# Early Music Suggestions



## StlukesguildOhio (Dec 25, 2006)

Member Ravellian posted the following in another thread:

Most lists focus on Classical and Romantic repertoire (and then throw in Bach and Vivaldi where appropriate). For some reason, that's what most classical listeners "consider best" right now. Thus, even if we try to put together genre-lists like top 100 piano works or top 100 symphonies, they will always be biased towards those two time periods... unless we, the "expert" compilers who have been long-term listeners, commit to expanding our listening horizons. This is not to take away from the amazing achievements of these time periods, only to say that it is a bit unfair to favor them so heavily all the time when we know there is much great music from other periods that often goes unappreciated.

*If some of the listeners who are more familiar with 20th/21st century (or Medieval/Renaissance) repertoire would take list-making more seriously, it would greatly help the rest of us in becoming more familiar with those time periods.*

We have a long-running thread in which members have made suggestions concerning Modern and Contemporary music they have found of real merit. I would like to start a thread in which members might offer up suggestions for examples of Early Music... music prior to J.S. Bach... that they feel to be among the finest. Ideally posters might include suggested recordings and/or links to YouTube of other sites offering examples of the work in discussion.

I will begin by throwing out the name Claudio Monteverdi (1567-1643). IMO Monteverdi is the greatest composer prior to Bach. Monteverdi spent much of his early career in employment of the court of Vincenzo I of Gonzaga in Mantua as a vocalist and viol player, and later as the court conductor. His early efforts in composition were almost all focused upon vocal works including _Sacrae cantiunculae_, Madrigali Spirituali, various motets, and the five-part madrigals Book I. A good part of his income came from the publication of these works.

By the time of the publication of Monteverdi's 5th book of madrigals he was already pushing music away from the Renaissance and toward the Baroque... especially in his shift in focus from polyphonic to a more monodic style.






Vincenzo Gonzaga's particular passion for musical theatre and spectacle grew from his family connections with the court of Florence. Towards the end of the 16th century innovative Florentine musicians were developing the _intermedio_-a long-established form of musical interlude inserted between the acts of spoken dramas-into increasingly elaborate forms. A group of Florentine Humanist intellectuals known as the Florentine Camerata began to argue against the tradition of polyphony and in favor of an ideal musical drama in which the text could be clearly understood. Led by Jacopo Corsi, the Camerata were responsible for the first work generally recognised as belonging to the genre of *opera*: _Dafne_, composed by Corsi and Jacopo Peri and performed in Florence in 1598. In 1600, while visiting Florence for the wedding of Maria de' Medici to King Henry IV of France, Duke Vincenzo attended a production of Peri's _Euridice_. It is likely that his principal musicians, including Monteverdi, were also present at this performance. The Duke quickly recognised the novelty of this new form of dramatic entertainment, and its potential for bringing prestige to those prepared to sponsor it. More importantly, Monteverdi recognized the real potential of this nascent musical form as a true musical drama. Composed in 1607, _L'Orfeo_ was in many ways the first opera that would be recognizable as such by today's standards of opera... and it remains the oldest opera still regularly performed... as well as one of the finest:











Unfortunately for Monteverdi... and the further development of opera... Duke Vincenzo Gonzaga died in 1612 and his immediate heir had little love for music. In 1610, however, he composer, still in the employment of the Duke at Mantua, composed his first sacred composition in 28 years, the _Marian Vespers of 1610_. This work was likely undertaken in part as a means of application for employment at San Marco, not unlike the manner in which Bach's _Brandenburg Concertos_ were composed in part in an attempt to gain employment under the Margrave of Brandenburg. Monteverdi's efforts were more successful in that he was made _maestro di cappella_ at San Marco's Basilica in Venice in 1613. _The Vespers_ is one of the greatest and most monumental choral compositions of its time... and of all time. The work demands a choir large enough and skillful enough to cover up to 10 vocal parts in some movements and split into separate choirs in others while accompanying seven different soloists during the course of the piece. The choir and soloists were often split and placed in different parts of the Cathedral interior so that the music would come at the audience from different sides.






Monteverdi would compose a good number of other sacred choral works of real merit, the _Missa in illo Tempore_ being perhaps the finest after the Vespers:






***********


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## StlukesguildOhio (Dec 25, 2006)

Monteverdi continued to compose and publish his madrigals. In his Eighth Book of Madrigals, _Madrigali guerrieri, et amorosi con alcuni opuscoli in genere rappresentativo, che saranno per brevi episodi fra i canti senza gesto_ composed in 1638, Monteverdi set about to surpass all he had yet achieved in this genre. The composer set the poems of his favorite poets, including Petrarch, as well as poetry by his contemporaries (Tasso, Guarini, Marino, Rinuccini, Testi and Strozzi):






Monteverdi's final compositions include two operas, _Il ritorno d'Ulisse in patria_ (The Return of Ulysses, 1641)...






...and _L'incoronazione di Poppea_ (The Coronation of Poppea, 1642), considered by many to be one of (if not THE) culminating point of Monteverdi's work. It contains tragic, romantic, and comedic scenes (a new development in opera), a more realistic portrayal of the characters, and warmer melodies than previously heard. It requires a smaller orchestra, and has a less prominent role for the choir:






Monteverdi's final published work was his Ninth Book of Madrigals. This work contained lighter pieces such as canzonettas which were probably composed throughout Monteverdi's lifetime. One fascinating element of Monteverdi's work is his inclusion of what might seem to be diametrically opposed elements: virtuosity and improvisation. Both elements, however were central to the Baroque era. Listening to a number of his works, I cannot help but recognize aspects suggestive of Jazz... itself a musical form demanding both virtuosity and improvisation.






It's not surprising that some performers have been so struck by these links that they have set about merging Monteverdi and Jazz:


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## Ravellian (Aug 17, 2009)

For some reason youtube is down for me so I can't post any videos. Anyway, I've been doing some 14th-century music research lately, so I'll try to list some of the highlights.

*Guillaume de Machaut*: Besides the great _Mass_, he wrote many excellent part-songs. Probably the single best part of his output is his 40+ ballades in 3 and 4 voices. The harmonies are consistently imaginative (unlike the always-dorian-mode Italians like Jacopo da Bologna) and the text-setting is subtle and appropriate for the content of each piece. Some of my favorite ballades:
- Il m'est avis qu'il n'est dons de Nature
- Phyton, le mervilleus serpent
- Amours me fait desirer

*Francesco Landini*: One of the more progressive early Italian composers, he mixed Italian and French styles in his many 2 and 3-voice ballatas. Like Machaut's 3-voice part-songs, the ballatas were built on a two-voice framework of cantus and tenor providing harmonic support, with the main melodic line being the highest voice. I think the best feature of Landini is his melodic gift. Some of my favorite ballatas were:
- Cara mie donne
- Lasso! di donna
- Giunta vaga bilta

*Solage*: A rather obscure composer, a member of the ultra-rhythmically-complex ars subtilior way of writing, but he wrote some very fine-crafted and pleasing part-songs. Not many works survive. Some highlights:
- Fumeux fume par fumee: A funny song about some smokers who worked for the Duke of Orleans, with low voices throughout.
- Calextone qui fut dame: Has an interesting harmonic "modulation" from G minor to Ab.
- Corps feminin: The meters constantly shift, but the parts all mesh together well.

I think these three composers sum up the best of the 14th century (at least what we have that survived).


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## neoshredder (Nov 7, 2011)

John Dowland seems to be a popular choice among Baroque fans interested in Renaissance. Another name is William Byrd. The bias I have against the real early music is the lack of instruments. Nothing wrong with the songs though. I like the Lute.


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## Stargazer (Nov 9, 2011)

I love Monteverdi...it's nice to see a thread with so much information on him! One composer that I like from the Renaissance era is Capt. Tobias Hume. His music is interesting to say the least!


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## Ukko (Jun 4, 2010)

_Stlukes_ wants this thread to be about pre-Bach composers. That spec includes Biber. In addition to the music I mentioned yesterday in the thread 'by Biber', I will reintroduce (the music was mentioned some months back I think) the Rosary Sonatas, lovely music distinguished by scordatura tuning - different for each sonata. The recording I have is by Manze on violin, with Egarr on harpsichord, and occasionally playing organ. That CD, and several other recordings of Biber's music, are listed at amazom.com.

I have seen mention of Biber as a sort of undisciplined Buxtehude, and I suppose that is fair enough, if one favors Buxtehude. Personally, I think of him as a highly talented, imaginative 'showman' violinist/composer, who got to mount his major works in Salsburg Cathedral.


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## violadude (May 2, 2011)

Hilltroll72 said:


> _Stlukes_ wants this thread to be about pre-Bach composers. That spec includes Biber. In addition to the music I mentioned yesterday in the thread 'by Biber', I will reintroduce (the music was mentioned some months back I think) the Rosary Sonatas, lovely music distinguished by scordatura tuning - different for each sonata. The recording I have is by Manze on violin, with Egarr on harpsichord, and occasionally playing organ. That CD, and several other recordings of Biber's music, are listed at amazom.com.
> 
> I have seen mention of Biber as a sort of undisciplined Buxtehude, and I suppose that is fair enough, if one favors Buxtehude. Personally, I think of him as a highly talented, imaginative 'showman' violinist/composer, who got to mount his major works in Salsburg Cathedral.


Want to hear something sad? I typed Biber into youtube and it said "Did you mean: Bieber?" -.-


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## HarpsichordConcerto (Jan 1, 2010)

Probably the most significant German composer before JS Bach, and one of the most important along with Monteverdi, was *Heinrich Schütz* (1585-1672). Indeed, Schütz even met and studied with Monteverdi at one stage. Like many composers of the time, Schütz wrote much sacred music (i.e. music that premiered inside the church for church services). His music displayed an original sensitivity to the text in a way that drew its emotion together with the music.

Biography and works
http://en.wikipedia.org/wiki/List_of_compositions_by_Heinrich_Schütz#Musik alische_Exequien

One of his most well known piece is _Musikalische Exequien_ (1636) SWV279-281.
http://en.wikipedia.org/wiki/Musikalische_Exequien

Take a listen to SWV279.


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## Ukko (Jun 4, 2010)

violadude said:


> Want to hear something sad? I typed Biber into youtube and it said "Did you mean: Bieber?" -.-


 I find that amusing rather than sad. Ignoring the truth of the matter, maybe YouTube is just slow. Not many years ago, Biber was essentially unknown; HIP outfits like MAK reintroduced the classical music public to him, but there has been no Roll Over Biber to attract the notice of the Unwashed Masses.

Thanks, _dude_, I live for opportunities to mention the Unwashed Masses (of which I am a member, even though I bath occasionally).

[This would fit in the 'labels' thread as a segue too.]

To return to the interrupted program - anyone have recommendations for Buxtehude?


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## Crudblud (Dec 29, 2011)

Naxos has collected all of Lars Ulrik Mortensen's recordings of Buxtehude's harpsichord music, which I like quite a lot. I hope to take a look at his organ music next.


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## science (Oct 14, 2010)

One kind of "early music" that I enjoy very, very much is Byzantine chant (and the similar Mozarabic chant). Marie Keyrouz has several albums out in which she explores the liturgical music of various Eastern Christian traditions, and I happily recommend all of them, but my own favorite (and as far as I can tell one of the most popular) is the "Chant Byzantin" album, which has been released a couple of times:



















and in this box set










and, in part, in the "Music of Antiquity" disk from Harmonia Mundi which itself is also included in the "Early Music" box set.


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## Manxfeeder (Oct 19, 2010)

Hilltroll72 said:


> To return to the interrupted program - anyone have recommendations for Buxtehude?


You're probably referring to keyboard works, but this is an outstanding vocal CD:


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## pollux (Nov 11, 2011)

pollux said:


> Some advice on pre-classical music, with recommended recordings (beyond Bach and Händel, who are not included).
> 
> Why do I recommend them? simply, because all these are supreme masterpieces, there is no error possible here. Of course, there are many more. These are which came to my mind right now. In no particular order:
> 
> ...


This is a post of mine from another thread


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