#Renaissance music

[lutes-of-the-world]

Cittern, Urbino school, probably 16th century, with soundboard from the 18th century, auctioned at Christie's

[lesser-known-composers]

Thomas Tallis (c.1505-1585) - Lamentations of Jeremiah I ·

Tenebrae Consort · · Nigel Short

[tfblovesmusic]

Via Early Music Memes for Monteverdi-Loving Teens

[unabashedqueenfury]

Reign 2013-17

Toby Finn Regbo as Francis Valois

[winslowleachthecomposer]

Belle, Bonne, Sage by Baude Cordier (fl. early 15th century)

[burningvelvet]

Recently discovered this Renaissance musician John Dowland and am listening to people cover his songs... obsessed...

Can She Excuse My Wrongs by Farya Faraji

Flow My Tears by Musica Ficta

Go Crystal Tears by Emma-Lisa Roux

[the-busy-ghost]

Alright James VI was a smart kid but I'm just not convinced that, at three years old, he would have been thinking "Wow this composer has masterfully treated the two interweaving treble parts in this Psalm"

[kachavashka]

A quick experiment. I just wanted to see what a renaissance style 4-part harmony would sound like on electric guitars, except I never got round to recording the bass part, so this is just a 3-part harmony.

[tejedac]

The Hilliard Ensemble Early Music (ECM): · Playlist Thomas Tallis · Perotin · Carlo Gesualdo · Walter Frye · Orlande de Lassus · Guillaume de Machaut · Nicolas Gombert, etc.

[miscellaneous-art]

Orlando di Lasso (1532-94), composer; Jean Pollet (XVI century), manuscript illuminations, ''SEPTEM PSALMI / POENITENTIALES (…)'' [4 sacred songs], 1565. © Bayerische Staatsbibliothek

The Renaissance wide-ranging and prolific composer Orlando di Lasso set these four penitential Psalms to music - Psalmus VI ''Domine Ne In Furore'', Psalmus XXXI ''Beati Quorum Remissae'', Psalmus XXXVII ''Domine Ne In Furore … Quoniam'', Psalmus L ''Miserere Mei, Deus'' - in this manuscript profusely illuminated with text initials, ornamental sets, allegorically scenes from the Old and New Testaments and ancient mythology.

[letsgostealthelouvre]

This is Arion riding a dolphin, not Arion preparing to play the ukulele naked, but I’m going to pretend. 

Fun fact, Arion was a Dionysiac poet who is credited with inventing the dithyramb, a specific form of religious praise hymn. He’s more famous for being rescued from pirates by a dolphin (pictured, looking super fierce). 

[ID: An engraving of a bearded man with a wreath of laurels on his head and some pretty spectacular pecs; he is naked, straddling a creature meant to be a dolphin but which more closely resembles a serpent with a pig’s snout. He appears to be throwing some kind of rude salute at a ship in the distance; behind him is a coast with buildings rising from a hilly landscape. In his left hand, Arion holds a stringed instrument which faintly resembles a ukulele, but with a shorter neck and only three strings; there is a bow for playing it also clutched in his hand.] 

[lutes-of-the-world]

Everything luthier Alexander Hopkins makes is gorgeous. I hope to be able to play one of his instruments someday.

[lesser-known-composers]

Francesco da Milano (1497-1543) - Lute Works

01 00:00 "Fantasia Ness 67" 02 01:35 "Fantasia Ness 41" 03 02:10 "Fantasia Ness 31" 04 02:50 "Ricercar Ness 52" 05 04:24 "Ricercar Ness 4" 06 05:08 "Fantasia Ness 81" 07 05:52 "Ricercar Ness 84" 08 06:38 "Ricercar Ness 16" 09 07:36 "Fantasia Ness 40" 10 08:30 "Ricercar Ness 10" 11 10:03 "De mon triste desplaisir (Richafort)" 12 11:46 "Fantasia de mon triste" 13 13:52 "Fantasia Ness 15" 14 15:29 "Ricercar Ness 46" 15 16:06 "Fantasia Ness 61" 16 17:01 "Fantasia Ness 58" 17 18:46 "Fantasia Ness 11" 18 20:19 "Fantasia Ness 57" 19 21:46 "Ricercar Ness 3" 20 23:21 "Ricercar Ness 2" 21 24:58 "Ricercar Ness 8"

Caius Hera, Renaissance Lute

[tfblovesmusic]

MOOD.

*the English Renaissance madrigal edition*

🤧🤒

[theparanoid]

Haggard - Eppur Si Muove

(2004, full album)

[Symphonic Metal, Renaissance Music, Death Metal, Melodic Death Metal]

[dustedmagazine]

Cabra — Vol. 1 (Segell Microscopi)

Cabra is a group from Spain that offers a modern take on the musical traditions of that country. The members — Efrén López, Isabel Martín, Carlos Ramírez, and Juan Francisco Ballestero — play an incredibly wide range of instruments, including hurdy gurdy and various lutes, bagpipes, fiddles and hand percussion, as a video produced for the project shows. The lyrics are original, by Martín, but seem to deal with subjects appropriate to the music, typically, love and longing. This version of Spanish roots music is, quite simply, lovely, beautifully played and full of mystery.

The sound, given the instrumentation, is reminiscent of medieval and Renaissance music, and Martín’s pure voice, sometimes multi-tracked, has some similarities to the voices of Sandy Denny and Annie Haslam. Often, her singing combines with string and woodwind drones that float over rattling percussion. On slower songs, such as “Bolero” and “Fandango Lidio,” alternating instrumental and vocal sections create mounting tension that resolves in satisfying ways.

Each track is carefully arranged and distinctive. The epic-length opener “Narisco + No Te Cases” starts things off with a soaring vocal over rippling plucked strings, develops steadily, and comes together at the end like a well-told tale. On “En Lo Mas Alto del Cielo,” gentle flute and strings hold forth for more than two minutes, at which point Martín introduces a complex vocal line that becomes submerged in percussion, and the track resolves in a flurry of winds and strings. The instrumental “Corrido” is a three-minute thrill ride with something of an Ennio Morricone feel. Examples of the attention to detail throughout the recording include what sounds like a jaw harp near the end of “La Avellana,” what sounds like a backwards-tracked instrument at the beginning of “En Lo Mas Alto del Cielo,” the sounds of chickens accompanying Martín at the beginning of “El Toro de Mieza,” and a percussion breakdown in the middle of “Gorrontxategitarren Pandangoa” that makes clear this is not easy listening music.

My knowledge of the genre is too limited for me to say how distinctive Cabra’s music is within the modern folk scene in Spain or its relationship to the deep tradition of Spanish music. In any case, the potential appeal of Vol. 1 seems quite wide, including listeners with a taste for traditional, folk, and medieval/Renaissance music and those eager to hear unusual sounds, and they are likely to find themselves looking forward to Vol. 2.

Jim Marks