O homo considera
Renaissance music (with diminutions)
Juan del Encina
Other Renaissance pieces
Orlando Di Lasso
Alfonso Ferrabosco II
Johann Sebastian Bach
Georg Friedrich Handel
Music for (large) groups
Johann Heinrich Schmelzer
"Music Minus One" files
Franz Joseph Haydn
Transcriptions of ethnic music
O homo considera - Isorhythmic motet of early 14th century origin.
The full title is: O homo considera / O homo de pulvere / Contratenor /Filiae Jerusalem. This piece is in the Oxford Anthology of Medieval music. I have taken the liberty of changing two notes in the published edition that don't make any sense to me: measure 44, 3rd voice (Contratenor) original D, measure 67, 3rd voice (Contratenor) original quarter note D.
Organ Estampie "Retrouvé"
Alors, que mon coeur
Juan del Encina (1468 - 1529)
Amor con fortuna
Pues que ya
Ay, triste que vengo
[Midi versions of the 4 Encina pieces recorded on the CD Landscapes]
Claude Gervaise (XVI century)
Bransle Gay II - from the CD Landscapes
Bransle Gay VII - from the CD Landscapes
Bransle X - from the CD Landscapes
Tielman Susato (XVI century)
Nachtanz I & II
Orlando Di Lasso (c.1532 - 1594)
O la, o che bon eccho!
The text is as follows: [where "/" = bar line]
O / la, / o / che bon / eccho / Pigliamo/ci / pia/cere / Ha, ha, ha, ha, / ha! / Ri/diamo / tutti. / O bon com/pagno, / Che / voi tu? / Vo/ria che tu can/tassi / una / can/zona. / Perche? / Perche / si? / Perche / no? / perche non / voglio / Per/che non voi? / perche / non mi piace / taci, di/co / Taci / tu! / O gran pol/tron! / Signor, / si! / Or/su no piu! / An/diamo! / A/dio, bon'ec/ccho! A/dio, bon'ec/cho! / Rest'in / pace! / Basta, / ba/sta, ba/sta, ba/sta! / basta, / basta! / ba//staMais qui pourroit estre celuy
Alfonso Ferrabosco II (ca. 1575 - 1628)"
Fantasia (on a hexachord)
Pavana III ("Four Notes Pavan")
Vincenzo Galilei (ca. 1520 - 1591)
Ricercare del quarto tuono
Ricercare del ottavo tuono
Johannes Ghiselin (ca. 1460 - ca. 1535)
Fantasy a 3
Thomas Morley (1557 - 1604)
Il Lamento - from "The First Booke of Canzonets to Two Voyces", 1595
Juan Ponce (ca. 1480 - ca. 1530)
Ave Color Vini
This composition is structured like a religious hymn in obviously sarcastic contrast to the original Latin text. Here is a translation of the text:
All hail to thee, colour of clear wine; hail, taste without parallel. By your power you are worthy of inebriating us. O how happy is the person guided by the pure vine. May every table be made easy by your presence. How pleasing in hue, how fragrant a bouquet, how titillating to the palate, what a sweet slur to the tongue. How happy is the belly which you enter; happy the gullet that you numb; happy the mouth that you cause to stutter; O blessed lips! Therefore, let us all praise wine, let us exalt topers. Let us drinkers never be brought to confusion for ever and ever. Amen.
Thomas Ravenscroft (ca. 1582-ca.1635)
Tobacco fumes away
The text is as follows: [where "/" = bar line and "_" means a slurred syllable]
1. To-bac-co fumes a/-way all na-sty rheums, but / health a-way it / ne-ver_ lightly frets; / and nap-py ale makes mirth, make (as / April rain doth earth) / spring like the plea___-sant / Spring, where / ere it soak_ing / wets. But in_ that spring of / mirth such / mad-ness, mad-ness, mad-ness, mad-ness / mad-ness high dot_ grow. As fills a fool by birth, a / fool, a fool by birth with / crot-chets*, with crot-chets with / crot-chets, with ale and to-/bac-co, to-bac-co to-/bac-co, with ale and to-/bac-co, to-bac-co to-/bac-co, with ale and to-/bac-co.
*crotchets: whimsical fancies
2. One clears the brain, the / o-ther glads the heart, which / they re-tain by na-ture_ and by / art; / the first, the first by na-ture, / na-ture clears, by / art makes gid-dy will, / the last by na-ture / cheers, by / art makes heay-y / still. So we_ whose brains else / low, else low, swell / high, swell high, swell high, swell / high with crot-chet / rules. Feed / on these two, feed on these / two these two as fat as / head-y, as head-y, as / head-y, as head-y [and] / gid-dy, [and] gid-dy [and] / gid-dy, as head-y [and] / gid-dy, [and] gid-dy [and] / gid-dy, as head-y [and] / gid-dy fools.
Johann Sebastian Bach
Cantata BWV 106:Actus Tragicus
This file is not really meant to be listened to. It contains ONLY the 2 recorder parts from Bach's Actus Tragicus. It has been placed here so that recorder players can save it to disk, open it with a music publishing program and print the parts after having done the necessary transpositions for performing at "modern" pitch. Curiously, in order to perform this piece at modern pitch, one must use "old pitch" instruments like a 392 alto (one step below 440) or a 415 voice flute (a recorder in D). In this case the instruments would be used as, respectively, an "E flat" and a "D flat" Alto.
For 392 alto(s) transpose this piece UP one step to F major
For 415 Voice flute(s) transpose this UP two steps to G major
Georg Friedrich Handel
Harp Concerto (Organ Concerto) in B flat major, Op IV, No. 6 for Harp (or Organ), 2 recorders and Strings
Concerto in B flat major for Recorder, Bassoon, Strings and B.C.
[transcribed from the Harp Concerto, Opus IV, n. 6]
Henry Purcell From his "Ode to St. Cecilia"
Here the Deities approve - for Alto voice, 2 vln, vla and b.c.
Giovanni Gabrieli (ca. 1557 - 1612)
Canzona a 5
Canzon septimi et octavi toni a 12
J. H. Schmelzer (1623-1680)
Sonata a 7
Antonio VivaldiC minor concerto for Recorder
Franz Joseph HaydnConcerto in C (performable with 2 Recorders, 2 Fr. horns and strings). Edition Doblinger D. 9953
3rd movement (1st of three sections)
transcribed from "Les Flutes Roumaines" (Arion CD: ARN 64004)
If you want to hear the actual sound file, write to me!
transcribed from "Village Music of Bulgaria" (Elektra/Nonesuch CD: 979 195-2).