| Contents |
Ambrosian psalmellus for Quadragesima: Redde mihi -- Gallican Improperia for Good Friday: Popule meus -- Mozarabic antiphon for Easter: Gaudet populi -- Gregorian hymn for Whitsunday: Veni Creator Spiritus -- Liturgical drama: Infantem Vidimus (11th-12th century) -- Troubadour canso: Be m'an perdut, Bernart de Ventadorn (d. 1195) -- Cantiga: Gran dereit', Alfonso El Sabio (1221-1284) -- Lauda: Ogne homo (13th-14th century) -- Organum duplum: Viderunt omnes, Leonin (12th century) -- Motet: Ave gloriosa mater-Ave Virgo-Domino (13th century) -- Instrumental motet (Hocket): In seculum longum (13th century) -- Vocal motet: Je n'amerai autre-In seculum (13th century) -- Agnus Dei from the Mass of Tournai (14th century) -- Polyphonic trope: Kyrie Jhesu dulcissime, Fronciaco (14th century) -- Organ paraphrase of a Kyrie (14th century) -- Caccia: Con brachi assai, Giovanni da Firenze (14th century) -- Ballade: Notes pour moi, Anthonello de Caserta (14th century) -- Isorhythmic motet: Veni Sancte Spiritus, John Dunstable (d. 1453) -- Villancico: Soy contento y vos servido, Juan del Encina (ca. 1468 - ca. 1530) -- Frottola: O mia cieca e dura sorte, Marchetto Cara (d. ca. 1530) -- Lute transcription: O mia cieca e dura sorte, Vincenzo Capirola (16th century) -- Meistersinger melody: Gesangweise, Hans Sachs (1494-1576) -- Magnificat octavi toni, Cristobal Morales (ca. 1500-1553) -- Chorale: Komm, Gott Schöpfer, heiliger Geist, Johann Walter (1496-1570) -- Psalm setting, French Psalter of 1564: Mon Dieu me paist, Claude Goudimel (d. 1572) -- Psalm setting, French Psalter of 1565: Mon Dieu me paist, Claude Goudimel -- Anthem: Heare the voyce and prayer of thy servaunts, Thomas Tallis (ca. 1505-1585) -- Polychoral motet: Laudate Dominum, Hans Leo Hassler (1564-1612) -- Organ toccata: Toccata Quinta, Secondo Tuono, Claudio Merulo (1533-1604) -- Pavana for the virginal: John Bull (1563-1628) -- Quodlibet: Fricassée (16th century) -- Lied: Oho, so geb' der Mann ein'n Pfenning, Ludwig Senfl (ca. 1490-ca. 1556) -- Madrigal: Moro lasso, Carlo Gesualdo (ca. 1560-1613) -- Lute ayre: My thoughts are wing'd with hope, John Dowland (1563-1626) -- Instrumental dance: Passamezzo d'Italie (16th century) -- Viol consort: In Nomine, Orlando Gibbons (1583-1625) -- Oratorio scene: Rappresentatione di Anima e di Corpo, Emilio de' Cavalieri (ca. 1550-1602) -- Chorale concerto: Erschienen ist der herrliche Tag, Johann Hermann Schein (1586-1630) -- Lute piece: Tombeau de Mademoiselle Gaultier, Denis Gaultier (ca. 1603-1672) -- Harpsichord piece: Capriccio über dass Hennengeschrey, Alessandro Poglietti (d. 1683) -- Organ chorale prelude: Nun komm, der Heiden Heiland, Dietrich Buxtehude (1637-1707) -- Oratorio scene: Le Reniement de St-Pierre, Marc-Antoine Charpentier (1634-1704) -- Anglican canticle: Jubilate Deo, John Blow (ca. 1648-1708) -- Sinfonia to the opera, La Caduta de Decem Viri, Alessandro Scarlatti (1659-1725) -- Chaconne from the opera-ballet, Les Fêtes Vénitiennes, André Campra (1660-1744) -- Opera seria: Aria from Croesus, "Hoffe noch," Reinhard Keiser (1674-1739) -- Concerto: La primavera (allegro), Antonio Vivaldi (ca. 1678-1741) -- Fantasie for violin solo, Georg Philipp Telemann (1681-1767) -- Cantata da camera: Recitative and Aria from Stravaganze d'Amore, "Amor tu sei," Benedetto Marcello (1686-1739) -- Opera buffa: Recitative and Aria from Livietta e Tracollo, "Misero," Giovanni Battista Pergolesi (1710-1736). |
| Abstract |
This rich anthology of 50 first-rate musical compositions documents the development of musical style from the early Middle Ages to the middle of the 18th century. Each piece has been carefully selected by noted musicologist Carl Parrish as an exemplar of an important step in the evolution of musical style, as well as for its intrinsic interest and beauty. Selections include a Gregorian hymn, an English lute piece, a German organ chorale prelude, operatic arias, instrumental and vocal motets, a French ballad, and works by Vivaldi, Telemann, Pergolesi, Alessandro Scarlatti, Buxtehude, and other masters. Dr. Parrish has also provided an interesting commentary on each composition, evaluating its style, form and historical setting. Complete compositions or sections of compositions are supplied whenever possible, and to facilitate study, each example is presented so that it can be performed either vocally or at the piano. |
