Tres Culturas

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Spain had two Golden Ages: in the 1500s, during the Age of Exploration, it colonized the Americas and was so powerful that it challenged England with an armada; but there was an earlier one, during the Medieval period when Spain was conquered by tolerant Arabs and became a cosmopolitan world center where Muslim, Christian, and Jew mingled and prospered. This album features musical examples of the three cultures.

contents:


1 • KI ESHMERÁ SHABAT Canción de Shabat de Abraham Ibn Ezra (1089-1167) 3’54”
2 • YA VIENE EL CATIVO Canción sefardí del Mediterraneo oriental 4’43”
3 • NON ME MORDAS YA HABIBI Jarcha de la moaxaja nº 8 de Jehuda Halevi (1070-1141) 4’07”
4 • NANI, NANI Canción de cuna sefardí oriental 5’37”
5 • IODUJÁ RAIONAI Canción del Shabat de Israel Najara (Safed, siglo XVI) 4’40”
6 • AMOURS ME FAIT COMENCIER 1’51”
7 • FIESTA DE LA CIRCUNCISIÓN 1’40”
8 • EN QUANTAS GUISAS OS SEUS ACORRER 1’25”
9 • U ALGUEN A JHESU CRISTO POR SEUS PECADOS NEGAR 1’46”
10 • A QUE POR NOS SALVAR 2’00”
11 • GRAN CONFIANÇA NA MADRE DE DEUS 1’58”
12 • POIS AOS SEUS QUE AMA DEFENDE TODAVIA 2’11”
13 • DUM PATER FAMILIAS 2’28”
14 • COGAUDEANT CATHOLICI 2’00”
15 • PHELIPE 1’30”
16 • MUWWAL ISBIHÁN “No todo el que pide felicidad la encuentra” 2’57”
17 • SANÁ Q’AIM WA NISF TAB S-SIKA 7’17”
18 • INSHÁD ISBIHÁN “Al contemplar no vi a otro amado” Al-Shushtarí (1212-1269) 3’45”

(1-5)
SEFARAD • Dirección EDUARDO PANIAGUA

JORGE ROZEMBLUM Canto solista, coro, citolón y pandero
AURORA MORENO Canto solista, coro y tar
LUIS DELGADO Laúd, zanfona, santur, darbuga, tar y coro
EDUARDO PANIAGUA Qanun, flautas (fahl, alto, salamilla), y coro

(6-15)
LUIS DELGAD: Laúd, dutar, cítola, zanfona, tromba marina, viola de teclas, darbuga, bendir, pandero, tar, qaraquebs y campanillas
EDUARDO PANIAGUA: Salterio, qanun, flautas soprano, tenor y pastoril, nay, tromba marina, darbuga, tabila, pandero, tar, sistro de arena, campana y voces

(16-18)
EL ARABÍ SERGHINI: Canto
OMAR METIOUI: Laúd árabe
AHMED AL-GAZI: Viola alto

G.B.Bassani - La Tromba della Divina Misericordia

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contents:


Sonata for 2 violins & cello No. 8, Op. 5
Tocatta for organ
La Tromba della Divina Misericordia, oratorio


Anna Bessi, mezzosoprano,
Elena Carzaniga, contralto,
Paolo Borgonovo, tenore,
Gianluca Buratto, basso

Ensemble StilModerno
Ensemble vocale Magnificat

Mozart Complete Edition

180 CD in 237 RAR files - 14,6 Gb - MP3 192 Kbps


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Contents:

* Vol 01 Early symphonies (Marriner) (6 CD, 542.3 MB)
* Vol 02 Symphonies (Marriner) (6 CD, 553.13 MB)
* Vol 03 Serenades for Orchestra (Marriner) (7 CD, 556.67 MB)
* Vol 04 Divertimenti (St Martin in the Field's Chamber Ensemble) (5 CD, 372.39 MB)
* Vol 05 Serenades and Divertimenti for Wind (Marriner, Laird, de Waart) (6 CD, 499.32 MB)
* Vol 06 Dances and Marches (Boskovsky) (6 CD, 563.23 MB)
* Vol 07 Piano Concertos (Brendel, Marriner) (12 CD, 1019.45 MB)
* Vol 08 Violin Concertos (Szeryng, Gibson a.o.) (4 CD, 366.23 MB)
* Vol 09 Wind Concertos (Marriner, Holliger) (5 CD, 361.37 MB)
* Vol 10 Quintets Quartets etc (St Martin in the Field's Chamber Ensemble) (3 CD, 247.12 MB)
* Vol 11 String Quintets (Grumiaux a.o.) (3 CD, 233.2 MB)
* Vol 12 String Quartets (Quartetto Italiano) (8 CD, 652.99 MB)
* Vol 13 String duos and trios (Grumiaux trio a.o.) (2 CD, 182.84 MB)
* Vol 14 Piano quintets Quartets Trios (Beaux Arts Trio) (5 CD, 364.88 MB)
* Vol 15 Violin sonatas (Grumiaux a.o.) (7 CD, 620.24 MB)
* Vol 16 Music for 2 pianos & piano duets (Haebler, Hoffman a.o.) (2 CD, 200.74 MB)
* Vol 17 Piano Sonatas (Uchida) (5 CD, 360.35 MB)
* Vol 18 Piano variations, Rondos etc (Haebler, Uchida, Koopman) (5 CD, 358.6 MB)
* Vol 19 Missae and Requiem (Davis, Gardiner a.o.) (9 CD, 661.73 MB)
* Vol 20 Litanies and vespers (Kegel, Davis) (5 CD, 473.06 MB)
* Vol 21 Organ sonatas & solos (Chorzempa a.o.) (2 CD, 157.52 MB)
* Vol 22 Oratorios, Cantatas and Masonic Music (Hager, Marriner, Schreier) (6 CD, 489.01 MB)
* Vol 23 Arias, vocal ensembles and canons (Hager, Marriner, Bohm a.o.) (8 CD, 771.7 MB)
* Vol 24 Lieder and notturni (Amerling, van der Bilt a.o.) (2 CD, 129.26 MB)
* Vol 25 Theatre and ballet music (Klee, Marriner, Zinman) (2 CD, 188.39 MB)
* Vol 26 Apollo et Hyacinthus (Augar, Rolfe-Johnson a.o. cond Hager) (2 CD, 115.92 MB)
* Vol 27 Bastien und Bastienne (Orieschnig, Nigl, Busch cond Harrer) (1 CD, 74.49 MB)
* Vol 28 La Finta Semplice (Hendricks, Lorenz a.o. cond Schreier) (2 CD, 211.8 MB)
* Vol 29 Mitridate, Re di Ponto (Hollweg, Augèr, Gruberova a.o. cond Hager) (3 CD, 269.44 MB)
* Vol 30 Ascanio in Alba (Sukis, Baltsa a.o. cond Hager) (3 CD, 226.94 MB)
* Vol 31 Il Sogno di Scipione (Schreier, Popp, Gruberova a.o. cond Hager) (2 CD, 156.85 MB)
* Vol 32 Lucio Silla (Schreier, Augar, Varady a.o. cond Hager) (3 CD, 294.78 MB)
* Vol 33 La finta giardiniera (di Cesare, Conwell, Moser a.o. cond Hager) (3 CD, 282.5 MB)
* Vol 34 Die Gartnerin aus Liebe (Unger, Donath, Norman a.o. cond Schmidt-Isserstedt) (3 CD, 251.25 MB)
* Vol 35 Il Re Pastore (Hadley, McNair, Blasi a.o. cond Marriner) (2 CD, 147.46 MB)
* Vol 36 Zaide (Mathis, Schreier a.o. cond Klee)& Der Schauspieldirektor (Grant, Cotrubas a.o. cond Davis) (2 CD, 161.34 MB)
* Vol 37 Idomeneo (Araiza, Hendricks a.o. cond Davis) (3 CD, 301.07 MB)
* Vol 38 Die Entfuhrung aus dem Serail (Jurgens, Eda-Pierre a.o. cond Davis) (2 CD, 176.52 MB)
* Vol 39 L'oca del Cairo (Fischer-Dieskau, Wiens a.o. cond Schreier) & Lo sposo deluso (Grant, Palmer a.o. cond Davis) (1 CD, 90.45 MB)
* Vol 40 Le nozze di Figaro (Wixell, Norman, Freni a.o. cond Davis) (3 CD, 242.21 MB)
* Vol 41 Don Giovanni (Wixell, Arroyo, Te Kanawa a.o. cond Davis) (3 CD, 225.95 MB)
* Vol 42 Cosi fan tutti (Caballè, Gedda, Cotrubas a.o. cond Davis) (3 CD, 250.5 MB)
* Vol 43 Die Zauberflote (Moll, Schreier, Price a.o. cond Davis) (3 CD, 217.99 MB)
* Vol 44 La Clemenza di Tito (Burrows, Baker, Popp a.o. cond Davis) (2 CD, 177.26 MB)
* Vol 45 Rarities and surprises (Davis, Marriner, Schreier, Sillito) (3 CD, 214.22 MB)

Clement Janequin - La Chasse et Autres Chansons

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I think this is the finest record so far from the astonishing Clement Janequin Ensemble, for three reasons. The first is that every performance here is bursting with energy and with the apparent experience of innumerable public performances: you never get the impression that a piece was prepared just for the recording. There are six very different voices here, sometimes scarcely blending, and occasionally with a touch of roughness. But that is all part of the magic. They are real performances.The second reason, related to the first, is that one of the Clement Janequin Ensemble's most notable virtues is the ability to articulate some of those long, elaborate works of Janequin that can so easily seem empty and rambling. The singers offer a masterly variety of colour, texture and pace that clarifies many of the internal details but at the same time seems always beautifully focused on the needs of the broad musical design. They show that Le caquet des femmes, La chasse and La guerre are works of considerable—if bizarre—genius.Which in turn brings us to the third reason: Janequin. He is surely one of the most varied and resourceful of all sixteenth-century composers. The record includes three immaculately turned Ronsard settings, and two of Marot. It includes the superbly madrigalesque Ce petit a'ieu qui vole, the exquisite C'esl a bon droit almost in the ultra-pure style of Claudin de Sermisy, and— as befits the finest musical exponent of the spirit of Rabelais—several works that are just plain dirty in a way that is difficult to parallel anywhere else in the history of music.  --   --  Gramophone [9/1988]

tracklist:


Clément Janequin
1. Le caquet des femmes
2. Va rossignol
3. D'un seul soleil
4. Bel aubepin verdissant

Guillaume Morlaye
5. Gaillarde des Dieux

Clément Janequin
6. J'ay double dueil
7. Au verd bois je m'en iray
8. Revenés souvent m'amye
9. J'ay d'un costé l'honneur
10. Ce petit dieu qui vole

Adrian Le Roy
11. Branle de Bourgogne

Clément Janequin
12. La guerre
13. L'espoir confus
14. Petite nymphe folastre
15. Pourquoy tournez-vous vos yeux
16. C'est … bon droit

Guillaume Morlaye
17. Fantaisie

Clément Janequin
18. Sur l'aub‚pin qui est en fleurs
19. Ce moys de may
20. Las, si tu as plaisir
21. Ventz hardis et légiers

Adrian Le Roy
22. Branle gay

Clément Janequin
23. Plus ne suys
24. Frère Thibault
25. La chasse

Ensemble Clement Janequin

Franz Joseph Haydn - deLirium

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The disc is characterized by splendid performances by the Ensemble Baroque de Limoges and Quatuor Mosaiques under the direction of Christophe Coin. Laborie's Joseph Haydn: deLerium is delightful in every way, and should easily satisfy anyone who has ever wondered about the Lire Organizzate. Franz Josef Haydn produced about a half dozen works for the Lire Organizzate, an eighteenth century hybrid of the hurdy-gurdy and organetto that by the twentieth century was nothing more than a museum instrument, with only about 20 examples extant and none playable. These works are commonly performed on recordings with a standard pipe organ in place of the Lire; however, Laborie's excellent release Joseph Haydn: deLerium stands apart in that the works are heard, for the first time in probably 200 years, on a pair of Lire Organizzate. Matthias Loibner and Thierry Nouat play reconstructed instruments built by hurdy-gurdy specialist Wolfgang Weichselbaumer that have a sweet and slightly tart tone reminiscent of an exotic brand of Viennese candy. While the Lire is obviously the star of the show, Laborie likewise includes a couple of Haydn's pieces for the Baryton, another obscure instrument favored by his patron, Prince Nikolaus Esterházy, for whom Haydn found himself obligated to create more than 100 works for this rather limited, dull-toned instrument. Even in these pieces, Haydn's patented "surprises" are part of the mix; when the natural horns creep into the final movement of the "Divertimento in A for Baryton" one really notices the difference.

Contents:

1. Concerto No. 1 for 2 lire organizzate in C major, H. 7h/1
 2. Divertimento a 8, for baryton, 2 violins, viola, cello, bass & 2 horns in A minor/A major, H. 10/3 
3. Notturno for 2 lire organizzate, 2 clarinets, 2 horns, 2 violas & bass in G major, H. 2/27
 4. Divertimento a 8, for baryton, 2 violins, viola, cello, bass & 2 horns in G major, H. 10/12
 5. Notturno for 2 lire organizzate, 2 clarinets, 2 horns, 2 violas & bass in C major, H. 2/32

Ensemble Baroque de Limoges
 Quatuour Mosaiques 
Cristopher Coin

baryton

Etienne-Nicholas Méhul - Overtures

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Nicholas Méhul (1763-1817) is an intriguing transitional figure in French music, with a career that historically spanned the final years of the reign of Louis XVI and the heyday of Napoleon, and musically spanned the pinnacle of the classical style and the first stirrings of romanticism.Nowadays his music is hardly ever performed. The operas to which the nine pieces on this well-played disc provided the overtures - works like Mélidore et Phrosine, Horatius Coclès and Les Deux Aveugles de Tolède - have become little more than entries in a work list. But he was a forward-looking and, in his time, highly influential, composer, whose sense of musical theatre left its imprint on Berlioz and Weber especially.These overtures show how Méhul pushed at the boundaries of what could be expected of an orchestra at the beginning of the 19th century, giving it a new dramatic responsibility in the operatic scheme of things. This is no substitute for recordings of the complete operas, but is still worth investigating.

Tracklist:


01 - Mélidore et Phrosine
02 - Ariodant
03 - Joseph
04 - Horatius Coclès
05 - Bion
06 - Le jeune sage et le vieu fou
07 - Le trésor supposé
08 - Les deux aveugles de Tolède
09 - Le chasse du jeune Henri

Orchestre de Bretagne
 dir. Stefan Sanderling

Wikipedia:

English - - Francais - - Spanish - - Deutsch - - Italiano

Shakespeare Songs

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Tracklist:

1. It was a lover and his lass - Thomas Morley: As you like it, V, 3
2. Take, O take those lips away - John Wilson: Measure for measure, IV, 1
3. O mistress mine - Thomas Morley: Twelfth night or what you will, II,3
4. Strike it up, Tabor - Thomas Weelkes
5. Willow song - Anon.: Othello, IV, 3
6. Where the bee sucks - Robert Johnson II: The Tempest, VI, 1
7. How should I your true love know - Anon.: Hamlet, Prince of Denmark, IV, 5
8. Walsingham variation - Francis Cutting
9. We be soldiers three - Anon.
10. When griping griefs - Anon.: Romeo and Juliet, IV, 5
11. Full fathom five - Robert Johnson II: The Tempest, I, 2
12. Caleno custure me - Anon.: Henry V, mentioned at IV, 4
13. Canon: Then they for sudden joy did weep - Anon.: King Lear, I
14. Bonny, sweet Robin, luth solo - Anon.
15. When that I was - Anon.: Twelfth night, V, 1
16. Kamp'jig, luth solo - Anon.
17. Greensleeves - Anon., trad.
18. He that will an ale-house keep - Anon.: Ravenscroft's Melismas
19. Non Nobis Domine - William Byrd


Deller Consort

Alfred Deller (countertenor)
Philip Todd (tenor)
Max Worthley (tenor)
Maurice Bevan (baritone)
Desmond Dupré (lute)
Alfred Deller, dir.

Johann Rosenmuller - Sonate da Camera e Sinfonie

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Johann Rosenmüller was a Saxon composer who escaped from prison in Leipzig and fled to Venice in 1655 after being falsely accused of having a homosexual relationship with some of his students. While these totally, completely, impossibly gorgeous "Sonate da Camera e Sinfonie" (1654-1682) were composed primarily in Venice (Rosenmüller was a trombonist at St. Mark's Basilica), they were strongly influenced by the music of Rosenmüller's early teacher, the great German master Heinrich Schütz. Scored for 8 stringed instruments, cornet, trombone, and theorbo, these chamber sonatas combine the absolute best of the conservative North German musical tradition with a healthy dash of Venetian joie de vivre and achingly beautiful pan-European melancholic contemplation. Rosenmüller's sonatas are real jewels considering when they were written, since they totally avoid the typically overdone, clichéd pyrotechnics and gaudy bravura of the High Baroque while also managing not to be sleeping pills.
If, like me, you're a little nauseated with Bach and bored with Lully, give Rosenmüller a shot. I've heard several of Hespèrion XX's other recordings and this one is THE finest. Smooth, luscious, out of this world. Can't go wrong here.
By Stephen Taylor

contents:


Sinfonia II
Sonata VII
Sinfonia IV
Suite I
Sonata XI
Sinfonia I
Sonata IX

Hesperion XX 
dir. Jordi Savall

O Canto da Sibila

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De todos os eventos, o mais antigo e mais largamente difundido por toda a Europa, durante a idade média, foi o Canto da Sibila. As sibilas eram profetizas muito populares nos ritos romanos, antes da Era Cristã. Uma de suas profecias fala do fim dos tempos, como foi descrito por São João no livro do apocalipse. Com o advento do cristianismo e no intuito de difundi-lo entre os "povos pagãos", esta profecia foi utilizada pela igreja como prova de que o cristianismo era uma verdade já prevista antes de sua existência. Assim, na noite de Natal, no meio da missa de meia noite, a Sibila era cantada para alertar a todos a se converterem antes do juízo final. Essa tradição se repetia todos os anos até que foi proibida em concílio pela Igreja. Por ser um evento tão popular e de tão grande importância, mesmo com tal proibição ele continuou a ser praticado em alguns lugares da Espanha até os dias de hoje.

Tracklist:


Des Oge Mas
In Duici Jubilo
Verbum caro factum est
Verbum caro factum est
Pois que dos Reys
O Canto da Sibila
Riu Riu Chiu
Rey a Quiem Reies Adoran
Dadme Albricias
E la Don Don, Verges Maria
Ein Kind geborn zu Bethlehem

Musica Antiga da UFF (Live)

Effetti e Stravaganze. Affect and Effect in 17th-Century Instrumental Music

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Contents:


Giovanni Picchi: Canzon undecima à 4 (Venice, 1625)

Le bizzarrie

Nicolò Corradini: Canzon à 4 La Sincopata (Venice, 1624)
Alessandro Piccinini (1566-1638): Toccata cromatica (Bologna, 1623)
Biagio Marini: Sonata decima terza senza cadenza (Venice, 1626)
Antonio Troilo (fl.1606): Canzon à 4 (Venice, 1606)

Due stravaganze a due voci

Bartolomeo de Selma y Salaverde (1585-1638): Canzon à 2 tenori (Venice, 1638)
Giovanni Battista Fontana: Sonata 11 à 2 canti
Marco Uccellini: Sonata XI à 2 violini e 2 bassi (Venice, 1639)I canti degl'uccelli
Tarquinio Merula: Canzon La Gallina à 2 (Venice, 1637)
Uccellini: Aria nona à 3 L'Emenfrodito: Maritati insieme la Gallina e il Cucco fanno un bel concerto (Venice, 1642)

Echi e risposte

Lodovico da Viadana: Canzon francese in risposta
Corradini: Suonata in risposta La Golferamma (Venice, 1624)
Nicolas a Kempis (c.1600-1676): Sinfonia 1. à 4 (Antwerp, 1647)
Benedetto Ré: Canzon à 4 in risposta (Milan, 1609)
Giovanni Battista Riccio (fl.c.1615) Canzon La Moceniga in ecco (Venice, 1620)


Concerto Palatino
 Bruce Dickey (cornet) 
Doron Sherwin (cornet) 
Charles Toet (sackbut) 
Wim Becu (sackbut) 
Stephen Stubbs (chitarrone) 
Klaus Eichhorn (organ)

Johann Sebastian Bach - The Secret of the Semitones

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Players of the modern harp may look with trepidation on anything with 'chromatic' in its title and velocity on the agenda, imagining a need for a third foot - and for all three to be hyperactive. But the baroque double harp which Lawrence-King uses here has no pedals; there are separate strings for every note, but their selection calls for skill and speed, talents he has in abundance. Nor does he lack any other of the attributes needed to approach such a demanding programme. His view of the Chromatic Fantasia is contemplative rather than dramatized, occupying 10'32'' (par for the keyboard course is six or seven minutes) and in his annotation he rightly refers to the harp-like textures in which it abounds. Given its success it is a pity he severed it from its companion Fugue but doubtless he had his own good (perhaps technical) reasons. Technical reasons may also account for the changes of key for BWV997 (C minor to D minor) and BWV1004 (D minor to A minor), which should disturb no one.The convincing flexibility of his phrasing is superimposed on the beat of the metronome that ticks in his head, giving eloquent humanity to the music, and his fingers respond faithfully to dynamic detail such as the differentiation of appoggiaturas from their resolutions. He is adept, too, at embellishing repeats - and not just by adding the odd ornament here and there. The performance of the famous Chaconne is leisurely but majestic (17'36''), with minor but logical additions to the score, though the sudden piano at 8'17'', debatably anticipating the following variation, may raise some eyebrows - as it did mine. If Bach is listening to this recording he probably has an approving smile on his face. Need I say more?

contents:


Chromatic Fantasia and Fugue in D minor, BWV 903 
Suite for Lute in C minor, BWV 997
 Fantasia in A minor, BWV 944 
Partita for Violin solo no 2 in D minor, BWV 1004
Ciaccona

Andrew Lawrence-King (Harp)

J.S.Bach - Actus Tragicus

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When Joshua Rifkin introduced his thesis that Bach composed most of his choral works for only one singer per part, he used the Mass in B Minor as his demonstration piece--in part, no doubt, for maximum shock effect. Since then, Rifkin's theory has made the greatest headway with performances of Bach's early cantatas--those he wrote before arriving in Leipzig in 1723. Even Christ lag in Todesbanden and the Actus tragicus, both considered canonic works of the choral literature, have benefited from fine single-voice recordings by groups such as the Taverner Consort and the American Bach Soloists. Now along comes Cantus Cölln and outdoes them all.

contents:


Christ lag in Todes Banden BWV 4
Gottes Zeit ist die allerbeste Zeit (Actus tragicus) BWV 106
Der Herr denket an uns BWV 196
Weinen, Klagen, Sorgen, Zagen BWV 12




Cantus Cölln
dir. Konrad Junghänel

Alfonso X - Cantigas de Viola de Rueda

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Tracklist:


1. Cantiga de Santa María 68, A Groriosa grandes faz
2. Cantiga de Santa María 77, Da que Deus mamou o leite do seu peito
3. Cantiga de Santa María 61, Fol é que cuida que non poderia
4. Cantiga de Santa María 327, Porque ben Santa María sabe os seus dões dar
5. Cantiga de Santa María 74, Quen Santa María quiser deffender
6. Cantiga de Santa María 92, Santa María poder á
7. Cantiga de Santa María 81, Par Deus, tal sennor muito val
8. Cantiga de Santa María 407, Como o demo cofonder
9. Cantiga de Santa María 91, A Virgen nos d´ saud' e tolle mal
10. Cantiga de Santa María 259, Santa María punna d' aviir
11. Cantiga de Santa María 71, Se muito non amamos. Gran sandeçe fazemos
12. Cantiga de Santa María 76, Quenas sas figuras da Virgen partir
13. Cantiga de Santa María 62, Santa María sempr' os seus ajuda
14. Cantiga de Santa María 72, Quen diz mal




Musica Antiqua Ensemble, Luis Delgado
Conducted by Eduardo Paniagua

Doctor Bull's Good Night

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Pierre Hantaï’s recital takes its name from one of the pieces in his reissued programme of keyboard music by John Bull. After Byrd, it is the music of Bull and Giles Farnaby which is most fully represented in that early 17th-century keyboard vade mecum, the Fitzwilliam Virginal Book. Hantaï offers a rich cross-section of Bull’s various styles, ranging from the contrapuntal ‘In nomine’ tradition which incorporates a cantus firmus from Taverner’s Gloria tibi Trinitas Mass – there are four such pieces included here – to more up-to-date dances and virtuosic fantasias. Hantaï plays a late 17th-century Italian harpsichord, and it is playing of a high order, clearly articulated, rhythmically taut yet never inflexible, and full of demonstrative gesture, purposeful, elegant and highly communicative. A fine recital. Nicholas Anderson

contents:

1. In Nomine for keyboard (Musica Britannica No 12)

2. Pavan in the Second Tone for keyboard

3. Galliard for keyboard (Musica Britannica No 78)

4. King's Hunt, for keyboard, Fvb 135, MB 125

5. Germain's Alman

6. English Toy for keyboard

7. Why Ask You?, for keyboard, MB 62 (first setting)

8. Fantasy for keyboard (Musica Britannica No 10)

9. Melancoly Galliard, for keyboard, MB 67b

10. In nomine (Musica Britannica No 9) for keyboard, MB 28

11. Dutch Dance for keyboard

12. Pavan and Galliard for keyboard, MB 86 ('Fantastic')

13. Galliard to the Pavan for keyboard

14. In nomine (Musica Britannica No 4) for keyboard

15. In nomine (Musica Britannica No 5) for keyboard

16. Musica Britannica No 15, Fantasia

17. Doctor Bull's Goodnight, for keyboard, MB 143

18. Lord Lumley's Pavan and Galliard (from the Fitzwilliam Virginal Book), MB 129

19. Salvator Mundi 2, for keyboard, MB 38

20. Irish Toy for keyboard

21. Chromatic Pavane (Queen Elizabeth's), for keyboard, MB 87a

22. Chromatic Pavan and Galliard, for keyboard, MB 87 ('Queen Elisabeth's')

23. The Duke of Brusnwick's Alman 

Pierre Hantaï, harpsichord 

Consort of Musicke by Byrd and Gibbons

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I know, pianos were not there when these musics were delighting people's ears all around Europe, still I think this record is worth a try. Glenn Gould was a sheer universal genius: here each voice of these splendid poliphonics is so perfectly clear that I think this record should be used in classrooms too.

Tracklist:


William Byrd - First Pavan and Gaillard
Orlando Gibbons - Fantasy in C major
Orlando Gibbons - Allemande (Italian Ground)
William Byrd - Hughe Ashton's Ground
William Byrd - Sixth Pavan and Gaillard
Orlando Gibbons - ''Lord of Salisbury'' Pavan and Gaillard
William Byrd - A Voluntary
William Byrd - Sellinger's Round
Jan Peterszoon Sweelink - Fantasia in D (Fantasia Cromatica)


Glenn Gould, piano