Musical Selection Links Click the song titles to download and/or play the recordings, assuming your computer is hooked up to speakers. Recording notes

England There's a wealth 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.

What If I Never Speed? 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.

Weep You No More Sad Fountains 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.

Can She Excuse My Wrongs 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.

Browning ** 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!

The Witches' Dance ** 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.

Of note, this particular witch's dance doesn't sound threatening (i.e. it's not "Blair Witch"-like). Perhaps the Renaissance English took a more enlightened (Glenda from OZ) view of witches?

My Lady Carey's Dompe** 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. Dedicated to Stacy Irwin - Graeme's daughter, extraordinary student and gifted pianist.

April is in my Mistress' Face 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

Ricercare** 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.

Come Heavy Sleep Come Heavy Sleep (vocal version featuring Kuni Yoshimura) ** 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 p rove 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

Pavan XI 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?

Four hands, two necks, one wreathing Thomas Weelkes (1575 - 1623) - a quick, 3-part madrigal. Very holiday, in spirit.

The Nightengale** Thomas Weelkes (1575 - 1623) - an awesome, quick rhythmically fascinating, 3-part madrigal, uptempo, too.

Shoot False Love I Care Not Thomas Weelkes (1575 - 1623) - This is a really gorgeous 5-part Madrigal - with very interesting harmonies.

Though My Carriage be But Careless 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.

Tan Ta Ra Cries Mars 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.

Lord when I think Thomas Weelkes (1575 - 1623) - A gorgeous 3-part men's chorus madrigal, about the stupidity of materialism and the wonder of love.

An Old Epitaph William Byrd (1540 - 1623) - A canon (round) in 3 voices.

Non Nobis Domine William Byrd (1540 - 1623) - Sacred music - yet, in round/canon form.

Pavan William Byrd (1540 - 1623) - A 6-part Pavan - stately, elegant, beautiful - lots happening, and one that will stay with you, if you listen a few times.

The Silver Swan Orlando Gibbons (1583-1625) - A famous choral work in 5-parts. Pretty much anyone who's ever sang in a junior high/high school or college chorus knows this piece.

Fantasia** 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 ... and dedicated to Donna and Gracie H. Donna being one of the most extraordinary talents and wonderful people I've ever been blessed to work with (and Gracie her daughter). You're a lucky girl Gracie. But then - I'll bet you already know this.

Pavanne in 3 Parts

Fantasia 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).

Fine Knacks For Ladies 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)

Go Crystal Tears John Dowland (1563 - 1626) - one of Dowland's more popular slow and haunting 4-part madrigals.

If my complaints John Dowland (1563 - 1626) - a gorgeous, slow, melodic and beautiful tune.

Come again John Dowland (1563 - 1626) - a cool and up-tempo madrigal. Snappy (no entendres, please!)

A shepherd in a shade John Dowland (1563 - 1626) - another cool and up-tempo madrigal. Gorgeous harmonies.

Rest awhile you cruel cares John Dowland (1563 - 1626) - a slow brooding madrigal. Beautiful melody - terrific chords and the third (tenor) line does some crazy counterpoint - near the end.

Fly not so fast my dear 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)."

Now is the Month of Maying Thomas Morley (1557-1602) - A terrific, up-tempo, 5-part madrigal. Sounds good any time of year.

Tho' Philomela Thomas Morley (1557-1602) - A short but sweet little 3-part choral work. All treble voices. Ends with a kick.

See Mine Own Sweet Jewel** 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".

Fyer Fyer, My Heart 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.

Sing we and chant it 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.

It was a lover and his lass Thomas Morley (1557-1602) - This is one of Morley's more popular tunes - the words (text) by none less than William Shakespeare.

As Matchless Beauty John Wilbye (1574-1638) - A classic 4-part madrigal, slow and elegant.

All Pleasure is of this Condition John Wilbye (1574-1638) - A fabulous and romantic 5-part madrigal. Soul-mate/inspired.

Alas what hope of speeding John Wilbye (1574-1638) - Another terrific Wilbye 4-part Madrigal. Fabulous writing, from a master composer at the top of his game.

Sweet was the song the virgin sang 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. Dedicated to Graeme's wife - Tracey Irwin. For her patience with "men and their computers and obsession with eMail."

Never Weather Beaten Saile 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.

Besides a fountain 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.

Sweet Nymph come to thy lover 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.

Bourree Henry Purcell (1658 - 1695) - Purcell's Bourree 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.

Rondeau Henry Purcell (1658 - 1695) - This is a very nice three-part light and quick dance.

Springtime Mantleth Every Bough Thomas Morley (1557-1602) - A cute 3-part tune. Quick, light and very spring-like in spirit.

I Love, Alas, I Love Thee 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!)

You that wont to my pipes sound Thomas Morley (1557-1602) - A really cool, quick 5-part madrigal. Rhythmic, breezy and fun.

Allemande 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.

Clear or cloudy John Dowland (1563 - 1626) - from the Ayres for Four Voices - a beautiful madrigal - almost too short.

Say, love John Dowland (1563 - 1626) - from the Ayres for Four Voices - really, really short - cute madrigal

Shall I strive with words to move 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.

Praise blindness, eyes John Dowland (1563 - 1626) - from the Ayres for Four Voices - Lovely rhythmic, medium-tempo tune, somewhat like "If my complaints"

Dear, if you change 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...

Sleep wayward thoughts John Dowland (1563 - 1626) - from the Ayres for Four Voices - A simple, slow, graceful minuet. Nice sleeping music.

The lowest trees have tops John Dowland (1563 - 1626) - from the Ayres for Four Voices - A famous Ayre (song). A bit sad, but pretty.

Unquiet thoughts John Dowland (1563 - 1626) - from the Ayres for Four Voices - Another Dowland unusual harmonic treasure. With unlikely chord changes, mimicking the song title.

My heart and tongue were twins John Dowland (1563 - 1626) - from the Ayres for Four Voices - A gorgeous, sad, stately song, with biting dissonance and terrific lines.

Now O now I Needs Must Part 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.

Sweet Kate 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.

Weep O Mine Eyes John Bennett ( 1570-1614 ) - Inspired by a John Dowland tune (Lachrymae) - this is another popular choral madrigal. Beautiful, slow and sweet.

English Compositions - Recorded in 2009

My Mistress is as Fine as Faire John Bennett ( 1570-1614 ) - A terrifically cute (and just as short) work by a wonderful little known composer. This is a 4-part Madrigal. And I probably should have played it through a couple of times (I think it's like... 35 seconds long :-)

Never Weather Beaten Saile Thomas Campion ( 1567-1620 ) - So - as it turns out, I'm not only losing my hair in my old age, my memory's turning to swiss cheese. I'd already recorded a version of this classic song/madrigal. But I kind'a like the way this newer rendition turned out, so I'm uploading it. When I was a kid, I never had a problem "doubles" in baseball cards. I guess some traits die hard.

Flow my tears** John Dowland (1563 - 1626) - Not a double(!) - this poignant lute song has a haunting and deeply moving melody line - harmonized by stunning chords arranged by Bill Long. It's one of my Dowland favorites. Listen to the melody line in the last part of the last verse as it depicts flowing tears.

In this trembling shadow John Dowland (1563 - 1626) - Well - another mysterious, and somber work by a composer that definitely knows from mysterious and somber. This beautiful madrigal, full of contemporary harmonies and lines is about - as my best friend puts it, "When the Great Lifeguard calls you out of the pool". Extremely beautiful (I run out of adjectives a lot doing these "liner notes")

Queen Elizabeth's Galliard John Dowland (1563 - 1626) - Wouldn't you know it - just when you think Dowland's a sort of "Dr. Hemlock" or something, he writes this spirited lute piece for queen Liz. Of course times being what they were I think uplifting and sassy tunes dedicated to royalty were probably the way to go - when trying to stay out of the Tower of London. My only regret is that I wish I'd played this particulay recording a little better (not that I"m worried about Lizzie's revenge - just, Dowland deserves better)

The Nite Watch Anthony Holborne (1545 - 1629) - I've wanted to record this for a long time. It's a wonderful solo lute piece (and the name of a Renaissance band I put together in Coventry, CT during the late 1990's. Fun, up-tempo and engaging.

I goe before my darling Thomas Morley (1557-1602) - So, here starts the Morley tunes. I love this composer. I'm not a musicologist (duh... just read the liner notes), but to my ears Thomas Morley was second to none, when it came to just raw genius and writing talent in this genre. This fun little duet is very famous - and yes, that's how "go" is spelled on my sheet music. :-)

It was a lover and his lass - 2 part

It was a lover and his lass - 3 part Thomas Morley (1557-1602) - Another double (?) you ask. Actually yes and no. Apparently what Morley (and probably other composers) did was what we at my present employer call, "re-purposing". So this is the 2-part version of "It was a lover and his lass" that I recorded 4 or 5 years ago. And there's a 3-part version as well. All kind of neat - as the different textures make the total effect original. (thus the value or repurposing - as they say on Sports Center, "That's my story, and I'm sticking to it")

Nolo Mortem Peccatoris Thomas Morley (1557-1602) - My latin's not so good - but I don't think this tune is about dancing at carnivals. A beautiful, deep and spiritual sacred work. There's a "ficta" - an early music accidental note in my version that has me playing a C (natural) and C# simultaneously. You can't miss it - (trust me) and as I wondering why such dissonance was used, about the only thing I could come up with was that it would absolutely wake the congregation up - in case the sermon had droned on a bit long that Sunday.

Pavana CLIII (153) Thomas Morley (1557-1602) - This soft, slow dance is absolutely amazing. At least it was for me. As I was practicing it, it seemed (I dunno) - captivating in a hypnotic fashion. But when I finally got a chance to hear all the parts together - especially the middle refrain - I was blown away by the simple sweetness of its expression.

Sacred Pavanne Thomas Morley (1557-1602) - I'm not sure about this ... I always figured church (aka sacred) music was kept safely away from secular tunes (like Pavannes and other dances). This is a very pretty 4-part selection. As a bonus, it's got one of those cool 4/4 to cut 3/4 time changes near the end.

Sleep slumbering eyes Thomas Morley (1557-1602) - Okay - so here's Morley at his doing his best poignant-Dowland thing. Stately, and with a gorgeous melody.

Still it Frieth

Hark, Jolly Shepherds

I will no more come to three Thomas Morley (1557-1602) - Three new Morley madrigals. Uptempo and jovial - and short! Both hail from his "First Book of Ayres" - 1594. The "frieth" reference is to Morley's heart which (never dieth, rhymes, right?) - not his tummy. The third madrigal "I will no more come to thee" is basically about what happens you a Renaissance composer gets dumped by his damsel ("I will no more come to thee, that floutst me when I woo thee"). Bummer....but this guy seems unconcerned (he's got a good libido :-)

Hornpipe - from the Faerie Queene** Henry Purcell (1658 - 1695) - I know nothing about this 4-part piece, except that it absolutely rocks, and is at the top of my technical range. Absolutely worth a listen. Stunning. Thanks (as always) to Sue Iadone who found the arrangement.

Love, thou are the best of Humane Joys Henry Purcell (1658 - 1695) - Another very cool Purcell tune - vocal duet from Orpheus Britannicus. I think it's sung by (or to) Anne Kingsmill Finch - Countess of Winchilsea (not that I have first-hand knowledge, I'm limited to Google searches).



Never having met a countess - I wasn't quite sure how to interpret the lines, but gave it my best shot. The mood seems a little restrained at first. But Purcell makes up for the languied start, by getting kind of, out-ofhand and of emotional, as he digs into the work. Nice (cute) interplay between the voices towards the end.

Two In One Upon a Ground Henry Purcell (1658 - 1695) - An awesome chaconne and yet another wonderful transription from the Early Guitar.net - which is a terrific site that features t ranscriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning.

Aufzug - Entry Dance from "The Fairy Queen" Henry Purcell (1658 - 1695) - A wonderful 4-part recorder transcription from Sue Iadone - of a stately dance from Purcell's The Fairy Queen - a Renaissance opera. The top line's a bit high (you'll hear :-) ... but it's a glorious little work.



As a performance note? For many of these arrangements where the top line hung out above the 12th frett I often doubled it an octave lower, to "fatten" the sound, and soften the "plink" effect :-)

In Nomine John Taverner (1490 - 1545 ) According to Sue Iadone - "This is the mother of all In Nomines. It's the very first one ever written - all others are based on this". It's also quite beautiful. I guess - with all those other composers, imitation was the highest form of flattery.

The Eagle's Force William Byrd (1540 - 1623) - So, I'm looking for new early music to record, and noticed that I have very little William Byrd. A premier composer of the time - who wrote with strong counter-point, and a lyrical touch. This 3-part arrangement is a very nice madrigal that's one of Byrd's more popular compositions.

Though Amaryllis Dance in Green** William Byrd (1540 - 1623) - Since I'm on this kick of playing choral pieces on guitar I found another popular Byrd selection - this 5-part madrigal. With terrific rhythms - 3 - going to 4 etc. (the technical term is hemiola). But never mind the music theory. This is a wonderful song.

Mirabile Mysterium

Vecchie Letrose

Adrian Willaert (1490-1562) - This is a beautiful 4-part madrigal is by one of my favorite composers. Vecchie Letrose has actually been recorded a number of times. It's a part-song in Italian: Vecchie letrose non valete niente se non per far l'agguato per la piazza tira, tira la mazza vecchie letrose, scandalose e pazze.



And the guitar tapping was another wonderful Sue Iadone concept (not bad for a recorder and gamba playah)

Mr. Southcoate's Pavin**

Galliard**



Monsieur Lullere His Choice

Thomas Ford (1580 - 1648) Early Guitar.net - a terrific site that features t ranscriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning. Both Mr. Southcote's Pavin , Galliard and Monsieur Lullere His Choice are originally duets for Lyra Viol (thanks Dana!). With the Pavin and Galliard meant to be performed together. Both are rather beautiful - with the Pavin being stately (even dramatic and bold!) - and Galliard strapping and uptempo. Monsieur Lullere is uptempo, tuneful and sweet.



You can read more about these pieces on Early Guitar.net). (IMHO) The pavin works on guitar as well as on Lyra Viols - thanks largely to the excellent arrrangements.

The Queen's Almain Thomas Campion ( 1567-1620 ) - Another terrific, uptempo lute duet, transcribed and available at Early Guitar.net - a terrific site that features t ranscriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning.

Lady Walsinghams Conceite** Daniel Bacheler (1572 - 1619) - This wonderful tune is a testimony to Lady Walsingham - a shrine built in the 1000's by a Saxon noblewoman in Walingham, Norfolk - U.K.



Bacheler is a wonderful composer, famous in his time for lute playing and lute compositions, at least one of which is played in the standard solo classical guitar repertoire (by players a LOT better than me).



This particular piece is from a book of consort works for four instruments, and if you check out the last section you'll understand what a virtuoso he must have been.

English Compositions - Recorded in 2010

Three Country Rounds Thomas Ravenscroft ( 1582-1635 ) - This amazing set of mysterious and enchanting rounds was composed by Thomas Ravenscroft - who was noted for his canons, rounds and popular tunes. This piece reminded me (seriously) of incidental (background) music to the Harry Potter film series.

Fantasia** John Dowland ( 1562-1626 ) - This magnificent lute solo - which I've multi-tracked, is a piece I've wanted to record for years - decades actually. The arrangement is by Frederick Noad, and is a signature work - something I can't recommend highly enough. After a thoughtful beginning where Dowland introduces the themes, the tune takes off using a number of variations and ends with an incredible triumphant flourish. Worth a listen.

Fantasia Thomas Lupo (1571 - 1627) - A wonderful three-part, uptempo trio, with fabulous counterpoint - and challenging riffs. Wicked fun to record :-)

Fantasy Quartet #4 Fantasy Quartet #5 Selinger's Round

The Woods So Wild William Byrd (1659 - 1695) - The Fantasy Quartets are two really cool, fast and very interesting quartets. Amazing melodic hooks (little swatches of melody that will stick in your head ... for a long time). The only problem I have with these pieces is that they're too short (I probably should have played through them twice).



The Selinger's Round piece I interpreted as an early drinking song. This particular arrangement starts with a solo guitar, sort of mimicking warming up on the tune. Then it launches into a 4-part choral arrangement - and back into solo guitar, with the idea being the guitar player's been drinking throughout the rendition (nah.....)



The Woods So Wild was a totally fun 4-part dance piece, that COMPLETELY rips off the "B section" of John Dowland's "Can she excuse my wrongs" ... (Don't take my word for it.. check it out). Amazing, but I guess copyright laws were not so widely enforced, in the 1500's. A cool piece tho - quick and stinkin' high on the guitar :-)

Fairest Isle Henry Purcell (1658 - 1695) - This is an amazing vocal work arranged for four recorders. It's actually one of the most beautiful songs on the site. My guitar can't really do justice to the lead (melody) - but the recorder arrangement has some wonderful interplay. Worth a listen.

Funeral Anthony Holborne (1545 - 1629) - This is an absolutely beautiful, slow, mysterious and sad pavane in three large sctions that well represents its title. Interestingly the last section ends on a more upbeat feeling than the first two parts. The arrangement came from Alain Naigeon 's fine site of free PDFs. From this landing page - select the link at the top for Scores

Pavane William White (1571 -1634) - A really nice 6-part pavane by a composer I'd never heard of before. Cool parts - some intricate work on the top line. I might have played this a little too fast, but it just felt right at this tempo.

The arrangement came from Alain Naigeon 's fine site of free PDFs. From this landing page - select the link at the top for Scores.

Where the Bee Sucks Robert Johnson (1583 - 1634) - A 4-part choral work that was extremely challenging (at this tempo) - at least for me - in the 2nd half of the tune (wait for it ... ~20 seconds in). This 2nd part was quite the tone poem (music that represents life through sound). Besides - how can you find a song with a title like this, and not play it?

English Compositions - Recorded in 2011

Almaine Daniel Bacheler (1572 - 1619) - Bacheler is a wonderful composer, famous in his time for lute playing and lute compositions; which today are often played in the standard classical guitar repertoire. BTW - there seems to be as many different spellings of Bacheler's name as there are references to his music on the Internet. I've seen it: Bachiler, Bachelar, Bacheler, and I think even the same three with a "t" thrown in for good measure (Batchiler).



Almaine is originally for lute. I first heard John Williams play this ("Virtuoso Variations") in 1967. I couldn't find a link to where you could buy this recording today (it's in vinyl) - but it - like all the rest of John Williams work - his recording is simply brilliant.





Clear or Cloudy Feigh on This Failing Time Stands Still Pavan XXI

John Dowland ( 1562-1626 ) - Three terrific ayres from several of Dowlands publications.



I'd done Clear or Cloudy before but wasn't happy with the result (so redid it this year).



The Pavan XXI is a wonderful 5-part instrumental dance.



Feigh on This Feigning is a fast-ish tune - upbeat. Apparently Dowland was impatient with feigning.



Time Stands Still is a gorgeous slow song - with a wonderful text behind it.

Time stands still with gazing on her face,

Stand still and gaze for minutes, hours and years, to give her place:

All other things shall change, but she remains the same,

Till heavens changes have their course and time hath lost his name.

The Faerie Round** As It Fell on a Holie Eve Heigh Ho Holiday Infernum Spero The Nite Watch

Anthony Holborne (1545 - 1629) - I had a number of site visitors this past year tell me that they wanted to see more from Holborne - and recommended " Heigh Ho Holiday " and " As it Fell on a Holie Eve ".



Nice call. I recorded them, and also:

The Faerie Round - which I really love, taken from a lute transcript - awesome rhythms -

- which I really love, taken from a lute transcript - awesome rhythms - Spero - a beautiful lament in 4 parts

- a beautiful lament in 4 parts Nite Watch - which is also a re-do of something I did a few years back. This version is a 5-part recorder arrangement

- which is also a re-do of something I did a few years back. This version is a 5-part recorder arrangement Infernum - an interesting 4-part madrigal

Loth to Depart Giles Farnaby (1563 - 1640) Originally a virginal piece and basically a "theme + variations" musical form, this arrangement by Paul Clark is as enchanting as it is deep and resonant.

Precamur sancte Domine Robert White (1538 - 1574) - This is a beautiful religious choral work. I begin and end it with the chant - and if you listen carefully, you can hear that same chant throughout in the top line. Terrific harmonies.

Full Fathom Five Robert Johnson (1583 - 1634) - This is a "request" recording from a site visitor. It's become one of my favorite tunes - and has wonderful "sticks in your head" melody.



De la Tromba Pavin Richard Allison (~1560 - 1610 ) - This year was kind of like "the year of the Pavanne" - with (I dunno') 8, 10? instrumental Pavan recordings by various authors. This one was very clean and nice - with a solo in the "A" section that sets the mood.

Pavan Richard Deering (1580 - 1630) - a slower Pavan (at least the way I heard it) - based on the minor chords it begins with. Most of these dances are less melancholy. Very pretty tho' - with interesting harmonic changes in the "B" section. The "C" section sort of takes off - with faster riffs, and great counterpoint.

If Ye Love Me Thomas Tallis (1505 - 1585) - Thomas Tallis is a very famous composer of the period, known primarily for his religious and choral works. He also studied with Elway Bevin, my favorite completely unknown composer. This is short, sweet little 4-part madrigal.

Southernes Pavin My Bonnie Lass Thomas Morley (~1557 - 1602) - Southernes Pavin is a typical 4 part instrumental dance of the period. All these Pavins (pavans, pavannes, etc.) take the same 3-part form (an "A", "B" and "C" section) each with repeats. It's probably just my selections, but the "C" sections are always the most interesting :-)



My Bonnie Lass - is a famous 5 part madrigal, often sung by high school and college choirs - made even more famous by PDQ Bach's rendition of it from the 1970's.



Quam pulchra es

Sancta Maria John Dunstable (1390 - 1453) - a very early (born in 1390!) important English early composer. That (the time he composed in) is why you hear the almost Gregorian Chant sounds in these pieces. It's funny (at least for me) when I first started playing Early Music I gravitated towards the Renaissance sounds - and didn't really like the clean, sparse somber(?) sounds of the earlier periods. But over time I've come to really love them. Have a listen to Tout a por moy for a really lovely example. These Dunstable pieces create the same mood.



Fantasia Thomas Lupo (1571 - 1627) - a fantastic BBT (Bass 1, Bass2, and Tenor voiced) instrumental Fantasia by an excellent mid-to-late Renaissance composer. Full of interesting mood changes and beautiful lines. Similar to the other recorded Lupo pieces on this site.

The Flatt Pavin John Johnson (1545- 1594) - another Pavin (!) - this one bright and bouncy - it's often done by lute and guitar duos, as you'll see if you visit the Wikipedia link to John Johnson.

Fantasia a 3 William Byrd (1540 - 1623) - This 3-part Fantasy (like other Byrd Fantasias) is amazing. With wonderful internal harmonies, rhythms, counterpart and lines. Also - these pieces are not as short - so their substance is a nice alternative to the 1 minute - or less - works on this site.

Odd-country pieces - Russia, etc.

Dance from the Nutcracker Suite Tchaikovsky (1840-1893) - (Not even a little) "Early" Music, but this was just too much fun to do. Arranged for 5 classical guitar parts. Enjoy! Ya' gotta crack a smile, no? Especially nice, are the simulated harp parts at :38 and at the end. Also - and this may be a non-sequitor, but at 1:02 the score calls for a B above B above middle C - the highest fretted note on my guitar ... I'd never played it before :-)

English Compositions - Recorded in 2013

Trio Peter Phillips (1560 - 1628) - this wonderful trio was a gift from Sue Iadone. It's a terrific 3-part instrumental canon.

Mon couer recommendezvous Orlando Lasso (1532 - 1594) - Lasso was one of the primary musical geniuses of his time. This wonderful song (roughly translated - "my heart belongs to you") - is in four parts, and is as soft and warm as its title.

Besides a fountain

Fantasy Thomas Morley (1557-1602) - Two short pieces

Besides a fountain - A choral transcription - done up for guitar by Steve Nixon - whom you can contact at the Edinburgh Guitar society

Fantasy - a short three-part instrumental, typically played on recorders

Browning

Recercare

The Witches' Dance

Three mulligans - do-overs ... re-recordings of English pieces already on this site



I'd recorded Browning, Recercare and the Witches' Dance back in '99. They were among my first attempts to play/record/produce multi-tracked guitar ensemble music. And they sounded it (especially the production). So this year I decided to re-record them

Browning is my all-time favorite Early Music work - by - arguably - the least well-known composer of all time, with the best name: Elway Bevin

Recercare is by Adrian Willaert, and is a sublime 3-part instrumental

Witches' Dance is incidental music to Shakespeare's "Macbeth" (bubble..bubble..toil and trouble) - very cute tune. Not really scary witches

English Compositions - Recorded in 2015

American Composers - Recorded in 2015

Kalymbo David Thompson

France and Franco-Flemish composers

Come peult Josquin Des Pres (1450 - 1521). Probably the most important Flemish composer of the Renaissance, 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 Come peult is a 4-part chanson.

Revecy** 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.

Al fonsina 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.

Se je perdu mon ami Josquin Des Pres (1450 - 1521). (see above description of Josquin). Se je perdu mon ami - is one of Josquin's most popular chansons.

Absalon, fili mi Josquin Des Pres (1450 - 1521). A beautiful, mysterious, 4-part sacred motet. This is one I need to re-record - it deserves better.

Guillame Se Va Chaufer 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.

Il Bianco E Dolce Cigno 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.

Allon Gay Gay Bergeres** 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).

Las! Je Me Plains 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.

Vignon, Vignon, Vigon, Vignette 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.

Chanson Claude Sermisy (1490 - 1562) - a composer and priest, this secular piece is hauntingly beautiful - sounding a lot like Dowland, in its harmonic complexity.

Il est bel et bon 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!)

Las, pauvre coeur 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.

Si Ascendero in Caelum** 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.

French/Franco-Flemish Compositions - Recorded in 2009

Cay phas Loyset Compere - (1445 – 1518) This cool muscular (very) short piece is extremely medieval sounding, with fantastic polyphony, some great repeated phrase/patterns and a cool sort of sea-chanty/"nautical" sounding melody line at the end.

Petite nymphe folastre Clement Jannequin (1485–1558) - When I first started practicing this, I was afraid that it would end up recorded as, well, umm... "lightweight"? Not solely because of the title. But in fact, the end result was pretty cool. A four part madrigal - fast, and fun - not lightweight too.

Allegrez Moy Josquin Des Pres (1450 - 1521). A six (count'm... 6) part vocal round. Very mystical sounding - but with a cool "3 against 4" rhytm towards the end.

Mille Regrets Josquin Des Pres (1450 - 1521). A beautiful sensitive madrigal - slow. You won't regret listening to it (sorry ... I tried but I could not resist)

En l'ombre d'un buissonet Josquin Des Pres (1450 - 1521). A beautiful 3-part madrigal with flowing lines and open harmonies.

De Tous Biens Playne** Josquin Des Pres (1450 - 1521). This is an AMAZING 4-part secular tune with a double-cantus (possibly by Hayne), and a stunning double-cannon in the bass which is rhythmically aligned one quarter-note apart. Hard to imagine until you hear it.

La terre les eaux va buvant Guillaume Costeley (1531 - 1606). This beautiful 4-part madrigal is elegant and rhythmically complex, switching meters every few measures. Yet - it flows effortlessly.

French/Franco-Flemish Compositions - Recorded in 2010

3 Country Dances Amoura Tort Coingié m'aves donné De jour en jour Saltarelle Longtemps y a Tielman Susato (1510-1570) - as a favor to my good friend Graeme Irwin, I went a'hunting for Susato tunes this year. Susato was a prolific composer of the high Renaissance, and knocked off a good many jaunty, tuneful dances:



3 Country Dances - arranged for brass by Michael Rondeau, this is a nifty collection of Susato melodies. Check the bass run at 1:00 :-) Seems like brass players "got the chops"



Amoura Tort - typical of a lot these Susato pieces I recorded this year, light and easy on the ears. I especially liked the hook at :42.



Coingié m'aves donné - a very nice 4-part choral work Beautiful cascading lines at 1:00. I'm sorry about all the background noise of the music rustling in the background.



De jour en jour - a short, elegant 3-part chanson - with a typical amazing Susato hook at the end.



Saltarelle - another awesome brass arrangement by Michael Rondeau, very cool with a bouncy feel and neat ensemble. Sorry that it was recorded so quietly. I'll get the hang of this home recording technology one of these years.



Longtemps y a - Similar to De jour and Amoura (above), another great 3-part piece, with an interesting harmonic twist at :33 - and coolio little 16th note runs throughout.



La Morra** La Martinella Benedictus Adieu fille de regnon In meinen sinn (In my thoughts) Ne Piu de queste Heinrich Isaac (1450-1517) - one of my favorite composers. Hard to find anything he's written that isn't simply amazing - on every musical plain (melody, rhythm, structure, concept, etc.).



Here are this year's additions:



La Morra - a fantastic 3-part Early Music piece, with incredible counterpart and inverted lines. Only problem? Too short..



La Martinella - an interesting "open" 3-part song with lots space between the notes and lines



Benedictus - another fantastic 3-part arrangement of a sacred work, with fast counterpoint throughout.



Adieu fille - well, turns out I'd recorded this one before (oops). I hope I've improved it - over time. This piece really rocks with fast rhythmic parts.



In meinen sinn - is a more introspective, medium/slow tempo Isaac part-song.



Ne Piu de queste - is an interesting choral work. Part 1 is slow and dramatic. Then the piece takes off with typical Isaac-like rhythms, including morphing into "3/4" time at the end. I don't know why, but this recording is much louder than the others (sorry).





Souterliedekens Jacobus Clemens non Papa (1510-1556) - a very cool sacred choral work, based on a Dutch folk song. I took a few liberties with the song's intro/extro ... okay ... more than a few :-)



Peine et travail Henry Fresneau (1538-1554) - I couldn't find much on this composer. But this is a gorgeous, slow, sad work with an arrangement by Sue Iadone.

A gre d'amors Anonymous 14th century - This rare and very early 3-part piece is from Sue Iadone's collection. It's a very beautiful example of early part-music, with strange wonderful, bold harmonic changes and challenging rhythms.

Agnus Dei - from the Faure Requiem** Gabriel Faure (1845-1924) - First performed in 1888, this is hardly "early music" - but is one of my favorite choral pieces - ever. It actually sits pretty well on guitar in 5 parts (okay ... I think it does anyway). This arrangement can be found here, at Love Recorder

Ave regina coelorum Se la face ay pale



Proles de caelo Guillame Dufay (1397-1474) - one of the greatest masters of the (really early) Early Music period, Ave regina coelorum is a beautiful 3-part sacred piece is representative of the strangely beautiful harmonies - and very open, clean melodies typical of the period.



Se la face ay pale is a secular 3-part work - with clever rhythms and wonderful counterpoint - especially at the end of the piece, which I play twice through. The first time adding parts one after another.



Proles de caelo - a hymn for the first vespers of St. Francis. Lyrics by Pope Gregory IX. This is a dreamy, delicate 3-part (ATB) sacred motet. With a wonderful and memorable "A" section - that starts after the chant.

Tout a par moy** Gilles Binchois (1400-1460) - I hadn't done a lot of really early (pre-1500) early music before this year, so I decided to see what this delicate, transparent, mysterious would sound like on guitar. The fist tune I picked out was Tout a par moy. I think I got it from cpdl.org. Anyway - what a gorgeous song. With an ethereal melodie (top line), and just captivating accompaniment (bottom 2 lines). I was immediately hooked, and totally intend to look for more like this next year.

Se j'ay parle Loyset Compere (1445-1518) - A very cool, somewhat early sounding (see above notes) chanson by a lesser-known, but wonderful composer. Last year I did Cay Phas (from Sue Iadone's collection). Se j'ay parle is not quite as muscular and intense, but still very nice.

Audite Nova Baur, was tragt im sacke Cor meum

Quand mon mary vient de dehors Orlando di Lasso (153-1594) - One of the great masters of the late Renaissance, Orlando di Lasso was a prolific composer of both sacred and secular music. Many of his works have survived and are sung annually by choirs - played by concert groups, etc.



Audite Nova - is a wonderful choral work, from a Sue Iadone arrangement. Fast - with stunning time-changes (think Dave Matthews) - especially around 1:00. Amazing.



Baur, was tragt im sacke - another way cool choral tune. Check out the parallel runs down, starting at :33. Gorgeous stuff. Ends with an awesome melodic hook.



Cor meum - a beautiful 3-part choral work. Wonderful, rich harmonies - and a surprise major key ending - given where the piece begins.



Quand mon mary - is a 4-part choral work I had some fun with, during intro/extro. For some reason I felt the song as a Spanish-like number. I hope Orlando's not too ticked off by my interpretation.



French/Franco - Flemish Recordings - Recorded in 2011

Les barricades mistérieuses** Francois Couperin (1668 - 1733 ) - This absolutely stunning tune is one of my all-time favorites. Originally written for early keyboard - it's originally from "Pieces de Clavecin" - the "mysterious barricades" is played on harpsichord, piano and classical guitar. This is a winner - if you've never heard it before crank it.



Watching the news these days, reading the paper, catching any of the media's take on where events are going; It could easily lead you to believe that world's headed straight off a cliff. That is, unless you've had the great fortune to have a friend like Dr. Robert K. Ax.



Bob is one of the few people on this earth, who has lived a life of: Contribution, humor, intelligence, charity, honesty, and loyalty - bringing acute judgment, eloquence and clarity to his days, to his work and to his world (which luckily includes his friends).



I knew Bob's dad - who was also a great, great man - and sadly, for a very, very short time his mom - and they would both have been uncommonly proud of you Bob-O.



I've had the incredible fortune to have known Bob - and called him "best friend" for almost 50 years. And I humbly dedicate this - my favorite recording on the site to him.



Here's to another (I'll settle for) 20 years of grousing over politics (which in the U.S. does seem to be going to hell), and to conversations about movies, sports, life, and pike fishing in Canada.



Adieu, adieu

Mon seul et souverain desir

Vostre allee me desplait tant

Vostre tresdoulx regart plaisant Gilles Binchois (1400 - 1460) - I found a collection named: "Sechzehn Weltliche Lieder" (16 secular songs) - in 3 parts. They're all quite beautiful, and short, with sophisticated rhythms typical of this period and composer. The top line is the "melody" and was sung or played by a "lead" instrument - although in the tenor - not soprano - vocal range.



The sounds of these (and Dufay and Machaut) selections are all early - Early Music, reminiscent of chant - with open intervals (4ths and 5ths - think the intro. to "Smoke on the Water" and sometimes startling (dissonant) sounds - again, think "Smoke on the Water" :-)

Ile fantazies de Joskin

La Bernadina

Recordans de mia signora Josquin Des Pres (1455 - 1527) - No set of annual recordings is complete without the obligatory Josquin pieces. While these (very different instrumental works) are not among the best in his catalog, an "average" Josquin work - with melodic brilliance (check out the opening to " Ile fantazies ") will be up there with the best of any other composer.

Hierusalem Surge

Hor an mein Klag Heinrich Isaac (1450 - 1517) - As goes for Josquin - so it goes for Isaac. At some point (some year) I will run out of Isaac pieces to record - a lousy year to be sure.



Hierusalem Surge is from "Choralis Constantinus" - check out the Wikipedia entry if you have time - 's quite an interesting read. This is wonderful work.



Hor an mein Klag - sounds more like an informal drinking song of the period.



Ma fin est mon commencement Guillame Machaut (1300 - 1390) - This is my first Machaut recording - long overdue, as Machaut was one of the most influential and brilliant composers of his time. "Ma fin..." is an incredible work.



The piece is in two parts, and is a "reverse canon" - meaning that at the end of the first part, the lines play - note for note - the musical passages in reverse (think C D E F G A ... becomes: A G F E D C).



Kanon

Helas mon bien Jacob Obrect (1457 - 1505) - Two wonderful selections by a master of contrapuntal writing. Kanon is a two-part bass "canon" - with one instrument (almost note-for-note) replicating anothers' part a few beats later.



Helas mon bien is a terrific up-tempo 3-part instrumental work - this nifty little work almost made it into "favorites" status - except I've already got too many (favorites).

En vous amer Anonymous (French Cypriot - early 1400s) - This is an amazing, mysterious piece in 3 parts, with absolute killer poly-rhythms. Subtle and fantastic.

French/Franco - Flemish Compositions - Recorded in 2012

Adagio - from the Ravel Piano Concerto in G ** Maurice Ravel (1875-1937) - I've wanted to play this work forever - more or less. It's a stunningly beautiful first couple of mintes from the second movement of the Piano Concerto in G major.



Short personal note? I asked a friend of mine (a classical guitarist @ Hartt College) to play this at my wedding ceremony, 34 years ago. Ethereal - and - I dunno' .. is there such a thing as a "perfect" composition in any genre'? If there, this gets awfully close.



French/Franco - Flemish Compositions - Recorded in 2013

French/Franco - Flemish Compositions - Recorded in 2015

Si ascendero 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.

Ce moys de May Clement Jannequin (1485–1558) - French composer, famous for his descriptive four-part chansons

Ce moys de May Jean Le Bouteiller (xxxxxf) ....

Secoure moy, ma dame Andreas Pevernage (~1542-1591) - A quick little secular madrigal, with several varied moods. Quite different in style than most of the late Renaissance works on this site.

Spain The selections from Spain, sound wonderfully provincial - emotional, with romantic lines, and quintessential Spanish guitar chordal harmonies & tonal intervals.

Soy Contento 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.

Ay Luna Que Reluces! 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.

Si La Noche Anonymous - published in the Cancionero de Uppsala (1566). 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 nice) play the melody (top line). But then? Everything sounds better on guitar.

Tan Hermosa y' Clara 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.

Ignacio Es Tan Bella** 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).

Dime Robedera Anonymous - an adorable 2-part chase, with terrific syncopation and a pleasing melody.

Recercarda Segundo ** Diego Ortiz - 1510-1570. A terrific two-part bass viol instrumental piece. I have taken the liberty to fill out 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.

Si no os hubiera mirado Juan Boscan (1493 - 1542) - a beautiful 3-part Spanish madrigal.

Andaran siempre mis ojos Gabriel Mena (flourished: 1500 - 1528) a terrific bouncy 2-part chase - between two instruments (in this case... one guitar - two tracks).

Cancionero de Palacio #299 Juan del Encina (1468 - 1529) - a haunting, lyrical, very-Spanish, slow 3-part madrigal.

Cancionero de Palacio #175 Juan del Encina (1468 - 1529) - another 3-part madrigal, quick and cool (this time) - brief too... sorry about that.

Cancionero de Palacio #302 Juan del Encina (1468 - 1529) - another, lyrical, very-Spanish, slow 3-part madrigal.

Judas mercator pessimus Tomas Luis de Victoria (1548 - 1611) - a gorgeous religious four-part motet.

Un nino nos es nascido 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).

Riu, Riu, Chiu** 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)

Spanish Compositions - Recrded in 2009

Gentil dama, non se gana Johannes Cornago (14501475) One of the earliest Spanish court composers. This lovely 4-part song should have been on this site a long time ago. It's simple, slow and lovely.

Gozate, Virgen Anonymous - published circa: 1556. This charming little four-part Spanish madrigal is light, bouncy and has an interesting 3/4 --> 4/4 time change part-way through. I wish we knew more about the Spanish composers - but I'm glad Sue Iadone transcribed this gem.

Spanish Compositions - Recorded in 2010

Soleta so jo aci Anonymous - Published 1556 in the Cancionero de Uppsala - As a guitarist you'd think (y'know) that Spanish music would be one of my favorite genres, seeing how guitar is like, the "national instrument of Spain" etc. But in years past, I've not done a whole lot of Spanish stuff. That's changed this year. Sue Iadone found a treasure trove of wonderful stuff - starting off with this sweet little tune (Soleta so jo aci).



A catchy enthusiastic melody, fantastic rhythmic parts and harmonies -- enjoy.

O quan dolce serias, muerte Francisco de la Torre (1483-1504) - an extraodinary 3-part song from a composer who we can only wish had been around to write a little bit longer.

O magnum mysterium Kyrie Beati Immaculati Conditor alme siderum Tomás Luis de Victoria (1548 - 1611) - a celebrated court composer, esepecially of vocal works.



O magnum mysterium is representative of Victoria's style - with lush, bold and rich harmonies - it even jumps into 3/4 - then back to 4 at the end.



The Kyrie is a wonderful from a mass dedicated to "Beata Maria". It was the first tune I recorded this year, and I love it - frankly (and I'm not even Catholic).



Beati Immaculati - is a strikingly beautiful somber sacred choral work.



Conditor alme siderum - is also from the Catholic mass. The version I found had the chant portion in front of the tune... so... I played it. Beautiful writing.

Caldero y Llave Madona Juan del Encina (1468-1529) - a fast 4-part choral work, with changes from 3/4 - 2/4 and back. Check out the intro with its sweeping, ascending lines, and the "B section" with it's complete contrast of style.

Con que la larvae Anonymous published 1556 in the Cancionero de Uppsala - a stunningly beautiful 4-part choral composition with, emotional depth, strength and senstitivity in equal measure.

Dadme albricious (Villancico) Anonymous published 1556 in the Cancionero de Uppsala - a very cool four part choral work. I've played the top-line melody as the intro. The piece actually starts at :32 - and is fantastic.

De los alamos Juan Vasquez (1500-1560) - a relatively unknown composer, this lively cancion is outstanding.

Esclaricida Madre Fresco y claro arroyuelo Francisco Guerrero (1528-1599) - Both of these selections were from Sue Iadaone.



Esclaricida is an awesome, fast little tune with fantastic rhythms (see :38 to the end)



Fresco y claro arroyuelo - is just beautiful. Wonderfully stated expression with few notes. And wonderful use silence (rest) as well as sound.

Spanish Compositions - Recorded in 2011

Rosa Amarela** Heitor Villa-Lobos (1887 - 1959) - not an Early Music composer - nor is he from Spain (he's from Brazil). But this is a very Spanish-like work, and I felt that it belonged in this section of the web page.



Rosa Amarela is a really great, little piece - energetic and rhythmic in a Brazilian way (instead of Renaissance counterpoint think "jazz").



This selection is dedicated to Regi Barosa - a good friend of mine from IBM, a wonderful scuba diver/photographer and of course - Brazilian (!!).



Canzona in c minor Diego Ortiz (1510-1570). The ony other piece that I do by Diego Ortiz is "Recercada Segundo" - which is fantastic.



This Canzona is very different than the Recercad, and is a wonderful 4-part work, arranged for brass quartet by Michael Rondeau.

Estas noches atan largas

Pues a dios humano vemos Anonymous (early 1500s) - These are two short Spanish choral works; both of which sound very "at home" on guitar.



Estas noches - is introspective and haunting.



Pues a dios is an interesting madrigal written for male choir (Bass 1, Bass 2, Tenor) - which sounds great on guitar given the fit with the pitch and tuning. It has a terrific two-note ending.

Fata la parte

Levanta, Pacual Juan del Encina (1468-1529) - Two more Spanish choral works, by one of the great Spanish composers of the early Renaissance. All of del Encina's compositions pass the "retention test" - in that they tend to hang around in your memory long after they've finished playing.

Spanish Compositions - Recorded in 2015

Si la noche Anonymous - published in the Cancionero de Uppsala (1566). 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 nice) play the melody (top line). But then? Everything sounds better on guitar.

Germany You can most definitely hear the heritage of "Germanic" culture and folk-music in these selections. From Heinrich Isaac (and before) to Johannes Brahms



Von Edler Art**

Lass Mich Ein

Antwort: Sie Liehber Geselle Three pieces arranged by Jorg Schonfelder. Von Edler Art - a melody, that was composed circa 1513, this beautiful song (also arranged some 300 years later by Johannes Brahms) has a stately majesty to it, that is transcendent. In the version here I play the tune through three times - the first with a concentration on the original four parts, the second with just the song and accompanying chord-reduction, and the third time combining song with chords.

Lass Mich Ei n - Quick and very medieval-sounding, this instrumental selection (along with Von Edler Art that preceded it and Sieh Lieber Geselle that follows) seem not to have been recorded anywhere - at least not that I could find based on Internet searches. It deserves to be.

n - Quick and very medieval-sounding, this instrumental selection (along with Von Edler Art that preceded it and Sieh Lieber Geselle that follows) seem not to have been recorded anywhere - at least not that I could find based on Internet searches. It deserves to be. Sieh Lieber Geselle - another terrific tune with a catchy melody that sticks in your head. Very quick rhythms. 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.

Ich Weiss Nit** 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.

Ach Elslein, liebes Elslein mein 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!

Mit Lust tret ich an diesen Tanz 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.

Shaeffertanz Tielman Susato: Dansereye (1551) - Roughly translated, Schaeffertanz means shepherd's dance - not beer-dance. ** Thanks to Heinz Becker, for the translation!

Der Hund** 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.

Hoer an mein Klag 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.

Ballet** 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 - and am dedicating it to Tracey Irwin wife of Graeme Irwin (my friend and Consett U.K.'s cyclist extraodinaire). Tracey's been through a wringer in 2009. I told Graeme to say something nice about her for this dedication, and this is what he wrote: For Tracey......................for putting up with me all these years and for making me realise just how lucky I am every day ( LWP) .

Der Schutzkoenig 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.

Die Katzenpfote** Anonymous - A quick, rhythmically intense , and fabulous short piece, "Die Katzenpfote" translates roughly into "the cat's feet" - and you can hear the music-imitating-life aspect of this title.

Insbruck ich muss dich lassen 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.

Helas, Que Deuera Mon Cuer Heinrich Isaac c. (1445 - 1517). An enjoyable, short 3-part rhythmic and fun part song. Fast, and with terrific over-lapping lines and voices.

Ich stund an einem morgen Heinrich Isaac c. (1445 - 1517). One of Heinrich Isaac's secular songs - "I stood upon a morning..."

Mich hat gross leid umgeben 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.

Es ist ein Ros entsprungen**

Es ist ein Ros - vocal version (featuring Kuni Yoshimura) Michael Praetorious, (1571-1621) A Michael Praetorious setting of a traditional Christmas song. Dedication: This piece in memory of Jean Olwyn Irwin , someone, much missed, much loved and always remembered ... who shared a love of great music that like her memory will always live on.

Gottes Gewalt Kraft Ludwig Senfl (c.1490-1555). Slow and melancholy 5-part song.

Maudit Soy 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).

Adieu, fillette de regnon Heinrich Isaac c. 1445 - 1517. A pretty 3-piece polyphonic work, that is vintage Isaac.

Adoramus te 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.

Bonjour, mon couer 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.

Jubilate Deo 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.

O la, o che bone eccho! 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.

Von morgens fruh mit Gottes Lob 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.

La Mi La Sol** 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.

Allemande 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.

Courante Samuel Scheidt (1587 - 1654) A short Courante dance, in standard triplet style. Really interesting chords in the second section.

Lieblich Ich Horte Singen Ludwig Senfl (c.1490-1555). A cute 5-part song, with repeating motifs throughout.

German Compositions - Recorded in 2009

Andante from Divertimento II (K.439b)**

Adagio after K439b**



Allegro - from K 229** Wolfgang Amadeus Mozart (1756 - 1791) Okay, so this is not-so-early music, but a gorgeous transcription - originally for recorders (by David Goldstein) that Sue Iadone. I must admit to being biased, but I'd swear that Mozart would have been cool with this played on guitars.



The Andante, Adagio and Allegro are pieces originally transcribed for recorders - and except for the missing sustain of a woodwind, really adapt nicely (my 'pinion)

Bach E minor Bouree Johann Sebastian Bach (1685 - 1750) This famous Bourree is one of the first pieces beginning/intermediate classical guitarists learn. I've recorded it for my friend Graeme (of Consett/U.K.). Graeme is actually the reason I started practicing and playing again after a 3 year hiatus - with constant eMails exhorting me to (and I'm paraphrasing here) "Get of my ___ and start playing your guitar again". Okay Graeme - does this buy me another 3 years off? :-)

Bach - Wachtet Auf** Johann Sebastian Bach (1685 - 1750) Possibly my favorite Bach guitar pieces (in this transcription). Still Wachtet Auf is an absolutely wonderful, tranquil, beautiful - in its own way, "romantic" work. Perhaps you can picture a young couple, walking hand-in-hand to the top of a grassy knoll, in late May - the sights, smells and sounds of spring overwhelm then. And they see eternity in each others' eyes. Bach's music captures all that - and much more.

Wohlauf, Gut G'sell, Von Hinnen Caspar Othmayr (1515-1553). Another Sue Iadone discover (Caspar Othmayr? Susan where do you dig these wonderful pieces up and find these "not exactly household name composers"?). Anyway - I recorded a number of typical Renaissance dance-type tunes. They're all up-beat, and sound well, very Renaissance-y.

Der Luneberger

Fastnachstanz

Feuertanz

Lauftanz

Hahnentanz Michael Praetorious, (1571-1621) - So, although these are all Renaissance-y dances? This composer (Michael Praetorious) really knows how to write. The inner lines are wonderful - and give his work depth and warmth, and without sacrificing the medieval bouncey "oompah" dance feel. :-)



Oh, and for what it's worth? Sue Iadone is a big fan of "Lauftanz" (run dance). If you listen to it, you'll understand why (the name). In fact it's got some sweet lines - and fast-as-heck parts. I guess when you play a composition named "run dance" you can expect to have to step on the gas pedal.



As to Hahnentanz (rooster dance)- this was kind of fun too. A 5-part typical medieval dance number, but since it's Praetorious, it transcends dumpy "stomp" elevator-ride music, and becomes really lovely.

Carmen in Fa Heinrich Isaac (c. 1445 - 1517). An amazing, fun, fast and short (the shortest tune of the new bunch, speeding in at just under 33 seconds) - this "textless song" is in the key of "F") - from, if you recall, "Do, Re, Mi, Fa..." - or for you Julie Andrews fans, "Do a deer".

Ecce Virgo Concipipies Heinrich Isaac (c. 1445 - 1517). Another really short but awesome Isaac 4 part. I had to look this one up. This title is about virgins concieving. I think it's a segment of the high Catholic mass, and quite a few notable composers wrote to it.

Zwischen berg und tiefen tal Heinrich Isaac (c. 1445 - 1517). Translation - "Between mountain low valleys" - a spirited (I think keyboard???) work, I played on 4 guitar parts. Very medieval sounding - but quite beautiful in its simplicity and ambiance.

La La Ho Ho Heinrich Isaac (c. 1445 - 1517). This HAS to be some sort of drinking song. Bawdy, and funny - and so Isaac. I need an umlaut on my keyboard to spell the title correctly (the "o" should be umlated)

O Venus bant Heinrich Isaac (c. 1445 - 1517). Translation - "Ah Venus's tie" . Some title, eh? Actually, this is quite a fun, spirited little three-part instrumental. Sounding very Isaac - with great polyphony and wonderful strong lines.

Missa "Dixit Maria" Hans Leo Hassler (1564 -1612) - the Kyrie movement, from this very beautiful mass, set to music by Hassler - who is close to baroque/Renaissance, in influence.

Laudate Dominum Hans Leo Hassler (1564 -1612) - this amazingly beautiful selection from the Catholic mass actually renders nicely on guitar. I haven't heard recordings of it, but I suspect I'm playing it a little faster than it would go if sung.

Allala Pia Calia Orlando di Lasso (1532-1594) - An amazing 4-part madrigal, with continuously changing meter (the tune goes in and out 4/4, 6/8, and odd rhythms). Sounding like some sort medieval Dave Matthews Band tune. Actually amazingly beautiful when sung. There may be a Youtube choral video of this

Un jour vis Orlando di Lasso (1532-1594) - A really interesting little German lieder (song) work Sue Iadone transcribed. Fast and furious with an obvious sense of humor.

Christus resurgens ex mortuis Orlando di Lasso (1532-1594) - This? Is just glorious. An amazing sacred 3-part madrigal from the Catholic mass on the subject of Jesus' resurrection. Incredible lines. And a melody that reverentially paints the staff with a perfect musical portrait.

Fugue in D Johann Pachelbel (1653 - 1706) - some "not so early" music. A wonderful short four-part fugue by the German composer famous for more than just his Canon.

Das glaut zu spayer Ludwig Sennfl (c.1490-1555). An adorable 6-part choral work. This piece is a "tone poem". A musical work that's supposed sound like something specific. Here, the chorus is supposed to emulate the sound of bell-ringers. Guitar sounds okay at it too.

Aria Georg Philipp Telemann (1681 - 1767) - This wonderful transcription of a Telemann Aria is from the Early Guitar.net - a terrific site that features t ranscriptions of renaissance and baroque music for guitar (solos and duets). There are dozens of excellent arrangements here - with midi file included for easy learning.

German Compositons - Recorded in 2010

Jesu Joy of Man's Desiring** Wachtet Auf** Fugue #1 in C Major Largo from Klavier Concerto in F Gavotte Johann Sebastian Bach (1685-1750) - (not really) Early Music, nevertheless - who doesn't love the music of Bach?



Jesu Joy of Man's Desiring - is a piece I played when I was in my 20's on solo guitar. This particular rendition was for four instruments (I think flute/violin,etc.). I added a 5th chordal guitar part (mixed way down)



Wachtet Auf - one of my all time favorites. I recorded it last year, but wasn't satisfied with my results. So - I re-recorded this year, and feel a little better about how it turned out. The score is from a 2-part piano arrangement.

I added a few tracks of guitar chords (waaay in the background).



**** Head's up. The MP3 files for Jesu and Wachtet Auf are kind'a large ****



Fugue in C Major - from the Well Tempered Klavier - sounds decent on guitar - 4 tracks (arranged for recorders)



Sometime in the 1970's I saw the movie "Fahrenheit 451" - in which Glenn Gould plays this Largo from the Klavier Concerto. I fell completely in love with the piece, and finally in 2010 found a version for 4 recorders. I added a 5th guitar part playing chords (they called it "continuo" back in the day)



The Gavotte is a famous orchestral work that was arranged for SATB (choir).



Volte** Bourree Michael Praetorious (1571-1621) - late Renaissance (like Purcell, early Baroque period) composer. Very melodic and popular stuff.



Volte - a dance, arranged for 4 recorders (I added a 5th bass ostinato part). Goes at a pretty fast clip - must 'a been dancers that were IN SHAPE!



Bourree - very similar to the Praetorious Ballet - these two pieces sound so much alike, they probably were meant to be played together



Ach Jupter hetst du gewalt** Adam von Fulda (1445-1505) - Almost completely unknown German composer, this outstanding selection from Sue Iadone's catalog makes you want to research and find more. The actual melody is line 3 (similar to Ich Weiss Nit) Fantastic piece.

Die sieben worte Jesu Christe am Kreuz Heinrich Schutz (1585-1672) - Late Renaissance/Early Baroque composer - this is the intro from one of his most famour works. 5-parts. Glorious.

Es rit ein jaeger hetzen aus Anonymous (Forster Liederbuch) - a totally fun, quick, rhythmic short dance.

German Compositions - Recorded in 2011

Prelude - from Prelude, Fugue and Allegro for Lute Allegro- from Prelude, Fugue and Allegro for Lute** Prelude - from Violin Sonata in C Allegro - from Violin Sonata in C Johann Sebastian Bach (1685-1750) - This year I indulged myself in playing a few solo guitar works (most of them multi-tracked) - including:



Prelude from Prelude, Fugue and Allegro - a grand sweeping intro to this very famous and often-performed trio of lute pieces. The Allegro - is a phenomonal piece and the hardest tune (technically) on my site. I've wanted to play it for a very long time (like ~40 years), and while it's a stretch for me technically, it's the closest I've ever come to the feeling of flying - musically.



The Allegro is dedicated to my ex-student Jeff Pitchell. Jeff is the most accomplished musician I've had the great fortune to work with as a teacher. Although in truth, his professional success is 99% his own talent and hard work. Jeff's gone on to international fame as a composer/singer/guitarist in blues/rock - and it's taken me until now to record something that's worthy of being dedicated to him.



Prelude and Allegro from the C major violin sonata - The C major sonata (BWV 1005) is one of my all-time favorite Bach solo works. I've wanted to play/record movements from it for over 35 years, and finally found time this winter. The Prelude is glorious and stately - incredibly emotional for the Baroque period. The Allegro is a wonderful, fast waltz. It's at the top of my abilities - but is such a great piece that I just figured - why wait? For what it's worth, this recording of the Allegro is not multi-tracked.





Fantasie Georg Philipp Telemann (1681 - 1767) - another wonderful transcription by Telemann from the Early Guitar.net - this Fantasie is a warm, slow - almost romantic piece - very nice little piece.



Gavotte Johann Mattheson (1681 - 1764) - A contemporary of J.S. Bach (imagine his fortune in that!!!) this is a very sweet little 3-part recorder arrangement of a short dance.



Angelus ad pastores Hans Leo Hassler (1564 -1612) - a wonderful 4-part choral work - Angels in Pastures contains call and echo, and a very nice ending.



Vater unser im himmelreich Johannes Eccard (1553 - 1611) - a thoughtful choral work, with a powerful melody - and some very rapid-fire inner lines.



Alles regres Ludwig Senfl (c.1490-1555). A first-class example of Senfl's skill as a composer of instrumental part-music, bright and carefree musical thoughts.

German Compositions - Recorded in 2012

German Compositions - Recorded in 2013

Lieberslider Waltzes**

Liebeslieder Waltz VI



Liebeslieder Waltz IX Johannes Brahms (1833 - 1897) - Two of the Liebeslieder Waltzes



These wonderful choral works are absolutely charming. The Liebeslieder Waltzes are staples of the choral literature - performed by college chamber choirs, professional quartets (check out a few recordings on Youtube) and occasionally even some high school choruses.



I didn't know how they'd render on guitar - and you can decide for yourself.

Prelude VI (6) is light, bouncy, airy and just kind of adorable. Prelude IX (9) is more intimate and romantic

These are my first works by Brahms - who for long periods in my life occupied "favorite composer" status. If you've not ever listened his symponies (esp. Brahms Symphony #1) you might tackle it sometime. It's a paramount work of classical music. There are numerous Youtube videos of it - although to do it justice, this monumental has be heard through a quality set of speakers.





Eusebius - from Carnaval** Robert Schumann (1810 - 1856) - a piece from the piano work Carnaval op.9



Schumann's Carnaval is one of the great works of the solo piano reportoire. Because m- ost of the work ranges (tonally) way below and above the tonal possibilities of classical guitar. However Eusebius works. And it's really beautiful, no?



German Compositions - Recorded in 2015

Italy

O' Rosetta** 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.

Cantate Domino Giuseppe Pitoni (1657 - 1745). A 4-part choral transcription of a gorgeous, traditional madrigal. Which - like "The Silver Swan" you might have sung in chorus or heard in high school or college.

La Verde Primavera Anonymous - a 3-part light and rhythmically-interesting selection.

Aria Domenico Ferrabosoco (1513 - 1574) - a light and bouncy 4-part motet. Really nice lines, crisp and moving towards Baroque in style.

E l Grillo 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.

Exaudi Domine 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.

Saltarello** 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) Dedicated to my friend Graeme Irwin. Thanks Graeme, for all the years of eMails, jokes, politcal-discussion, frank debate, music sharing and teaching me Geordie! May you find many wonderful new Aussie red wines to uncork in the future.

Italian Composers - Recorded in 2009

Super flumina Babylonis Giovanni Pierluigi da Palestrina (~1525-1594) - a truly beautiful 4-part madrigal that I heard on YouTube sung by a number of wonderful choirs.

La Disperata Vincenzo Ruffo (~1510 - 1587) - a wonderfully wicked fast and muscular three-piece ensemble work with every syncopation I think I've ever played. This is a classic - and goes to my note-worthy Renaissance tunes list.

Aime' Ch'a Torto Anonymous - A 3-part transctription by Sue Iadone of a very cool, medieval lute piece that has (in her words) "Honking Dissonances" :-) I'm hoping Sue will help fill write more here, because when I GOOGLED the tune nothing came up, and yet it's really a fantastic piece (dissonances or no). But do keep Sue's words in mind, as you listen - these kinds of tone clusters didn't appear in music for another ~500 years after this anonymous composer.

Italian Composers - Recorded in 2010

Fantasia 58 Francesco Milano (1497-1543) - This is a terrific 3-part instrumental work, that really sings - and um, swings (sorry). But it's light, fun and has some terrific melodic hooks starting at :38. Enjoy.

Largo** Antonio Vivaldi (1678-1741) - One of the most famous baroque composers, especially of concertos. He's said to have written 600 of them - but according to Joe Iadone, he wrote one concerto 600 times :-)

This is a beautiful Largo from Sue Iadone's collection.

Il Gran Passamezzo Anonymous - I'm not sure where this work goes (country/region-wise), but it's wonderful. Substantial and perfectly constructed, with a bass line to die for. From Sue Iadone's collection.

Crions Nouel Alexander Agricola (1445-1506) - a very wonderful light piece by this normally profound and complex composer With a wonderful melodic hook near the end.

Ricercar 2 Gioseffo Guani - a nice light work - by a relatively obscure composer. that kicks into high-gear near the end.

The arrangement came from Alain Naigeon 's fine site of free PDFs. From this landing page - select the link at the top for Scores

Adoramus

Ricercari

Vespers Giovanni Palestrina (1525-1594) - one of the most famous composers of the Renaissance - or any musical era.



Adoramus - a beautiful (sacred) choral work



Ricercari - a terrific 4 part instrumental work, with Palestrina's trademark melodic style (see :38)



Vespers - a dark and brooding 4 part choral work; eerily beautiful. See especially the middle to end sections with gorgeous harmonies.





Italian Composers - Recorded in 2011

Sonata in A

Sonata in E** Alessandro Scarlatti (1660 - 1725) - Scarlatti wrote a large number of superb piano works - including dozens of famous (frequently performed) sonatas.



These two have been transcribed for classical guitar - and I'd always wanted to play them. They're just wonderful - and I'm playing them directly from the piano music.





Largo from D Major Lute Concerto Antonio Vivaldi (1678-1741) - In the early 1970s Sesame Street (yes - the television show bear with me ;-) came out. And one of the very first musical videos they created featured this Largo from one of Vivaldi's (over) 600 concerti.



You've probably heard this piece before - but you don't really get tired of a classic like this wonderful movement.





I vaghi fiori

Agnus Dei Giovanni Palestrina (1525-1594) - "I vaghi" is a beautiful and nuanced 4-part choral work.



And Agnus Dei is a wonderful movement from the Catholic mass.





Vezzosi augelli Luca Marenzio (1553 - 1599) - a tuneful and very interesting 4-part madrigal - typical of the late Renaissance Italian choral style; lots of changes in mood and texture. Fast too - but the choral tempi are not far from this (I'd rather play it :-)



Italian Composers - Recorded in 2013