This program opens before us the wealth of music produced during the age of
Elizabeth the First of England, and shows how music spread from the Church
and the courts to the middle classes.
This is the time, as well, for new musical forms and new interest
in existing forms. Opera, ballet, motels, madrigals, secular
songs and instrumental pieces are broadly sampled hers.
In this program we hear Morley's Fire, Fire Marenzio's Dolorous Mournful
Cares, Weelkes; As Vesta Was from Larmos Hill Descending, Holburn's The
Honeysuckle, Dowland's Mistress Winter's Jump, I Saw My Lady Weep, Sleep,
Wayward Thoughts and Fine Knacks for Ladies, Byrd's Gaudeamus Omnes, bull's
Galliard, Orlando Gibbons' What Is Our Life and The Swan, Caccini's Amarilla
Mea Bella, Monteverdi's Orfeo, Marini's Sonata for Two Violins, Adson's
Courtly Masquing Airs, Lully's Alceste and Purcell's Ode to St. Cecelia.
oice, O Virgin Mary, "Estampie" from the Manuscript du Roi, Perotin's
Viderunt Omnes, Tempus est iocundum from Carmina Burana, Walther von der
Vogelweide's Palestinalied, Machaut's II m'est avis, Quant je suis mis,
Gloria from the Notre-Dame Mass, Landini's Questa Fanciulla Amor and L'Alma
Mia Piange, Dunstable's Veni Sancte Spiritu, Du fay's Ave Regina Coelorum