Musicke of Sundrie Kindes

Ars Perfecta (An Internationally Unified Language C. 1500)
Three Generations Of Flemisch Composers, Centered Around Josquin Des Prés
A1 Pater Noster 4:25
A2a Ich Draghe De Mütse Clütse 1:30
A2b La La Hö Hö 1:25
A2c Mijn Morken Gaf 1:20
A3 Pour Ung Jamais 2:15
A4a Je Ne Fay 5:35
A4b Mille Regretz 6:15
A5 Caeciliam Cantate 2:50
The Fruits Of Love (The 'Frottola' And The Rebirth Of Music In An Italian Style)
Courts Of Lorenzo De' Medici (Florence) & Isabella D'Este (Mantua) Were Centers Of A Flowering Of Music
B1a Tastar De Corde / Recercar 4:40
B1b Calata
B1c Ave Maria 2:10
B2a Ostinato Vo' Seguire 1:05
B2b Suite Regina 2:20
B2c Chui Dicese E Non L'amare 1:35
B2d Pavana Venetiana 1:05
B2e Se Mai Per Maraveglia 3:10
B2f Suite Ferrarese 2:45
B2g Hor Che'l Ciel E La Terra 2:20
B3a Palle, Palle 2:10
B3b Ne Più Bella Di Queste 1:10
B3c Quis Dabit Pacem 3:40
Les Cris De Paris (One Hundred Years Of French Musical Fashion)
Rapid Changes Of Taste And A Deep Concern For The Sense Of The Text Lead To A Kaleidoscopic Variety
C1a Virgo Celesti 1:30
C1b Belle, Tenés Moy / La Triquotée 2:45
C1c Celle Qui M'a Demandé 1:20
C1d La, La, La, L'Oysillon Du Bois 1:10
C2a Las, Je M'y Plains 1:10
C2b Content Désir 3:10
C2c Content Désir Basse Danse
C3 Les Cris De Paris 6:20
C4 Hélas, Hélas, Que De Mal 3:35
C5a Fière Cruelle 2:20
C5b Fantasia 2:00
C5c Mignonne Allons 3:55
C5d Las, Je N'eusse
C5e Prince La France Te Veut 1:45
Fa La Li Le La
The Influence Of Italian Popular Music At All Social Levels Throughout Europe In The 16th. Century
D1a Sentomi La Formicula 0:45
D1b Quando La Sera 1:00
D2a Pavana De La Mortè De La Ragione 2:05
D2b L'e Pur Morto Feragù 2:05
D2c Saltarello De La Morte De La Ragione 0:55
D3a La Bella Franceschina 3:35
D3b Girometta 3:25
D4a Pavana El Todescho 1:05
D4b Mi Stare Pone Totesche 1:50
D4c Matona Mia Cara 2:20
D5a Passamezzo Commun 6:25
D5b Recercada
D5c Padoana Commun
D6 Cathalina, Apra Finestra 3:35
Quodlibet
Fusion Of Flemisch, French & Italian Styles With Local Musical Traditions In The 16th. Century
Germany:
E1a Christ Der Ist Erstanden 1:45
E1b O Rosa Bella / Hastu Mir 1:20
E1c Der Ratten Schwanz 1:40
E1d Die Katzenpföte 0:55
E1e Elslein, Liebstes Elselein 2:00
E2a Bruder Konrad 1:55
E2b Nach Willen Dein 4:40
E2c Vitrum Nostrum Gloriosum 1:15
Spain:
E3a La Spagna 1:10
E3b Adoramos Te, Señor 2:05
E4a Fantasia 1:10
E4b Dulces Exuviae 3:40
E5a E Qui La Dira 1:50
E5b Doulce Memoire 3:15
E5c Lindos Ojos Aveys, Señora 1:10
Per Cantare E Sonare
The Vocal Italian 'Madrigal' And Instrumental 'Canzona Francesa' Were The Largest Scale Forms Evolved
F1a Recercare A 4 2:00
F1b Madonna, Qual Certezza 4:30
F2a Ricercare A 3 2:00
F2b De La Belle Contrade 2:45
F3a Canzona Francese 4:45
F3b Occhi Lucenti 2:25
F4a Canzona Francese 4:45
F4b O Voi Che Sospirate 3:40
F5a Canzona Francese 2:20
F5b Mille Volte Il Dio Moro 3:00
F6 Sanctus Dominus Deus 2:05
The Merry Dumps (Melancholy And Mirth In English Music From 1480-1620)
Fusion Of Paradoxes Creating A Musical Language Through Borrowing Elements From The Continent
G1a Thatt Was My Woo 2:00
G1b I Love, Loved 2:55
G2a In Nomine 2:15
G2b Blame Not My Lute 1:55
G2c Lady WynkFyldes Rownde 1:20
G2d Where Griping Griefs 1:05
G3a Shooting Of The Guns Pavan 2:35
G3b Wand'ring In This Place 3:00
G3c Dolorosa Pavan 3:50
G4a Now Each Flowery Bank 3:15
G4b The Leaves Be Greene 3:30
G4c Le Rossignol 1:30
G4d Musick And Mirth 2:00
The Wind Of Change (The Changes Which Led European Society Into A New Age)
They Were Reflected In Musical Styles First In Italy C.1500 And Then Through The Whole Of Europe
H1 La Brillantina 3:00
H2 Sta Notte 2:25
H3 Sonata 6:30
H4 Nerinda Bella 3:25
H5 Toccata 5:15
H6 Lamento D'Olimpia 6:00
H7 Thus Sang Orpheus 3:20