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18 Cards in this Set
- Front
- Back
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Gradual: Viderunt Omnes |
No composer, monophonic gradual, plainchant, backbone of many pieces |
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Viderunt Omnes (pedal tone) |
Leonin, discant style organum (note against note), soloist against pedal tone that is the chant, 12th century |
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Viderunt Omnes (complex trio) |
Perotin, 12th century |
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Quam pulchra es |
John dunstable, the fabled “contenance angloise,” from the first half of the 15th century. Smooth, full harmonies, little dissonance. |
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Ave maria... virgo serena |
Josquin Desprez, a classic early Renaissance motet from around 1485; consistentlyimitative (sometimes called “through-imitation”). Astonishingly clear andelegant harmonies. |
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Cum essem parvulus |
Orlande de lassus, A classic mid-to-late 16th century motet: words carefully set, various musical devices uses to match the meaning of individual words: almost a “madrigalian” motet. |
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In ecclesiis |
Giovanni Gabrieli, The late-Renaissance, early Baroque motet: sumptuous polychoral writing; soloistic vocal writing; the obligatory participation of instruments (basso continuo) and more, (alleluia chorus, deus chorus) |
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Missa se la face ay pale |
Du Fay, "et in terra pax", S/A start, then 4 voices, he first great master of the cyclic mass, here famously based on the tenor part of one of his own chansons—a strange and wonderful blurring of the distinction between sacred and secular. This is a perfect example of one of the types of cyclic mass: the cantus firmus mass. Here, all five movements are organized around a slow-moving melody, placed in the tenor voice. |
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Missa Pange Lingua |
Josquin Desprez, T/B imitative opening, "kyrie", imitative moments, paraphrase mass (elaborated cantus firmus used in all voices), |
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Missa O Magnum Mysterium |
Tomas Luis de Victoria, S/A imitative start, 'kyrie", mysterious feel |
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Dances from Danserye (3) |
Tielman Susato, 1551, instrumental, published in partbooks, all common dances for time period |
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The Night Watch + The Fairie-round |
Anthony Holborne, consort dances, 1599. Very popular, famous |
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Los seys libros del Delphin excerpts (2) |
Luis de Narváez, intabulation + variation set, 1538, for vihuela. |
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John come kiss me now |
William Byrd, variations, 1600, for keyboard |
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Canzon septimi toni a 8, from Sacrae symphoniae |
Giovanni Gabrieli, ensemble canzona, 1597. Has divided choirs, refrain, instrumentation not indicated |
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Toccata No 3 |
Girolamo Frescobaldi, toccata, 1615, for keyboard. Improvisatory style |
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Ricercare after Credo from Mass for the Madonna |
Girolamo Frescobaldi, ricercare, 1635, for organ. Weird tuning. Part of organ mass, imitative based on a subject |
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Sonata IV per il violino per sonar con due corde |
Biagio Marini, sonata, 1626, for violin + continuo |
