-
John Coprario Funeral Teares (end)
John Coprario Funeral Teares
lute songs
Bach-consort:
Liliya Gaysina (soprano)
Yulia Mikkonen (alto)
Tatiana Fedyakova (viola da gamba)
Asya Grechisheva (lute)
published: 10 Mar 2010
-
Tis now Dead Night Campaign Video
www.gofundme.com/tis_now_dead_night
Michal Bitan, soprano and Earl Christy, lute 'Tis now dead Night' A new CD that will touch you to your core!
But first we need your help to make it happen . Want to help? Keep reading
Tis now dead Night is a CD dedicated to man in his most intimate moments. The program consists of Elizabethan lute song repertoire, with pieces of the English composers John Coprario, John Dowland, John Danyel, Thomas Campion, Robert Johnson and, William Corkine.
Our first musical experience together as a duo was in 2010 when we played together at A Dialogue on a Kiss, which is an ensemble dedicated to historically informed performance in its' most intimate and communicative form.
Our collaboration was founded on the intention of breaking the invisible wall between t...
published: 04 Aug 2015
-
Talk: Songs from the Street
Fleet Street's role in the story of English Lute Song.
Presented and Edited by Din Ghani.
With performances by members of Musicke in the Ayre
published: 25 May 2021
-
[Trenchmore]
Provided to YouTube by The Orchard Enterprises
[Trenchmore] · Jacob Heringman
Blame Not My Lute
℗ 2006 Jacob Heringman. Licensed under the v1.0 by-nc-sa Creative Commons license. http://creativecommons.org/licenses/by-nc-sa/1.0/
Released on: 2006-05-29
Auto-generated by YouTube.
published: 06 Nov 2014
-
Masque Music: Instrumental & Vocal Music from the Stuart Masque
00:00 The Triumph of Peace; Symphony, 1634 (William Lawes, 1602-1645) 1
01:17 The King’s Mistresse (Anon, 1631) 2
02:57 Waters his Love (Anon, 1631) 2
04:15 The Fairy Masque,1611 (Robert Johnson, c1583-c1634) 2
06:31 Now hath Flora, 1607 (Thomas Campion, 1567-1620) 3
08:48 The Satyres’ Masque, 1611 (R. Johnson) 2
10:45 The Mountebanks’ Dance at Grayes Inne (Anon, 1618) 2
12:26 Williams his Love (Anon, 1631) 2
14:00 The Goates Masque (Anon, 1618) 2
15:34 The Second Witches’ Dance (Anon, 1609) 2
17:00 The Triumphs of the Prince d’ Amour; Symphony, 1636 (Lawes) 1
18:05 Wilson’s Love (Anon, 1631) 2
19:43 The Divell’s Dance (Anon, 1631 or 1635) 2
21:07 The Gypsies Metamorphos’d, 1621 (R. Johnson) 2
22:02 Galliard - Alman: The Squirrel’s Toy - Jig, c1596 (Francis Cutting, c1550-1596) 4
27:15 Whi...
published: 25 Nov 2021
-
John Bull: Vexilla regis prodeunt
Orgel: Peter Van de Velde
Inleiding: Bart Paepen
published: 01 Apr 2020
-
Il terzo libro de madrigali: No. 2, O come è gran martire
Provided to YouTube by Warner Classics
Il terzo libro de madrigali: No. 2, O come è gran martire · The Consort of Musicke
Monteverdi: Il terzo libro de madrigali
℗ A Warner Classics/Erato release, ℗ 1993 Parlophone Records Limited
Vocal Ensemble: The Consort of Musicke
Conductor: Anthony Rooley
Composer: Claudio Monteverdi
Auto-generated by YouTube.
published: 12 Aug 2021
-
Hugh Aston's Ground
Provided to YouTube by Entertainment One Distribution US
Hugh Aston's Ground · Elaine Thornburgh
William Byrd, Ground and Variations - Elaine Thornburgh, Harpsichord
℗ Byrd: Selected Keyboard Works
Released on: 1991-05-20
Auto-generated by YouTube.
published: 08 Nov 2014
5:32
John Coprario Funeral Teares (end)
John Coprario Funeral Teares
lute songs
Bach-consort:
Liliya Gaysina (soprano)
Yulia Mikkonen (alto)
Tatiana Fedyakova (viola da gamba)
Asya Grechisheva ...
John Coprario Funeral Teares
lute songs
Bach-consort:
Liliya Gaysina (soprano)
Yulia Mikkonen (alto)
Tatiana Fedyakova (viola da gamba)
Asya Grechisheva (lute)
https://wn.com/John_Coprario_Funeral_Teares_(End)
John Coprario Funeral Teares
lute songs
Bach-consort:
Liliya Gaysina (soprano)
Yulia Mikkonen (alto)
Tatiana Fedyakova (viola da gamba)
Asya Grechisheva (lute)
- published: 10 Mar 2010
- views: 1205
2:24
Tis now Dead Night Campaign Video
www.gofundme.com/tis_now_dead_night
Michal Bitan, soprano and Earl Christy, lute 'Tis now dead Night' A new CD that will touch you to your core!
But first we...
www.gofundme.com/tis_now_dead_night
Michal Bitan, soprano and Earl Christy, lute 'Tis now dead Night' A new CD that will touch you to your core!
But first we need your help to make it happen . Want to help? Keep reading
Tis now dead Night is a CD dedicated to man in his most intimate moments. The program consists of Elizabethan lute song repertoire, with pieces of the English composers John Coprario, John Dowland, John Danyel, Thomas Campion, Robert Johnson and, William Corkine.
Our first musical experience together as a duo was in 2010 when we played together at A Dialogue on a Kiss, which is an ensemble dedicated to historically informed performance in its' most intimate and communicative form.
Our collaboration was founded on the intention of breaking the invisible wall between the stage and the audience, connecting a new and larger public to the repertoire written for voice and lute. This duo sets to create new performances, based on rarely performed pieces.
The name of the CD: 'Tis now dead night' taken from the song by John Coprario which opens the CD, sets the scene immediately, as it brings to focus the quiet moments of solitude. Thus the programme unfolds touching upon themes such as death, mourning, love, loss and prayer. Through this journey the musicians and the listeners both visit these instants, where we are stripped of title and belonging by calamity and charity, which are painful, awakening and sometimes liberating.
The backbone of the programme is J. Coprario book "Songs of Mourning,: Bewaling the untimely Death of Prince Henry" (1613) with words by Thomas Campion, which consists of 7 songs. Exquisite and quite intricately written, Coprario's songs receive less performances and recognition presently than songs written by his contemporary John Dowland. Combining carefully set gems by Dowland, Campion, Johnson and Corkine with historical informed approach/research based performance create a result that is both authentic and touching.
But for this dream of a project to come true WE NEED YOUR HELP!
Making this CD involves costs for recording engineers and producer, mastering, cover work and pressing of the CDs among others. With this crowdfunding campaign we hope to raise the necessary funds to realize it. Donations can be made from any country and our goal is to raise the necessary funds until the end of 2015.
We came up with many ways of saying thank you for helping us make this happen with your generous donations: a CD, bonus tracks that we'll record especially for this campaign, the CD special sheet music edition, free tickets to a concert (in 2016), or even a private concert. The different reward levels are listed below and any help will be very much appreciated!
We would also be very grateful if you would share our 'Tis now dead Night' CD campaign with all your friends, family, colleagues and neighbors!
Watch the video above and hear a little of what 'Tis now dead Night' CD is all about, with a live recording of one of the pieces: 'Author of Light' by Thomas Campion.
Thank you,
Michal Bitan, soprano & Earl Christy, Lute
www. michalbitan.com
www.earlchristy-lutenist.com
Our ways of saying thank you!:
10 euro: our sincere thanks
20 euro: The CD special sheet music edition! (postage costs included for The Netherlands)
30 euro: one CD! (postage costs included for The Netherlands)
45 euro: one autographed CD! (postage costs included for The Netherlands)
55 euro: one autographed CD with 1 bonus track of your choice! (postage costs included for The Netherlands)
65 euro: one autographed CD with 2 bonus tracks of your choice! (postage costs included for The Netherlands)
75 euro: one autographed CD with 3 bonus tracks! (postage costs included for The Netherlands)
100 euro: one autographed CD with 3 bonus tracks, and the CD special sheet music edition! (postage costs included for The Netherlands)
350 euro: one autographed CD with 3 bonus tracks, and the CD special musical edition! (postage costs included for The Netherlands), your name on the booklet of the CD and two free tickets to one of our concerts in 2016 (especially chosen by us)!
800 euro: private concert of 'Tis now dead Night' programme!
more: talk to us! (company logo on CD back cover and
booklet, private duo concerts etc.)
You can donate using PayPal or credit card.
https://wn.com/Tis_Now_Dead_Night_Campaign_Video
www.gofundme.com/tis_now_dead_night
Michal Bitan, soprano and Earl Christy, lute 'Tis now dead Night' A new CD that will touch you to your core!
But first we need your help to make it happen . Want to help? Keep reading
Tis now dead Night is a CD dedicated to man in his most intimate moments. The program consists of Elizabethan lute song repertoire, with pieces of the English composers John Coprario, John Dowland, John Danyel, Thomas Campion, Robert Johnson and, William Corkine.
Our first musical experience together as a duo was in 2010 when we played together at A Dialogue on a Kiss, which is an ensemble dedicated to historically informed performance in its' most intimate and communicative form.
Our collaboration was founded on the intention of breaking the invisible wall between the stage and the audience, connecting a new and larger public to the repertoire written for voice and lute. This duo sets to create new performances, based on rarely performed pieces.
The name of the CD: 'Tis now dead night' taken from the song by John Coprario which opens the CD, sets the scene immediately, as it brings to focus the quiet moments of solitude. Thus the programme unfolds touching upon themes such as death, mourning, love, loss and prayer. Through this journey the musicians and the listeners both visit these instants, where we are stripped of title and belonging by calamity and charity, which are painful, awakening and sometimes liberating.
The backbone of the programme is J. Coprario book "Songs of Mourning,: Bewaling the untimely Death of Prince Henry" (1613) with words by Thomas Campion, which consists of 7 songs. Exquisite and quite intricately written, Coprario's songs receive less performances and recognition presently than songs written by his contemporary John Dowland. Combining carefully set gems by Dowland, Campion, Johnson and Corkine with historical informed approach/research based performance create a result that is both authentic and touching.
But for this dream of a project to come true WE NEED YOUR HELP!
Making this CD involves costs for recording engineers and producer, mastering, cover work and pressing of the CDs among others. With this crowdfunding campaign we hope to raise the necessary funds to realize it. Donations can be made from any country and our goal is to raise the necessary funds until the end of 2015.
We came up with many ways of saying thank you for helping us make this happen with your generous donations: a CD, bonus tracks that we'll record especially for this campaign, the CD special sheet music edition, free tickets to a concert (in 2016), or even a private concert. The different reward levels are listed below and any help will be very much appreciated!
We would also be very grateful if you would share our 'Tis now dead Night' CD campaign with all your friends, family, colleagues and neighbors!
Watch the video above and hear a little of what 'Tis now dead Night' CD is all about, with a live recording of one of the pieces: 'Author of Light' by Thomas Campion.
Thank you,
Michal Bitan, soprano & Earl Christy, Lute
www. michalbitan.com
www.earlchristy-lutenist.com
Our ways of saying thank you!:
10 euro: our sincere thanks
20 euro: The CD special sheet music edition! (postage costs included for The Netherlands)
30 euro: one CD! (postage costs included for The Netherlands)
45 euro: one autographed CD! (postage costs included for The Netherlands)
55 euro: one autographed CD with 1 bonus track of your choice! (postage costs included for The Netherlands)
65 euro: one autographed CD with 2 bonus tracks of your choice! (postage costs included for The Netherlands)
75 euro: one autographed CD with 3 bonus tracks! (postage costs included for The Netherlands)
100 euro: one autographed CD with 3 bonus tracks, and the CD special sheet music edition! (postage costs included for The Netherlands)
350 euro: one autographed CD with 3 bonus tracks, and the CD special musical edition! (postage costs included for The Netherlands), your name on the booklet of the CD and two free tickets to one of our concerts in 2016 (especially chosen by us)!
800 euro: private concert of 'Tis now dead Night' programme!
more: talk to us! (company logo on CD back cover and
booklet, private duo concerts etc.)
You can donate using PayPal or credit card.
- published: 04 Aug 2015
- views: 1318
41:18
Talk: Songs from the Street
Fleet Street's role in the story of English Lute Song.
Presented and Edited by Din Ghani.
With performances by members of Musicke in the Ayre
Fleet Street's role in the story of English Lute Song.
Presented and Edited by Din Ghani.
With performances by members of Musicke in the Ayre
https://wn.com/Talk_Songs_From_The_Street
Fleet Street's role in the story of English Lute Song.
Presented and Edited by Din Ghani.
With performances by members of Musicke in the Ayre
- published: 25 May 2021
- views: 473
0:32
[Trenchmore]
Provided to YouTube by The Orchard Enterprises
[Trenchmore] · Jacob Heringman
Blame Not My Lute
℗ 2006 Jacob Heringman. Licensed under the v1.0 by-nc-sa Crea...
Provided to YouTube by The Orchard Enterprises
[Trenchmore] · Jacob Heringman
Blame Not My Lute
℗ 2006 Jacob Heringman. Licensed under the v1.0 by-nc-sa Creative Commons license. http://creativecommons.org/licenses/by-nc-sa/1.0/
Released on: 2006-05-29
Auto-generated by YouTube.
https://wn.com/Trenchmore
Provided to YouTube by The Orchard Enterprises
[Trenchmore] · Jacob Heringman
Blame Not My Lute
℗ 2006 Jacob Heringman. Licensed under the v1.0 by-nc-sa Creative Commons license. http://creativecommons.org/licenses/by-nc-sa/1.0/
Released on: 2006-05-29
Auto-generated by YouTube.
- published: 06 Nov 2014
- views: 211
34:16
Masque Music: Instrumental & Vocal Music from the Stuart Masque
00:00 The Triumph of Peace; Symphony, 1634 (William Lawes, 1602-1645) 1
01:17 The King’s Mistresse (Anon, 1631) 2
02:57 Waters his Love (Anon, 1631) 2
04:15 The...
00:00 The Triumph of Peace; Symphony, 1634 (William Lawes, 1602-1645) 1
01:17 The King’s Mistresse (Anon, 1631) 2
02:57 Waters his Love (Anon, 1631) 2
04:15 The Fairy Masque,1611 (Robert Johnson, c1583-c1634) 2
06:31 Now hath Flora, 1607 (Thomas Campion, 1567-1620) 3
08:48 The Satyres’ Masque, 1611 (R. Johnson) 2
10:45 The Mountebanks’ Dance at Grayes Inne (Anon, 1618) 2
12:26 Williams his Love (Anon, 1631) 2
14:00 The Goates Masque (Anon, 1618) 2
15:34 The Second Witches’ Dance (Anon, 1609) 2
17:00 The Triumphs of the Prince d’ Amour; Symphony, 1636 (Lawes) 1
18:05 Wilson’s Love (Anon, 1631) 2
19:43 The Divell’s Dance (Anon, 1631 or 1635) 2
21:07 The Gypsies Metamorphos’d, 1621 (R. Johnson) 2
22:02 Galliard - Alman: The Squirrel’s Toy - Jig, c1596 (Francis Cutting, c1550-1596) 4
27:15 While Dancing Rest, 1613 (Giovanni Coperario, c1570-1626) 3
29:51 Come Ashore, 1613 (Coperario) 2
31:20 Cuperaree or Grayes Inne, 1613 (Coperario) 2
33:31 Squier’s Masque, 1613 (Coperario?) 2
Concentus Musicus of Denmark - Aksel H. Mathiesen, direction
Irmgard Knopf Mathiesen: solo recorder / Recorder Ensemble of the Concentus Musicus
Charlotte Alstrup: tenor & bass viols / Oliver Rigby Hirsch: tenor, alto & bass viols
Otto Kober & Hans Koch: bass viol / Johan Poulsen: violone
Jørn Jørkov: countertenor / Ulrik Cold: bass-baritone
Ture Bergstrøm: sordone & alto krummhorn / Frederik Gislinge: alto krummhorn
Jørgen Hammergaard: descant krummhorn / Paul Tofte-Hansen: tenor krummhorn
Karen Bojesen: bass krummhorn / Uffe Zachariassen: spinet
Ingolf Olsen: lute / Aake Bergstrøm: glockenspiel & tambourine
The masque, combining elements of spectacle, dance, music, and drama, was a form of entertainment created specifically for courtly and aristocratic circles in the early decades of the 17th century in England. Like much in English art between then and now, it was an amalgam of imported forms upon which the English stamped a unique image of their own. Its direct ancestors were the French ballet du cour and the Italian trionfo and mascherata. (English critics and historians have often been baffled by the masque principally because they have tried to see it as an outgrowth of the Elizabethan drama, to which it is only very distantly related. In point of fact, the nearest genuinely English antecedents for the masque are to be found in the “revels” of Henry VIII’s court over three-quarters of a century before.)
The factors that made a masque successful were in (rapidly) descending order spectacular display, both in the stage design and amongst the noble spectators; dances of all kinds; music, both vocal and instrumental; and (trailing far behind) dramatic story-line. Another important characteristic of the early Stuart masque was the participation of the aristocratic or even royal patrons of the festivities.
Woven loosely about a simple plot or poetic subject, the masque was often performed in the holiday season or in celebration of a wedding (as a rule, a masque was performed once only). Its form was based on a series of dances punctuated by four songs, the whole preceded by the dance and song of the “antimasquers”, a sort of curtain-raiser emphasizing bizzare, grotesque, exotic, or fantastic elements. After “loud music and the discovery of the scene of the masque proper” [A. J. Sabol], the masquers entered. Their main dance was followed by the “revels”, social dances such as the pavan, galliard, coranto, branle, etc., in which the spectators were invited to participate. A farewell song cleared the floor for the concluding dances of the masquers, which were “curious” and “subtle”, and were danced to music especially composed for the occasion.
While the songs were accompanied by lute and bass viol (i.e., viola da gamba), we can only guess —with the help of court descriptions— what instruments were used to accompany the dances: “the music was composed of treble violins with all the inward parts, a bass viol, bass lute, sagbut, cornamute, and a tabor and pipe.” In Campion’s “Discription of a Maske..., in honour of the Lord Hayes” we learn of “ten Musitions, with Basse and Meane lutes, a Bandora, a double Sack-bott, and an Harpsicord, with two treble Violins; on the other side somewhat neerer the skreene were plac’t 9 Violins and three Lutes, and to answere both the Consorts (as it were in a triangle) sixe Cornets, and sixe Chappell voyces, were seated almost right against them, in a place raised higher in respect of the pearcing sound of those Instruments...” The musicians were fully costumed and were included in the action.
Masques of this sort continued from the beginning of the century until they were driven out by the Puritans at the start of the Civil War. When the Stuart monarchy was restored, a new set of French and Italian ideas replaced the old one, and the masque of Restoration days, while still glamorous and spectacular, had its center of gravity considerably nearer the drama.
OLIVER RIGBY HIRSH and AKSEL H. MATHIESEN
https://wn.com/Masque_Music_Instrumental_Vocal_Music_From_The_Stuart_Masque
00:00 The Triumph of Peace; Symphony, 1634 (William Lawes, 1602-1645) 1
01:17 The King’s Mistresse (Anon, 1631) 2
02:57 Waters his Love (Anon, 1631) 2
04:15 The Fairy Masque,1611 (Robert Johnson, c1583-c1634) 2
06:31 Now hath Flora, 1607 (Thomas Campion, 1567-1620) 3
08:48 The Satyres’ Masque, 1611 (R. Johnson) 2
10:45 The Mountebanks’ Dance at Grayes Inne (Anon, 1618) 2
12:26 Williams his Love (Anon, 1631) 2
14:00 The Goates Masque (Anon, 1618) 2
15:34 The Second Witches’ Dance (Anon, 1609) 2
17:00 The Triumphs of the Prince d’ Amour; Symphony, 1636 (Lawes) 1
18:05 Wilson’s Love (Anon, 1631) 2
19:43 The Divell’s Dance (Anon, 1631 or 1635) 2
21:07 The Gypsies Metamorphos’d, 1621 (R. Johnson) 2
22:02 Galliard - Alman: The Squirrel’s Toy - Jig, c1596 (Francis Cutting, c1550-1596) 4
27:15 While Dancing Rest, 1613 (Giovanni Coperario, c1570-1626) 3
29:51 Come Ashore, 1613 (Coperario) 2
31:20 Cuperaree or Grayes Inne, 1613 (Coperario) 2
33:31 Squier’s Masque, 1613 (Coperario?) 2
Concentus Musicus of Denmark - Aksel H. Mathiesen, direction
Irmgard Knopf Mathiesen: solo recorder / Recorder Ensemble of the Concentus Musicus
Charlotte Alstrup: tenor & bass viols / Oliver Rigby Hirsch: tenor, alto & bass viols
Otto Kober & Hans Koch: bass viol / Johan Poulsen: violone
Jørn Jørkov: countertenor / Ulrik Cold: bass-baritone
Ture Bergstrøm: sordone & alto krummhorn / Frederik Gislinge: alto krummhorn
Jørgen Hammergaard: descant krummhorn / Paul Tofte-Hansen: tenor krummhorn
Karen Bojesen: bass krummhorn / Uffe Zachariassen: spinet
Ingolf Olsen: lute / Aake Bergstrøm: glockenspiel & tambourine
The masque, combining elements of spectacle, dance, music, and drama, was a form of entertainment created specifically for courtly and aristocratic circles in the early decades of the 17th century in England. Like much in English art between then and now, it was an amalgam of imported forms upon which the English stamped a unique image of their own. Its direct ancestors were the French ballet du cour and the Italian trionfo and mascherata. (English critics and historians have often been baffled by the masque principally because they have tried to see it as an outgrowth of the Elizabethan drama, to which it is only very distantly related. In point of fact, the nearest genuinely English antecedents for the masque are to be found in the “revels” of Henry VIII’s court over three-quarters of a century before.)
The factors that made a masque successful were in (rapidly) descending order spectacular display, both in the stage design and amongst the noble spectators; dances of all kinds; music, both vocal and instrumental; and (trailing far behind) dramatic story-line. Another important characteristic of the early Stuart masque was the participation of the aristocratic or even royal patrons of the festivities.
Woven loosely about a simple plot or poetic subject, the masque was often performed in the holiday season or in celebration of a wedding (as a rule, a masque was performed once only). Its form was based on a series of dances punctuated by four songs, the whole preceded by the dance and song of the “antimasquers”, a sort of curtain-raiser emphasizing bizzare, grotesque, exotic, or fantastic elements. After “loud music and the discovery of the scene of the masque proper” [A. J. Sabol], the masquers entered. Their main dance was followed by the “revels”, social dances such as the pavan, galliard, coranto, branle, etc., in which the spectators were invited to participate. A farewell song cleared the floor for the concluding dances of the masquers, which were “curious” and “subtle”, and were danced to music especially composed for the occasion.
While the songs were accompanied by lute and bass viol (i.e., viola da gamba), we can only guess —with the help of court descriptions— what instruments were used to accompany the dances: “the music was composed of treble violins with all the inward parts, a bass viol, bass lute, sagbut, cornamute, and a tabor and pipe.” In Campion’s “Discription of a Maske..., in honour of the Lord Hayes” we learn of “ten Musitions, with Basse and Meane lutes, a Bandora, a double Sack-bott, and an Harpsicord, with two treble Violins; on the other side somewhat neerer the skreene were plac’t 9 Violins and three Lutes, and to answere both the Consorts (as it were in a triangle) sixe Cornets, and sixe Chappell voyces, were seated almost right against them, in a place raised higher in respect of the pearcing sound of those Instruments...” The musicians were fully costumed and were included in the action.
Masques of this sort continued from the beginning of the century until they were driven out by the Puritans at the start of the Civil War. When the Stuart monarchy was restored, a new set of French and Italian ideas replaced the old one, and the masque of Restoration days, while still glamorous and spectacular, had its center of gravity considerably nearer the drama.
OLIVER RIGBY HIRSH and AKSEL H. MATHIESEN
- published: 25 Nov 2021
- views: 3371
23:21
John Bull: Vexilla regis prodeunt
Orgel: Peter Van de Velde
Inleiding: Bart Paepen
Orgel: Peter Van de Velde
Inleiding: Bart Paepen
https://wn.com/John_Bull_Vexilla_Regis_Prodeunt
Orgel: Peter Van de Velde
Inleiding: Bart Paepen
- published: 01 Apr 2020
- views: 397
3:23
Il terzo libro de madrigali: No. 2, O come è gran martire
Provided to YouTube by Warner Classics
Il terzo libro de madrigali: No. 2, O come è gran martire · The Consort of Musicke
Monteverdi: Il terzo libro de madrig...
Provided to YouTube by Warner Classics
Il terzo libro de madrigali: No. 2, O come è gran martire · The Consort of Musicke
Monteverdi: Il terzo libro de madrigali
℗ A Warner Classics/Erato release, ℗ 1993 Parlophone Records Limited
Vocal Ensemble: The Consort of Musicke
Conductor: Anthony Rooley
Composer: Claudio Monteverdi
Auto-generated by YouTube.
https://wn.com/Il_Terzo_Libro_De_Madrigali_No._2,_O_Come_È_Gran_Martire
Provided to YouTube by Warner Classics
Il terzo libro de madrigali: No. 2, O come è gran martire · The Consort of Musicke
Monteverdi: Il terzo libro de madrigali
℗ A Warner Classics/Erato release, ℗ 1993 Parlophone Records Limited
Vocal Ensemble: The Consort of Musicke
Conductor: Anthony Rooley
Composer: Claudio Monteverdi
Auto-generated by YouTube.
- published: 12 Aug 2021
- views: 369
7:51
Hugh Aston's Ground
Provided to YouTube by Entertainment One Distribution US
Hugh Aston's Ground · Elaine Thornburgh
William Byrd, Ground and Variations - Elaine Thornburgh, Harp...
Provided to YouTube by Entertainment One Distribution US
Hugh Aston's Ground · Elaine Thornburgh
William Byrd, Ground and Variations - Elaine Thornburgh, Harpsichord
℗ Byrd: Selected Keyboard Works
Released on: 1991-05-20
Auto-generated by YouTube.
https://wn.com/Hugh_Aston's_Ground
Provided to YouTube by Entertainment One Distribution US
Hugh Aston's Ground · Elaine Thornburgh
William Byrd, Ground and Variations - Elaine Thornburgh, Harpsichord
℗ Byrd: Selected Keyboard Works
Released on: 1991-05-20
Auto-generated by YouTube.
- published: 08 Nov 2014
- views: 282