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. A premier composer of the time - who wrote with strong counter-point, and a lyrical touch. This tends to call out the provincial sounds, styles, cadences, rhythms, melodic intervals and harmonies reflected in each country's musical and cultural style. Check out the stunning change of texture 2:00. Odd-country pieces - Russia, etc.
Donna being one of the most extraordinary talents and wonderful people I've ever been blessed to work with and Gracie her daughter. But over time I've come to really love them. 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. Anonymous - Another slow, enchanting song about the Spanish moon. With an ethereal melodie top line , and just captivating accompaniment bottom 2 lines. You can't help but smile listening to this piece.
The piece was written in about 1600 by John Dowland, one of the most famous English composers of his day. The pieces vary from the subtle and transparent trecento 2-voice ballades of Magister Piero and Andrea da Firenze played on the viella, to the exquisite and virtuous madrigals for one soprano by Luzzascho Luzasschi, accompanied by the viola da gamba. Day is a-breaking in my soul They are down in the valley praying They are down in the valley praying They are down in the valley praying Day is a-breaking in my soul Oh where are our dear fathers? This one is short, fun, melodic and with some cool odd meter - predating Dave Matthews by, oh, say four centuries. Baur, was tragt im sacke - another way cool choral tune. Notes with black noteheads such as quarter notes occurred less often.
It's simple, slow and lovely. It has a terrific two-note ending. All others take a sheaf, of me a grain, of me a grain, of me a grain. I'm sorry about all the background noise of the music rustling in the background. Bach's original keyboard can't achieve. Cantiga 1, Esta é a primeira cantiga do loor de Santa Maria 2. An enormous diversity of musical styles and genres flourished during the Renaissance, and can be heard on commercial recordings in the twenty-first century, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others.
With terrific rhythms - 3 - going to 4 etc. Carmen Lamentacion - is a stately 4-part choral work. Wonderful, rich harmonies - and a surprise major key ending - given where the piece begins. This recording is performed by women, as it would have been in the Santa Chiara chapel. The final item illustrates Palestrina's less well-known secular style. But I kind'a like the way this newer rendition turned out, so I'm uploading it.
And I humbly dedicate this - my favorite recording on the site to him. There are dozens of excellent arrangements here - with midi file included for easy learning. The first time adding parts one after another. 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. In the 16th century pedlars travelled from town to town selling combs, ribbons, knives, and other small objects, the 'knacks' of the title. It was the first tune I recorded this year, and I love it - frankly and I'm not even Catholic. However songs like this one were sung in the Italian vernacular and would have been understood by all.
This was possible because of a greatly increased vocal range in music—in the Middle Ages, the narrow range made necessary frequent crossing of parts, thus requiring a greater contrast between them. Very medieval sounding - but quite beautiful in its simplicity and ambiance. Two fine recordings illustrating these themes: Bertrand: Amours de Ronsard Ensemble Clément Janequin - Dominique Visse Une Fête chez Rabelais Chansons et pièces instrumentales Ensemble Clément Janequin - Dominique Visse For a variety of reasons, was less significant during this era. It's a terrific 3-part instrumental canon. That included the new prominence attached to the cantus firmus mass, and the greater structural sophistication of the emerging large-scale motet. 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.
Jeff is the most accomplished musician I've had the great fortune to work with as a teacher. Many solo classical guitarists tackle these. I'll go back and re-do it, when I have the time. Catchy, and fun to play and listen to. A cooking late Renaissance number, with a great beat. He also composed motets and spiritual chansons.