2 recorder parts from Bach's Actus Tragicus. It has been placed here so that recorder players can save it to disk, open it with a music publishing program and print the parts after having done the necessary transpositions for performing at "modern" pitch. Curiously, in order to perform this piece at modern pitch, one must use "old pitch" instruments like a 392 alto (one step below 440) or a 415 voice flute (a recorder in D). In this case the instruments would be used as, respectively, an "E flat" and a "D flat" Alto.
For 392 alto(s) transpose this piece UP one step to F major
For 415 Voice flute(s) transpose this UP two steps to G major
Harp Concerto (Organ Concerto) in B flat major, Op IV, No. 6 for Harp (or Organ), 2 recorders and Strings
1st movement
2nd movement
3rd movementConcerto in B flat major for Recorder, Bassoon, Strings and B.C.
[transcribed from the Harp Concerto, Opus IV, n. 6]
1st movement
2nd movement
3rd movementHenry Purcell From his "Ode to St. Cecilia"
Here the Deities approve - for Alto voice, 2 vln, vla and b.c.
Giovanni Gabrieli (ca. 1557 - 1612)
Canzona a 5
Canzon septimi et octavi toni a 12Sonata a 7
Antonio VivaldiC minor concerto for Recorder
Concerto in C (performable with 2 Recorders, 2 Fr. horns and strings). Edition Doblinger D. 9953
Roumanian dance
Craitele
transcribed from "Les Flutes Roumaines" (Arion CD: ARN 64004)
If you want to hear the actual sound file, write to me!Triti Puti
transcribed from "Village Music of Bulgaria" (Elektra/Nonesuch CD: 979 195-2).
