- published: 01 Jan 2013
- views: 16175
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Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Giovanni Battista Bovicelli (c.1550-after 1594)
II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594]
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io son ferito, ahi lasso,
e chi mi diede accusar pur vorrei, ma non ho prova;
e senz'indizio al mal non si da fede:
ne getta sangue la mia piaga nuova.
Io spasm'e moro; il colpo non si vede.
La mia nemica armata si ritrova.
Che fia tornar a lei crudel partita,
che sol m'abbia a sanar chi m'ha ferito.
Antonio de Cabezón (1510-1566)
III. Un gay bergier
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
G. Bassano (after Cipriano de Rore)
IV. Io cantarei d'amor
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io cantarei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarrei per forza, e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi, e piu pietosi giri
far, como suol chi degli altrui martiri
e del suo error quando non val si pente.
Manuel Rodrigues Coelho (ca. 1555 -- 1635)
from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620]
Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal)
V. Susanne un jour (after O. di Lasso)
Aline Parker-Zylberajch (harpsichord)
Giovanni Bassano
VI. Susanne un jour (after Orlando di Lasso)
Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ)
Luzzasco Luzzaschi (c. 1545-1607)
from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601]
VII. Ch'io non t'ami cor mio
Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
[lyrics]
Ch'io non t'ami cor mio?
Ch'io non sia la tua vita e tu la mia,
che per nuovo desio
e per nuova bellezza io t'abbandoni?
Prima che questo sia,
morte non mi perdoni.
Ma se tu sei quel cor onde la vita
M'è si dolce e gradita,
Fonte d'ogni mio ben, d'ogni desire,
Come posso lasciarti, e non morire?
A. de Cabezón
VIII. Pour un plaisir [after Thomas Crecquillon]
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620)
IX. Un gay bergier
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Bartolomé de Selma y Salaverde (c.1595 - after 1638)
from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638)
Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia
X. Susana Pasegiata Basso Solo
Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord)
Luzzasco Luzzaschi
from MADRIGALI PER CANTARE ET SONARE
XI. Aura soave
Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute)
[setting by Anonymous]
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile
XII. O! Primavera
Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ)
[setting by G. B. Guarini]
O primavera, gioventù de l'anno,
bella madre de' fiori,
d'erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de le speranze mie.
Tu ben sei quella
ch'eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. "
- published: 07 Apr 2013
- views: 1652
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE IN A DREAM
a solo piano recital at the Moscow International House of Music
September 31, 2014
----------------------------------------
Аноним (начало XVI в.)
Гальярда
Антон Батагов, фортепиано
БИТВА ВО СНЕ
концерт в Московском Международном Доме Музыки
31 октября 2014 года
- published: 06 Nov 2014
- views: 1420
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the breaking of the day,
Into a pleasant meadow
A young man took his way;
And looking round about him,
To mark what he could see,
At length he spied a fair maid
Under a myrtle tree.
So comely was her countenance,
And winning was her air,
As tho' the goddess Venus
Herself she had been there;
And many a smirking smile she gave
Amongst the leaves so green,
Altho' she was perceived
She thought she was not seen.
At length she changed her countenance
And sung a mournful song,
Lamenting her misfortune
She stay'd a maid so long;
'Sure young men are hardhearted
and know not what they do,
Or else they look for compliments
Fair maidens for to woo.'
'Why should young virgins pine away
And loose their chiefest prime,
And all for want of sweethearts
To cheer us up in time?'
The young man heard her ditty
And could no longer stay,
But straight unto the damosel
With speed he did away.
When he had played unto her
One merry note or two,
Then was she so rejoiced
She knew not what to do;
'Oh, God a mercy, carman,
Thou art a lively lad;
Thou hast as rare a whistle
As ever carman had!'
- published: 06 Apr 2013
- views: 1768
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me now,
John come kiss me by and by,
And make no more ado.
John, viens m'embrasser,
John, viens m'embrasser,
John, embrasse-moi tout de suite
Et ne fais plus d'obstacles.
Site :
http://www.hyperion-records.co.uk/tw.asp?w=W7595
- published: 01 Apr 2013
- views: 3501
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555.
Performed by Capella de la Torre under direction of Katharina Bäuml.
Special guest on this recording, William Dongois.
www.capella-de-la-torre.de
I highly recommend purchasing this album!
Video clip made by Leonardo Cerante
- published: 09 Apr 2012
- views: 15264
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre.
http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG
- published: 23 May 2011
- views: 18
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern and shawm.
- published: 22 Feb 2012
- views: 58848
Century
A century (from the Latin centum, meaning one hundred; abbreviated c.) is 100 years. Centuries are numbered ordinally in English and many other languages (e.g. "the 7th century AD/CE"). A centenary is a hundredth anniversary or a celebration of this, typically remembrance of an event which took place a hundred years earlier; and its adjectival form is centennial.
Start and end in the Gregorian Calendar
According to the Gregorian calendar, the 1st century AD/CE started on January 1, 1, and ended on December 31, 100. The 2nd century started at year 101, the 3rd at 201, etc. The n-th century started/will start on the year (100 × n) − 99 and ends in 100 × n. A century will only include one year, the centennial year, that starts with the century's number (e.g. 1900 is the final year in the 19th century).
1st century BCE and AD
There is no "zeroth century" in between the 1st century BCE and the 1st century AD. Also, there is no year 0 AD. The Julian calendar "jumps" from 1 BCE to 1 AD. The first century BCE includes the years 100 BCE to 1 BCE. Other centuries BCE follow the same pattern.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Century
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
16th century
The 16th century begins with the Julian year 1501 and ends with either the Julian or the Gregorian year 1600 (depending on the reckoning used; the Gregorian calendar introduced a lapse of 10 days in October 1582).
It is regarded by historians as the century in which the rise of the West occurred. During the 16th century, Spain and Portugal explored the world's seas and opened world-wide oceanic trade routes. Large parts of the New World became Spanish and Portuguese colonies, and while the Portuguese became the masters of Asia's and Africa's Indian Ocean trade, the Spanish opened trade across the Pacific Ocean, linking the Americas with Asia.
This era of colonialism established mercantilism as the leading school of economic thought, where the economic system was viewed as a zero-sum game in which any gain by one party required a loss by another. The mercantilist doctrine encouraged the many intra-European wars of the period and arguably fueled European expansion and imperialism throughout the world until the 19th century or early 20th century.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/16th_century
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
John Johnson
John Johnson may refer to:
Academia
Artists and entertainers
Athletes
American football
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/John_Johnson
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
Jordi Savall
Jordi Savall i Bernadet (Catalan: [ˈʒɔrði səˈβaʎ i βərnəˈðɛt]; born August 1, 1941) is a Spanish conductor, viol player, and composer. He has been one of the major figures in the field of Western early music since the 1970s, largely responsible for reviving the use of viol family instruments (notably the viola da gamba) in contemporary performance and recording. His characteristic repertoire features medieval, Renaissance and Baroque music, although he has occasionally ventured into the Classical and even the Romantic periods.
Musical education
His musical training started at age six in the school choir of his native town (1947–55). After graduating from the Barcelona Conservatory of Music (where he studied from 1959 to 1965) he specialized in early music, collaborating with Ars Musicae de Barcelona under Enric Gispert, studying with August Wenzinger at the Schola Cantorum Basiliensis in Basel, Switzerland (1968–70) and eventually succeeding Wenzinger in 1974 as professor of viola da gamba at the Schola Cantorum Basiliensis.
This page contains text from Wikipedia, the Free Encyclopedia -
https://wn.com/Jordi_Savall
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.
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48:09Virtuoso chamber music from the XVIth century / by
Virtuoso chamber music from the XVIth century / byVirtuoso chamber music from the XVIth century / by
Giovanni Bassano (c. 1558-1617) I. Division sur Frais et gaillard [after madrigal by Clemens non Papa] Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord) Giovanni Battista Bovicelli (c.1550-after 1594) II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594] René Jacobs (alto), Aline Parker-Zylberajch (harpsichord) [lyrics] Io son ferito, ahi lasso, e chi mi diede accusar pur vorrei, ma non ho prova; e senz'indizio al mal non si da fede: ne getta sangue la mia piaga nuova. Io spasm'e moro; il colpo non si vede. La mia nemica armata si ritrova. Che fia tornar a lei crudel partita, che sol m'abbia a sanar chi m'ha ferito. Antonio de Cabezón (1510-1566) III. Un gay bergier Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble) G. Bassano (after Cipriano de Rore) IV. Io cantarei d'amor René Jacobs (alto), Aline Parker-Zylberajch (harpsichord) [lyrics] Io cantarei d'amor si novamente ch'al duro fianco il di mille sospiri trarrei per forza, e mille alti desiri raccenderei nella gelata mente; e'l bel viso vedrei cangiar sovente, e bagnar gli occhi, e piu pietosi giri far, como suol chi degli altrui martiri e del suo error quando non val si pente. Manuel Rodrigues Coelho (ca. 1555 -- 1635) from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620] Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal) V. Susanne un jour (after O. di Lasso) Aline Parker-Zylberajch (harpsichord) Giovanni Bassano VI. Susanne un jour (after Orlando di Lasso) Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ) Luzzasco Luzzaschi (c. 1545-1607) from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601] VII. Ch'io non t'ami cor mio Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble) [lyrics] Ch'io non t'ami cor mio? Ch'io non sia la tua vita e tu la mia, che per nuovo desio e per nuova bellezza io t'abbandoni? Prima che questo sia, morte non mi perdoni. Ma se tu sei quel cor onde la vita M'è si dolce e gradita, Fonte d'ogni mio ben, d'ogni desire, Come posso lasciarti, e non morire? A. de Cabezón VIII. Pour un plaisir [after Thomas Crecquillon] Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble) Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620) IX. Un gay bergier Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord) Bartolomé de Selma y Salaverde (c.1595 - after 1638) from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638) Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia X. Susana Pasegiata Basso Solo Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord) Luzzasco Luzzaschi from MADRIGALI PER CANTARE ET SONARE XI. Aura soave Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute) [setting by Anonymous] Aura soave di segreti accenti Che penetrando per l'orecchie al core Svegliasti la dove dormiva Amore Per te respiro e vivo Da che nel petto mio Spirasti tu d'Amor vital desio Vissi di vita privo Mentre amorosa cura in me fu spenta Hor vien che l'alma senta Virtu di quel tuo spirto gentile Felice vita oltre l'usato stile XII. O! Primavera Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ) [setting by G. B. Guarini] O primavera, gioventù de l'anno, bella madre de' fiori, d'erbe novelle e di novelli amori, tu ben, lasso, ritorni, ma senza i cari giorni de le speranze mie. Tu ben sei quella ch'eri pur dianzi, sì vezzosa e bella; ma non son io quel che già un tempo fui, sì caro a gli occhi altrui. -
1:55Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute LessonsPaul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Robert Dowland Varietie of Lute Lessons Sir Henry Guildfordes his almaine (anonym) The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. " -
5:27Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, pianoAnonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVI century) A Galyarde performed live by Anton Batagov, piano BATTLE IN A DREAM a solo piano recital at the Moscow International House of Music September 31, 2014 ---------------------------------------- Аноним (начало XVI в.) Гальярда Антон Батагов, фортепиано БИТВА ВО СНЕ концерт в Московском Международном Доме Музыки 31 октября 2014 года -
3:08Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Source : http://www.contemplator.com/england/carman.html As I abroad was walking By the breaking of the day, Into a pleasant meadow A young man took his way; And looking round about him, To mark what he could see, At length he spied a fair maid Under a myrtle tree. So comely was her countenance, And winning was her air, As tho' the goddess Venus Herself she had been there; And many a smirking smile she gave Amongst the leaves so green, Altho' she was perceived She thought she was not seen. At length she changed her countenance And sung a mournful song, Lamenting her misfortune She stay'd a maid so long; 'Sure young men are hardhearted and know not what they do, Or else they look for compliments Fair maidens for to woo.' 'Why should young virgins pine away And loose their chiefest prime, And all for want of sweethearts To cheer us up in time?' The young man heard her ditty And could no longer stay, But straight unto the damosel With speed he did away. When he had played unto her One merry note or two, Then was she so rejoiced She knew not what to do; 'Oh, God a mercy, carman, Thou art a lively lad; Thou hast as rare a whistle As ever carman had!' -
3:52Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
XVI th century piece anonym. M.s. Sturt Lute Book John come kiss me now, John come kiss me now, John come kiss me by and by, And make no more ado. John, viens m'embrasser, John, viens m'embrasser, John, embrasse-moi tout de suite Et ne fais plus d'obstacles. Site : http://www.hyperion-records.co.uk/tw.asp?w=W7595 -
2:38Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / SaltarelloInstrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555. Performed by Capella de la Torre under direction of Katharina Bäuml. Special guest on this recording, William Dongois. www.capella-de-la-torre.de I highly recommend purchasing this album! Video clip made by Leonardo Cerante -
1:02PROVENCE - XVIth Century Castle - 30 mn from Avignon
PROVENCE - XVIth Century Castle - 30 mn from AvignonPROVENCE - XVIth Century Castle - 30 mn from Avignon
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre. http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG -
2:41La Volta, 16th century dance
La Volta, 16th century danceLa Volta, 16th century dance
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern and shawm. -
4:36Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
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0:36Sayyida A novel of XVIth Century Morocco
Sayyida A novel of XVIth Century MoroccoSayyida A novel of XVIth Century Morocco
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Virtuoso chamber music from the XVIth century / by
Giovanni Bassano (c. 1558-1617) I. Division sur Frais et gaillard [after madrigal by Clemens non Papa] Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord) Giovanni Battista Bovicelli (c.1550-after 1594) II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594] René Jacobs (alto), Aline Parker-Zylberajch (harpsichord) [lyrics] Io son ferito, ahi lasso, e chi mi diede accusar pur vorrei, ma non ho prova; e senz'indizio al mal non si da fede: ne getta sangue la mia piaga nuova. Io spasm'e moro; il colpo non si vede. La mia nemica armata si ritrova. Che fia tornar a lei crudel partita, che sol m'abbia a sanar chi m'ha ferito. Antonio de Cabezón (1510-1566) III. Un gay bergier Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble) G...
published: 01 Jan 2013 -
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Robert Dowland Varietie of Lute Lessons Sir Henry Guildfordes his almaine (anonym) The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. "
published: 07 Apr 2013 -
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVI century) A Galyarde performed live by Anton Batagov, piano BATTLE IN A DREAM a solo piano recital at the Moscow International House of Music September 31, 2014 ---------------------------------------- Аноним (начало XVI в.) Гальярда Антон Батагов, фортепиано БИТВА ВО СНЕ концерт в Московском Международном Доме Музыки 31 октября 2014 года
published: 06 Nov 2014 -
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Source : http://www.contemplator.com/england/carman.html As I abroad was walking By the breaking of the day, Into a pleasant meadow A young man took his way; And looking round about him, To mark what he could see, At length he spied a fair maid Under a myrtle tree. So comely was her countenance, And winning was her air, As tho' the goddess Venus Herself she had been there; And many a smirking smile she gave Amongst the leaves so green, Altho' she was perceived She thought she was not seen. At length she changed her countenance And sung a mournful song, Lamenting her misfortune She stay'd a maid so long; 'Sure young men are hardhearted and know not what they do, Or else they look for compliments Fair maidens for to woo.' 'Why should young virgins pine away And loose their chiefest prim...
published: 06 Apr 2013 -
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
XVI th century piece anonym. M.s. Sturt Lute Book John come kiss me now, John come kiss me now, John come kiss me by and by, And make no more ado. John, viens m'embrasser, John, viens m'embrasser, John, embrasse-moi tout de suite Et ne fais plus d'obstacles. Site : http://www.hyperion-records.co.uk/tw.asp?w=W7595
published: 01 Apr 2013 -
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555. Performed by Capella de la Torre under direction of Katharina Bäuml. Special guest on this recording, William Dongois. www.capella-de-la-torre.de I highly recommend purchasing this album! Video clip made by Leonardo Cerante
published: 09 Apr 2012 -
PROVENCE - XVIth Century Castle - 30 mn from Avignon
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre. http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG
published: 23 May 2011 -
La Volta, 16th century dance
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern and shawm.
published: 22 Feb 2012 -
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
published: 05 Apr 2013 -
Sayyida A novel of XVIth Century Morocco
published: 10 May 2017
Virtuoso chamber music from the XVIth century / by
- Order: Reorder
- Duration: 48:09
- Updated: 01 Jan 2013
- views: 16175
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsic...
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Giovanni Battista Bovicelli (c.1550-after 1594)
II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594]
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io son ferito, ahi lasso,
e chi mi diede accusar pur vorrei, ma non ho prova;
e senz'indizio al mal non si da fede:
ne getta sangue la mia piaga nuova.
Io spasm'e moro; il colpo non si vede.
La mia nemica armata si ritrova.
Che fia tornar a lei crudel partita,
che sol m'abbia a sanar chi m'ha ferito.
Antonio de Cabezón (1510-1566)
III. Un gay bergier
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
G. Bassano (after Cipriano de Rore)
IV. Io cantarei d'amor
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io cantarei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarrei per forza, e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi, e piu pietosi giri
far, como suol chi degli altrui martiri
e del suo error quando non val si pente.
Manuel Rodrigues Coelho (ca. 1555 -- 1635)
from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620]
Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal)
V. Susanne un jour (after O. di Lasso)
Aline Parker-Zylberajch (harpsichord)
Giovanni Bassano
VI. Susanne un jour (after Orlando di Lasso)
Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ)
Luzzasco Luzzaschi (c. 1545-1607)
from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601]
VII. Ch'io non t'ami cor mio
Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
[lyrics]
Ch'io non t'ami cor mio?
Ch'io non sia la tua vita e tu la mia,
che per nuovo desio
e per nuova bellezza io t'abbandoni?
Prima che questo sia,
morte non mi perdoni.
Ma se tu sei quel cor onde la vita
M'è si dolce e gradita,
Fonte d'ogni mio ben, d'ogni desire,
Come posso lasciarti, e non morire?
A. de Cabezón
VIII. Pour un plaisir [after Thomas Crecquillon]
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620)
IX. Un gay bergier
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Bartolomé de Selma y Salaverde (c.1595 - after 1638)
from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638)
Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia
X. Susana Pasegiata Basso Solo
Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord)
Luzzasco Luzzaschi
from MADRIGALI PER CANTARE ET SONARE
XI. Aura soave
Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute)
[setting by Anonymous]
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile
XII. O! Primavera
Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ)
[setting by G. B. Guarini]
O primavera, gioventù de l'anno,
bella madre de' fiori,
d'erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de le speranze mie.
Tu ben sei quella
ch'eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
https://wn.com/Virtuoso_Chamber_Music_From_The_Xvith_Century_By
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Giovanni Battista Bovicelli (c.1550-after 1594)
II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594]
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io son ferito, ahi lasso,
e chi mi diede accusar pur vorrei, ma non ho prova;
e senz'indizio al mal non si da fede:
ne getta sangue la mia piaga nuova.
Io spasm'e moro; il colpo non si vede.
La mia nemica armata si ritrova.
Che fia tornar a lei crudel partita,
che sol m'abbia a sanar chi m'ha ferito.
Antonio de Cabezón (1510-1566)
III. Un gay bergier
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
G. Bassano (after Cipriano de Rore)
IV. Io cantarei d'amor
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io cantarei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarrei per forza, e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi, e piu pietosi giri
far, como suol chi degli altrui martiri
e del suo error quando non val si pente.
Manuel Rodrigues Coelho (ca. 1555 -- 1635)
from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620]
Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal)
V. Susanne un jour (after O. di Lasso)
Aline Parker-Zylberajch (harpsichord)
Giovanni Bassano
VI. Susanne un jour (after Orlando di Lasso)
Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ)
Luzzasco Luzzaschi (c. 1545-1607)
from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601]
VII. Ch'io non t'ami cor mio
Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
[lyrics]
Ch'io non t'ami cor mio?
Ch'io non sia la tua vita e tu la mia,
che per nuovo desio
e per nuova bellezza io t'abbandoni?
Prima che questo sia,
morte non mi perdoni.
Ma se tu sei quel cor onde la vita
M'è si dolce e gradita,
Fonte d'ogni mio ben, d'ogni desire,
Come posso lasciarti, e non morire?
A. de Cabezón
VIII. Pour un plaisir [after Thomas Crecquillon]
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620)
IX. Un gay bergier
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Bartolomé de Selma y Salaverde (c.1595 - after 1638)
from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638)
Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia
X. Susana Pasegiata Basso Solo
Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord)
Luzzasco Luzzaschi
from MADRIGALI PER CANTARE ET SONARE
XI. Aura soave
Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute)
[setting by Anonymous]
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile
XII. O! Primavera
Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ)
[setting by G. B. Guarini]
O primavera, gioventù de l'anno,
bella madre de' fiori,
d'erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de le speranze mie.
Tu ben sei quella
ch'eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
- published: 01 Jan 2013
- views: 16175
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
- Order: Reorder
- Duration: 1:55
- Updated: 07 Apr 2013
- views: 1652
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The composer should be John Dowland. Julian Bream already attributed it to J...
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. "
https://wn.com/Paul_O'Dette_Sir_Henry_Guilforde_His_Almaine_(Xvith_Century)_Variety_Of_Lute_Lessons
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. "
- published: 07 Apr 2013
- views: 1652
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
- Order: Reorder
- Duration: 5:27
- Updated: 06 Nov 2014
- views: 1420
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE IN A DREAM
a solo piano recital at the Moscow International House of ...
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE IN A DREAM
a solo piano recital at the Moscow International House of Music
September 31, 2014
----------------------------------------
Аноним (начало XVI в.)
Гальярда
Антон Батагов, фортепиано
БИТВА ВО СНЕ
концерт в Московском Международном Доме Музыки
31 октября 2014 года
https://wn.com/Anonymous_(Early_Xvith_Century)._A_Galyarde._Anton_Batagov,_Piano
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE IN A DREAM
a solo piano recital at the Moscow International House of Music
September 31, 2014
----------------------------------------
Аноним (начало XVI в.)
Гальярда
Антон Батагов, фортепиано
БИТВА ВО СНЕ
концерт в Московском Международном Доме Музыки
31 октября 2014 года
- published: 06 Nov 2014
- views: 1420
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
- Order: Reorder
- Duration: 3:08
- Updated: 06 Apr 2013
- views: 1768
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the breaking of the day,
Into a pleasant meadow
A young man took his way;
...
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the breaking of the day,
Into a pleasant meadow
A young man took his way;
And looking round about him,
To mark what he could see,
At length he spied a fair maid
Under a myrtle tree.
So comely was her countenance,
And winning was her air,
As tho' the goddess Venus
Herself she had been there;
And many a smirking smile she gave
Amongst the leaves so green,
Altho' she was perceived
She thought she was not seen.
At length she changed her countenance
And sung a mournful song,
Lamenting her misfortune
She stay'd a maid so long;
'Sure young men are hardhearted
and know not what they do,
Or else they look for compliments
Fair maidens for to woo.'
'Why should young virgins pine away
And loose their chiefest prime,
And all for want of sweethearts
To cheer us up in time?'
The young man heard her ditty
And could no longer stay,
But straight unto the damosel
With speed he did away.
When he had played unto her
One merry note or two,
Then was she so rejoiced
She knew not what to do;
'Oh, God a mercy, carman,
Thou art a lively lad;
Thou hast as rare a whistle
As ever carman had!'
https://wn.com/Paul_O'Dette_Carman's_Whistle_John_Johnson_(Xvith_Century)
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the breaking of the day,
Into a pleasant meadow
A young man took his way;
And looking round about him,
To mark what he could see,
At length he spied a fair maid
Under a myrtle tree.
So comely was her countenance,
And winning was her air,
As tho' the goddess Venus
Herself she had been there;
And many a smirking smile she gave
Amongst the leaves so green,
Altho' she was perceived
She thought she was not seen.
At length she changed her countenance
And sung a mournful song,
Lamenting her misfortune
She stay'd a maid so long;
'Sure young men are hardhearted
and know not what they do,
Or else they look for compliments
Fair maidens for to woo.'
'Why should young virgins pine away
And loose their chiefest prime,
And all for want of sweethearts
To cheer us up in time?'
The young man heard her ditty
And could no longer stay,
But straight unto the damosel
With speed he did away.
When he had played unto her
One merry note or two,
Then was she so rejoiced
She knew not what to do;
'Oh, God a mercy, carman,
Thou art a lively lad;
Thou hast as rare a whistle
As ever carman had!'
- published: 06 Apr 2013
- views: 1768
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
- Order: Reorder
- Duration: 3:52
- Updated: 01 Apr 2013
- views: 3501
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me now,
John come kiss me by and by,
And make no more ado.
John, viens...
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me now,
John come kiss me by and by,
And make no more ado.
John, viens m'embrasser,
John, viens m'embrasser,
John, embrasse-moi tout de suite
Et ne fais plus d'obstacles.
Site :
http://www.hyperion-records.co.uk/tw.asp?w=W7595
https://wn.com/Paul_O'Dette_John_Com_Kisse_Me_Now_Xvith_Century_(Anonym)
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me now,
John come kiss me by and by,
And make no more ado.
John, viens m'embrasser,
John, viens m'embrasser,
John, embrasse-moi tout de suite
Et ne fais plus d'obstacles.
Site :
http://www.hyperion-records.co.uk/tw.asp?w=W7595
- published: 01 Apr 2013
- views: 3501
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
- Order: Reorder
- Duration: 2:38
- Updated: 09 Apr 2012
- views: 15264
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555.
Performed by Capella de la Torre under direction of Katharina Bäuml....
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555.
Performed by Capella de la Torre under direction of Katharina Bäuml.
Special guest on this recording, William Dongois.
www.capella-de-la-torre.de
I highly recommend purchasing this album!
Video clip made by Leonardo Cerante
https://wn.com/Instrumental_Music_From_The_16Th_Century_Bartholomäus_Hess,_Passamezzo_Saltarello
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555.
Performed by Capella de la Torre under direction of Katharina Bäuml.
Special guest on this recording, William Dongois.
www.capella-de-la-torre.de
I highly recommend purchasing this album!
Video clip made by Leonardo Cerante
- published: 09 Apr 2012
- views: 15264
PROVENCE - XVIth Century Castle - 30 mn from Avignon
- Order: Reorder
- Duration: 1:02
- Updated: 23 May 2011
- views: 18
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condi...
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre.
http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG
https://wn.com/Provence_Xvith_Century_Castle_30_Mn_From_Avignon
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre.
http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG
- published: 23 May 2011
- views: 18
La Volta, 16th century dance
- Order: Reorder
- Duration: 2:41
- Updated: 22 Feb 2012
- views: 58848
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern and shawm.
- published: 22 Feb 2012
- views: 58848
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
- Order: Reorder
- Duration: 4:36
- Updated: 05 Apr 2013
- views: 1030
- published: 05 Apr 2013
- views: 1030
Sayyida A novel of XVIth Century Morocco
- Order: Reorder
- Duration: 0:36
- Updated: 10 May 2017
- views: 0
- published: 10 May 2017
- views: 0
-
Virtuoso chamber music from the XVIth century / by
Giovanni Bassano (c. 1558-1617) I. Division sur Frais et gaillard [after madrigal by Clemens non Papa] Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord) Giovanni Battista Bovicelli (c.1550-after 1594) II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594] René Jacobs (alto), Aline Parker-Zylberajch (harpsichord) [lyrics] Io son ferito, ahi lasso, e chi mi diede accusar pur vorrei, ma non ho prova; e senz'indizio al mal non si da fede: ne getta sangue la mia piaga nuova. Io spasm'e moro; il colpo non si vede. La mia nemica armata si ritrova. Che fia tornar a lei crudel partita, che sol m'abbia a sanar chi m'ha ferito. Antonio de Cabezón (1510-1566) III. Un gay bergier Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble) G...
published: 01 Jan 2013 -
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Robert Dowland Varietie of Lute Lessons Sir Henry Guildfordes his almaine (anonym) The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. "
published: 07 Apr 2013 -
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVI century) A Galyarde performed live by Anton Batagov, piano BATTLE IN A DREAM a solo piano recital at the Moscow International House of Music September 31, 2014 ---------------------------------------- Аноним (начало XVI в.) Гальярда Антон Батагов, фортепиано БИТВА ВО СНЕ концерт в Московском Международном Доме Музыки 31 октября 2014 года
published: 06 Nov 2014 -
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Source : http://www.contemplator.com/england/carman.html As I abroad was walking By the breaking of the day, Into a pleasant meadow A young man took his way; And looking round about him, To mark what he could see, At length he spied a fair maid Under a myrtle tree. So comely was her countenance, And winning was her air, As tho' the goddess Venus Herself she had been there; And many a smirking smile she gave Amongst the leaves so green, Altho' she was perceived She thought she was not seen. At length she changed her countenance And sung a mournful song, Lamenting her misfortune She stay'd a maid so long; 'Sure young men are hardhearted and know not what they do, Or else they look for compliments Fair maidens for to woo.' 'Why should young virgins pine away And loose their chiefest prim...
published: 06 Apr 2013 -
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
XVI th century piece anonym. M.s. Sturt Lute Book John come kiss me now, John come kiss me now, John come kiss me by and by, And make no more ado. John, viens m'embrasser, John, viens m'embrasser, John, embrasse-moi tout de suite Et ne fais plus d'obstacles. Site : http://www.hyperion-records.co.uk/tw.asp?w=W7595
published: 01 Apr 2013 -
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555. Performed by Capella de la Torre under direction of Katharina Bäuml. Special guest on this recording, William Dongois. www.capella-de-la-torre.de I highly recommend purchasing this album! Video clip made by Leonardo Cerante
published: 09 Apr 2012 -
PROVENCE - XVIth Century Castle - 30 mn from Avignon
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre. http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG
published: 23 May 2011 -
La Volta, 16th century dance
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern and shawm.
published: 22 Feb 2012 -
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
published: 05 Apr 2013 -
Sayyida A novel of XVIth Century Morocco
published: 10 May 2017
Virtuoso chamber music from the XVIth century / by
- Order: Reorder
- Duration: 48:09
- Updated: 01 Jan 2013
- views: 16175
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsic...
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Giovanni Battista Bovicelli (c.1550-after 1594)
II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594]
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io son ferito, ahi lasso,
e chi mi diede accusar pur vorrei, ma non ho prova;
e senz'indizio al mal non si da fede:
ne getta sangue la mia piaga nuova.
Io spasm'e moro; il colpo non si vede.
La mia nemica armata si ritrova.
Che fia tornar a lei crudel partita,
che sol m'abbia a sanar chi m'ha ferito.
Antonio de Cabezón (1510-1566)
III. Un gay bergier
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
G. Bassano (after Cipriano de Rore)
IV. Io cantarei d'amor
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io cantarei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarrei per forza, e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi, e piu pietosi giri
far, como suol chi degli altrui martiri
e del suo error quando non val si pente.
Manuel Rodrigues Coelho (ca. 1555 -- 1635)
from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620]
Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal)
V. Susanne un jour (after O. di Lasso)
Aline Parker-Zylberajch (harpsichord)
Giovanni Bassano
VI. Susanne un jour (after Orlando di Lasso)
Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ)
Luzzasco Luzzaschi (c. 1545-1607)
from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601]
VII. Ch'io non t'ami cor mio
Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
[lyrics]
Ch'io non t'ami cor mio?
Ch'io non sia la tua vita e tu la mia,
che per nuovo desio
e per nuova bellezza io t'abbandoni?
Prima che questo sia,
morte non mi perdoni.
Ma se tu sei quel cor onde la vita
M'è si dolce e gradita,
Fonte d'ogni mio ben, d'ogni desire,
Come posso lasciarti, e non morire?
A. de Cabezón
VIII. Pour un plaisir [after Thomas Crecquillon]
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620)
IX. Un gay bergier
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Bartolomé de Selma y Salaverde (c.1595 - after 1638)
from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638)
Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia
X. Susana Pasegiata Basso Solo
Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord)
Luzzasco Luzzaschi
from MADRIGALI PER CANTARE ET SONARE
XI. Aura soave
Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute)
[setting by Anonymous]
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile
XII. O! Primavera
Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ)
[setting by G. B. Guarini]
O primavera, gioventù de l'anno,
bella madre de' fiori,
d'erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de le speranze mie.
Tu ben sei quella
ch'eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
https://wn.com/Virtuoso_Chamber_Music_From_The_Xvith_Century_By
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Giovanni Battista Bovicelli (c.1550-after 1594)
II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594]
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io son ferito, ahi lasso,
e chi mi diede accusar pur vorrei, ma non ho prova;
e senz'indizio al mal non si da fede:
ne getta sangue la mia piaga nuova.
Io spasm'e moro; il colpo non si vede.
La mia nemica armata si ritrova.
Che fia tornar a lei crudel partita,
che sol m'abbia a sanar chi m'ha ferito.
Antonio de Cabezón (1510-1566)
III. Un gay bergier
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
G. Bassano (after Cipriano de Rore)
IV. Io cantarei d'amor
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io cantarei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarrei per forza, e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi, e piu pietosi giri
far, como suol chi degli altrui martiri
e del suo error quando non val si pente.
Manuel Rodrigues Coelho (ca. 1555 -- 1635)
from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620]
Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal)
V. Susanne un jour (after O. di Lasso)
Aline Parker-Zylberajch (harpsichord)
Giovanni Bassano
VI. Susanne un jour (after Orlando di Lasso)
Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ)
Luzzasco Luzzaschi (c. 1545-1607)
from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601]
VII. Ch'io non t'ami cor mio
Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
[lyrics]
Ch'io non t'ami cor mio?
Ch'io non sia la tua vita e tu la mia,
che per nuovo desio
e per nuova bellezza io t'abbandoni?
Prima che questo sia,
morte non mi perdoni.
Ma se tu sei quel cor onde la vita
M'è si dolce e gradita,
Fonte d'ogni mio ben, d'ogni desire,
Come posso lasciarti, e non morire?
A. de Cabezón
VIII. Pour un plaisir [after Thomas Crecquillon]
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620)
IX. Un gay bergier
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Bartolomé de Selma y Salaverde (c.1595 - after 1638)
from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638)
Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia
X. Susana Pasegiata Basso Solo
Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord)
Luzzasco Luzzaschi
from MADRIGALI PER CANTARE ET SONARE
XI. Aura soave
Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute)
[setting by Anonymous]
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile
XII. O! Primavera
Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ)
[setting by G. B. Guarini]
O primavera, gioventù de l'anno,
bella madre de' fiori,
d'erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de le speranze mie.
Tu ben sei quella
ch'eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
- published: 01 Jan 2013
- views: 16175
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
- Order: Reorder
- Duration: 1:55
- Updated: 07 Apr 2013
- views: 1652
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The composer should be John Dowland. Julian Bream already attributed it to J...
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. "
https://wn.com/Paul_O'Dette_Sir_Henry_Guilforde_His_Almaine_(Xvith_Century)_Variety_Of_Lute_Lessons
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The composer should be John Dowland. Julian Bream already attributed it to John Dowland and Paul O'dette plays it in his John Dowland Complete Lute Works vol. 2. " The writing is strongly reminiscent of Dowland, and if he did not compose the piece it is certainly in his style. Guildforde was a friend of both Queen Elizabeth, and later, King James. "
- published: 07 Apr 2013
- views: 1652
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
- Order: Reorder
- Duration: 5:27
- Updated: 06 Nov 2014
- views: 1420
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE IN A DREAM
a solo piano recital at the Moscow International House of ...
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE IN A DREAM
a solo piano recital at the Moscow International House of Music
September 31, 2014
----------------------------------------
Аноним (начало XVI в.)
Гальярда
Антон Батагов, фортепиано
БИТВА ВО СНЕ
концерт в Московском Международном Доме Музыки
31 октября 2014 года
https://wn.com/Anonymous_(Early_Xvith_Century)._A_Galyarde._Anton_Batagov,_Piano
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE IN A DREAM
a solo piano recital at the Moscow International House of Music
September 31, 2014
----------------------------------------
Аноним (начало XVI в.)
Гальярда
Антон Батагов, фортепиано
БИТВА ВО СНЕ
концерт в Московском Международном Доме Музыки
31 октября 2014 года
- published: 06 Nov 2014
- views: 1420
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
- Order: Reorder
- Duration: 3:08
- Updated: 06 Apr 2013
- views: 1768
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the breaking of the day,
Into a pleasant meadow
A young man took his way;
...
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the breaking of the day,
Into a pleasant meadow
A young man took his way;
And looking round about him,
To mark what he could see,
At length he spied a fair maid
Under a myrtle tree.
So comely was her countenance,
And winning was her air,
As tho' the goddess Venus
Herself she had been there;
And many a smirking smile she gave
Amongst the leaves so green,
Altho' she was perceived
She thought she was not seen.
At length she changed her countenance
And sung a mournful song,
Lamenting her misfortune
She stay'd a maid so long;
'Sure young men are hardhearted
and know not what they do,
Or else they look for compliments
Fair maidens for to woo.'
'Why should young virgins pine away
And loose their chiefest prime,
And all for want of sweethearts
To cheer us up in time?'
The young man heard her ditty
And could no longer stay,
But straight unto the damosel
With speed he did away.
When he had played unto her
One merry note or two,
Then was she so rejoiced
She knew not what to do;
'Oh, God a mercy, carman,
Thou art a lively lad;
Thou hast as rare a whistle
As ever carman had!'
https://wn.com/Paul_O'Dette_Carman's_Whistle_John_Johnson_(Xvith_Century)
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the breaking of the day,
Into a pleasant meadow
A young man took his way;
And looking round about him,
To mark what he could see,
At length he spied a fair maid
Under a myrtle tree.
So comely was her countenance,
And winning was her air,
As tho' the goddess Venus
Herself she had been there;
And many a smirking smile she gave
Amongst the leaves so green,
Altho' she was perceived
She thought she was not seen.
At length she changed her countenance
And sung a mournful song,
Lamenting her misfortune
She stay'd a maid so long;
'Sure young men are hardhearted
and know not what they do,
Or else they look for compliments
Fair maidens for to woo.'
'Why should young virgins pine away
And loose their chiefest prime,
And all for want of sweethearts
To cheer us up in time?'
The young man heard her ditty
And could no longer stay,
But straight unto the damosel
With speed he did away.
When he had played unto her
One merry note or two,
Then was she so rejoiced
She knew not what to do;
'Oh, God a mercy, carman,
Thou art a lively lad;
Thou hast as rare a whistle
As ever carman had!'
- published: 06 Apr 2013
- views: 1768
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
- Order: Reorder
- Duration: 3:52
- Updated: 01 Apr 2013
- views: 3501
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me now,
John come kiss me by and by,
And make no more ado.
John, viens...
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me now,
John come kiss me by and by,
And make no more ado.
John, viens m'embrasser,
John, viens m'embrasser,
John, embrasse-moi tout de suite
Et ne fais plus d'obstacles.
Site :
http://www.hyperion-records.co.uk/tw.asp?w=W7595
https://wn.com/Paul_O'Dette_John_Com_Kisse_Me_Now_Xvith_Century_(Anonym)
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me now,
John come kiss me by and by,
And make no more ado.
John, viens m'embrasser,
John, viens m'embrasser,
John, embrasse-moi tout de suite
Et ne fais plus d'obstacles.
Site :
http://www.hyperion-records.co.uk/tw.asp?w=W7595
- published: 01 Apr 2013
- views: 3501
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
- Order: Reorder
- Duration: 2:38
- Updated: 09 Apr 2012
- views: 15264
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555.
Performed by Capella de la Torre under direction of Katharina Bäuml....
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555.
Performed by Capella de la Torre under direction of Katharina Bäuml.
Special guest on this recording, William Dongois.
www.capella-de-la-torre.de
I highly recommend purchasing this album!
Video clip made by Leonardo Cerante
https://wn.com/Instrumental_Music_From_The_16Th_Century_Bartholomäus_Hess,_Passamezzo_Saltarello
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555.
Performed by Capella de la Torre under direction of Katharina Bäuml.
Special guest on this recording, William Dongois.
www.capella-de-la-torre.de
I highly recommend purchasing this album!
Video clip made by Leonardo Cerante
- published: 09 Apr 2012
- views: 15264
PROVENCE - XVIth Century Castle - 30 mn from Avignon
- Order: Reorder
- Duration: 1:02
- Updated: 23 May 2011
- views: 18
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condi...
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre.
http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG
https://wn.com/Provence_Xvith_Century_Castle_30_Mn_From_Avignon
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, all amenities. Castle just over 2500sqm to renovate, shell in good condition. Comprised of fifty rooms, including 40 bedrooms. the main rooms are intact and decorated with Mignard paintings and a superb spiral stairway leads to the rest of the Castle. The large facade opens to the south onto a magnificent 1,6 hectare park created by Le Nôtre.
http://www.emilegarcin.com/rechercher?search=MEN-5760-EMG
- published: 23 May 2011
- views: 18
La Volta, 16th century dance
- Order: Reorder
- Duration: 2:41
- Updated: 22 Feb 2012
- views: 58848
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern and shawm.
- published: 22 Feb 2012
- views: 58848
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
- Order: Reorder
- Duration: 4:36
- Updated: 05 Apr 2013
- views: 1030
- published: 05 Apr 2013
- views: 1030
Sayyida A novel of XVIth Century Morocco
- Order: Reorder
- Duration: 0:36
- Updated: 10 May 2017
- views: 0
- published: 10 May 2017
- views: 0
-
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Women and the Reformation
Prof. Dr. Albrecht Classen, University of Arizona, about „Women and the Reformation: Audacious and Feisty Voices from Sixteenth-Century Germany“. This guest lecture was held on June 29, 2016, at the Faculty of Theology, University of Göttingen, as part of the M.A. programme "Intercultural Theology. Dr. Albrecht Classen is University Distinguished Professor at the University of Arizona, Department of German Studies. He studied at the universities of Marburg, Erlangen (Germany), Millersville, PA (USA), Oxford (Great Britain), Salamanca (Spain), Urbino (Italy), and Charlottesville, VA (USA). He received his Ph.D. from the University of Virginia in 1986. He has a broad range of research interests covering the history of medieval and early modern German and European literature and culture from ...
published: 06 Dec 2016 -
Virtuoso chamber music from the XVIth century / by
Giovanni Bassano (c. 1558-1617) I. Division sur Frais et gaillard [after madrigal by Clemens non Papa] Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord) Giovanni Battista Bovicelli (c.1550-after 1594) II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594] René Jacobs (alto), Aline Parker-Zylberajch (harpsichord) [lyrics] Io son ferito, ahi lasso, e chi mi diede accusar pur vorrei, ma non ho prova; e senz'indizio al mal non si da fede: ne getta sangue la mia piaga nuova. Io spasm'e moro; il colpo non si vede. La mia nemica armata si ritrova. Che fia tornar a lei crudel partita, che sol m'abbia a sanar chi m'ha ferito. Antonio de Cabezón (1510-1566) III. Un gay bergier Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble) G...
published: 01 Jan 2013
Serge Gruzinski - The Eagle and the Dragon, México and China in the XVIth century
- Order: Reorder
- Duration: 1:43:15
- Updated: 15 Apr 2014
- views: 947
Women and the Reformation
- Order: Reorder
- Duration: 56:42
- Updated: 06 Dec 2016
- views: 266
Prof. Dr. Albrecht Classen, University of Arizona, about „Women and the Reformation: Audacious and Feisty Voices from Sixteenth-Century Germany“. This guest lec...
Prof. Dr. Albrecht Classen, University of Arizona, about „Women and the Reformation: Audacious and Feisty Voices from Sixteenth-Century Germany“. This guest lecture was held on June 29, 2016, at the Faculty of Theology, University of Göttingen, as part of the M.A. programme "Intercultural Theology.
Dr. Albrecht Classen is University Distinguished Professor at the University of Arizona, Department of German Studies. He studied at the universities of Marburg, Erlangen (Germany), Millersville, PA (USA), Oxford (Great Britain), Salamanca (Spain), Urbino (Italy), and Charlottesville, VA (USA). He received his Ph.D. from the University of Virginia in 1986. He has a broad range of research interests covering the history of medieval and early modern German and European literature and culture from about 800 to 1800. He has published more than 85 scholarly books, including monographs, critical editions, translations, and textbooks, more than 600 scholarly articles, and 9 volumes of his own poetry (in German). He is the editor of the journal Mediaevistik and the online journal Humanities Open Access http://www.mdpi.com/journal/humanities. He has also contributed to the website www.frauen-und-reformation.de, specifically: http://frauen-und-reformation.de/?s=bio&id;=74 which contains about 150 biographies of Reformation women from the 15th to the 20th century.
In 2017 we are going to celebrate the 500th Anniversary of Martin Luther’s 95 theses, the beginning of the Protestant Reformation. Truly a monumental event in western history. But was it only a history initiated and carried by men? Yes, at first sight, if we are thinking of such giants next to Luther as Philipp Melanchthon, Ulrich Zwingli, John Calvin, Martin Bucer, Johannes Bugenhagen, etc. But no, if we take a second look. In fact, we can identify numerous women who emerged as part of the Protestant Reformation and made their voices heard, primary among them the Bavarian noble lady Argula von Grumbach. Her broadsheets, letters, and missives from the years 1522 and 1523 were hailed far and wide as deeply learned in Scripture and highly convincing in rhetoric. Well known is also Luther’s own wife, Katharina von Bora, without whom he would not have been able to carry out his countless daily businesses. Katharina Zell, wife of the Strassburg minister Matthew Zell, likewise became highly active in writing Protestant texts, parallel to Katharina von Münsterberg, and others. At the end of the sixteenth century, the major religious poet Anna Ovena Hoyers raised her voice, this time against Protestant clergy, which met a lot of criticism, and she was eventually even exiled, but her texts could not be repressed. The same applies to Anna Maria van Schurman, a seventeenth-century intellectual turned Labadist. This talk introduces some of the major female players from the era of the Protestant Reformation and provides a refreshing counter-balance to a traditional male perspective.
Further information:
• M.A. programme "Intercultural Theology": https://www.uni-goettingen.de/en/109075.html
• Project “Internationalization of the Curricula” http://www.uni-goettingen.de/en/530455.html
• Theological Faculty of Georg-August-Universität Göttingen https://www.uni-goettingen.de/en/19855.html
• University of Applied Sciences for Intercultural Theology Hermannsburg http://www.fh-hermannsburg-eng.landeskirche-hannovers.de/
• Prof. Dr. Albrecht Classen http://aclassen.faculty.arizona.edu/
Further links to women and the Reformation:
• http://www.frauen-und-reformation.de (available in German only)
• http://www.museeprotestant.org/en/notice/the-role-played-by-protestant-women-in-society-from-the-xvith-to-the-xixth-centuries/
• http://www.christianity.com/church/church-history/influential-women-of-the-reformation.html
https://wn.com/Women_And_The_Reformation
Prof. Dr. Albrecht Classen, University of Arizona, about „Women and the Reformation: Audacious and Feisty Voices from Sixteenth-Century Germany“. This guest lecture was held on June 29, 2016, at the Faculty of Theology, University of Göttingen, as part of the M.A. programme "Intercultural Theology.
Dr. Albrecht Classen is University Distinguished Professor at the University of Arizona, Department of German Studies. He studied at the universities of Marburg, Erlangen (Germany), Millersville, PA (USA), Oxford (Great Britain), Salamanca (Spain), Urbino (Italy), and Charlottesville, VA (USA). He received his Ph.D. from the University of Virginia in 1986. He has a broad range of research interests covering the history of medieval and early modern German and European literature and culture from about 800 to 1800. He has published more than 85 scholarly books, including monographs, critical editions, translations, and textbooks, more than 600 scholarly articles, and 9 volumes of his own poetry (in German). He is the editor of the journal Mediaevistik and the online journal Humanities Open Access http://www.mdpi.com/journal/humanities. He has also contributed to the website www.frauen-und-reformation.de, specifically: http://frauen-und-reformation.de/?s=bio&id;=74 which contains about 150 biographies of Reformation women from the 15th to the 20th century.
In 2017 we are going to celebrate the 500th Anniversary of Martin Luther’s 95 theses, the beginning of the Protestant Reformation. Truly a monumental event in western history. But was it only a history initiated and carried by men? Yes, at first sight, if we are thinking of such giants next to Luther as Philipp Melanchthon, Ulrich Zwingli, John Calvin, Martin Bucer, Johannes Bugenhagen, etc. But no, if we take a second look. In fact, we can identify numerous women who emerged as part of the Protestant Reformation and made their voices heard, primary among them the Bavarian noble lady Argula von Grumbach. Her broadsheets, letters, and missives from the years 1522 and 1523 were hailed far and wide as deeply learned in Scripture and highly convincing in rhetoric. Well known is also Luther’s own wife, Katharina von Bora, without whom he would not have been able to carry out his countless daily businesses. Katharina Zell, wife of the Strassburg minister Matthew Zell, likewise became highly active in writing Protestant texts, parallel to Katharina von Münsterberg, and others. At the end of the sixteenth century, the major religious poet Anna Ovena Hoyers raised her voice, this time against Protestant clergy, which met a lot of criticism, and she was eventually even exiled, but her texts could not be repressed. The same applies to Anna Maria van Schurman, a seventeenth-century intellectual turned Labadist. This talk introduces some of the major female players from the era of the Protestant Reformation and provides a refreshing counter-balance to a traditional male perspective.
Further information:
• M.A. programme "Intercultural Theology": https://www.uni-goettingen.de/en/109075.html
• Project “Internationalization of the Curricula” http://www.uni-goettingen.de/en/530455.html
• Theological Faculty of Georg-August-Universität Göttingen https://www.uni-goettingen.de/en/19855.html
• University of Applied Sciences for Intercultural Theology Hermannsburg http://www.fh-hermannsburg-eng.landeskirche-hannovers.de/
• Prof. Dr. Albrecht Classen http://aclassen.faculty.arizona.edu/
Further links to women and the Reformation:
• http://www.frauen-und-reformation.de (available in German only)
• http://www.museeprotestant.org/en/notice/the-role-played-by-protestant-women-in-society-from-the-xvith-to-the-xixth-centuries/
• http://www.christianity.com/church/church-history/influential-women-of-the-reformation.html
- published: 06 Dec 2016
- views: 266
Virtuoso chamber music from the XVIth century / by
- Order: Reorder
- Duration: 48:09
- Updated: 01 Jan 2013
- views: 16175
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsic...
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Giovanni Battista Bovicelli (c.1550-after 1594)
II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594]
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io son ferito, ahi lasso,
e chi mi diede accusar pur vorrei, ma non ho prova;
e senz'indizio al mal non si da fede:
ne getta sangue la mia piaga nuova.
Io spasm'e moro; il colpo non si vede.
La mia nemica armata si ritrova.
Che fia tornar a lei crudel partita,
che sol m'abbia a sanar chi m'ha ferito.
Antonio de Cabezón (1510-1566)
III. Un gay bergier
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
G. Bassano (after Cipriano de Rore)
IV. Io cantarei d'amor
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io cantarei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarrei per forza, e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi, e piu pietosi giri
far, como suol chi degli altrui martiri
e del suo error quando non val si pente.
Manuel Rodrigues Coelho (ca. 1555 -- 1635)
from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620]
Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal)
V. Susanne un jour (after O. di Lasso)
Aline Parker-Zylberajch (harpsichord)
Giovanni Bassano
VI. Susanne un jour (after Orlando di Lasso)
Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ)
Luzzasco Luzzaschi (c. 1545-1607)
from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601]
VII. Ch'io non t'ami cor mio
Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
[lyrics]
Ch'io non t'ami cor mio?
Ch'io non sia la tua vita e tu la mia,
che per nuovo desio
e per nuova bellezza io t'abbandoni?
Prima che questo sia,
morte non mi perdoni.
Ma se tu sei quel cor onde la vita
M'è si dolce e gradita,
Fonte d'ogni mio ben, d'ogni desire,
Come posso lasciarti, e non morire?
A. de Cabezón
VIII. Pour un plaisir [after Thomas Crecquillon]
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620)
IX. Un gay bergier
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Bartolomé de Selma y Salaverde (c.1595 - after 1638)
from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638)
Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia
X. Susana Pasegiata Basso Solo
Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord)
Luzzasco Luzzaschi
from MADRIGALI PER CANTARE ET SONARE
XI. Aura soave
Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute)
[setting by Anonymous]
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile
XII. O! Primavera
Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ)
[setting by G. B. Guarini]
O primavera, gioventù de l'anno,
bella madre de' fiori,
d'erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de le speranze mie.
Tu ben sei quella
ch'eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
https://wn.com/Virtuoso_Chamber_Music_From_The_Xvith_Century_By
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Clemens non Papa]
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Giovanni Battista Bovicelli (c.1550-after 1594)
II. Io son ferito ahi lasso [after G. P. da Palestrina, Venice, 1594]
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io son ferito, ahi lasso,
e chi mi diede accusar pur vorrei, ma non ho prova;
e senz'indizio al mal non si da fede:
ne getta sangue la mia piaga nuova.
Io spasm'e moro; il colpo non si vede.
La mia nemica armata si ritrova.
Che fia tornar a lei crudel partita,
che sol m'abbia a sanar chi m'ha ferito.
Antonio de Cabezón (1510-1566)
III. Un gay bergier
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
G. Bassano (after Cipriano de Rore)
IV. Io cantarei d'amor
René Jacobs (alto), Aline Parker-Zylberajch (harpsichord)
[lyrics]
Io cantarei d'amor si novamente
ch'al duro fianco il di mille sospiri
trarrei per forza, e mille alti desiri
raccenderei nella gelata mente;
e'l bel viso vedrei cangiar sovente,
e bagnar gli occhi, e piu pietosi giri
far, como suol chi degli altrui martiri
e del suo error quando non val si pente.
Manuel Rodrigues Coelho (ca. 1555 -- 1635)
from FLORES DE MUSICA PERA O INSTRUMENTO DE TECLA E HARPA compostas por o Padre Manoel Rodrigues Coelho, Capellão do serviço de sua Magestade, & tangedor de Tecla de sua Real Capella de Lisboa, natural da cidade de Elvas : dedicado a S.C.R. Magestade del Rey Phelippe terceiro das Espanhas. [Lisbon, 1620]
Dedicated to Philip III of Spain (a.k.a. Philip II of Portugal)
V. Susanne un jour (after O. di Lasso)
Aline Parker-Zylberajch (harpsichord)
Giovanni Bassano
VI. Susanne un jour (after Orlando di Lasso)
Bruce Dickey (cornetto), Aline Parker-Zylberajch (organ)
Luzzasco Luzzaschi (c. 1545-1607)
from MADRIGALI PER CANTARE ET SONARE a uno, e doi, e tre soprani [1601]
VII. Ch'io non t'ami cor mio
Montserrat Figueras (soprano), Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
[lyrics]
Ch'io non t'ami cor mio?
Ch'io non sia la tua vita e tu la mia,
che per nuovo desio
e per nuova bellezza io t'abbandoni?
Prima che questo sia,
morte non mi perdoni.
Ma se tu sei quel cor onde la vita
M'è si dolce e gradita,
Fonte d'ogni mio ben, d'ogni desire,
Come posso lasciarti, e non morire?
A. de Cabezón
VIII. Pour un plaisir [after Thomas Crecquillon]
Jordi Savall, Christophe Coin, Seigi Casademunt, Roberto Gini (viola da gamba ensemble)
Riccardo Rognoni (or) Richardo Rogniono (c.1550 - before 20 April 1620)
IX. Un gay bergier
Bruce Dickey (cornetto), Aline Parker-Zylberajch (harpsichord)
Bartolomé de Selma y Salaverde (c.1595 - after 1638)
from CANZONI, FANTASIE ET CORRENTI No. 7 (Venice, 1638)
Dedicated to Giovanni Carlo Prencipe di Polonia e Svetia
X. Susana Pasegiata Basso Solo
Jordi Savall (viola da gamba), Aline Parker-Zylberajch (harpsichord)
Luzzasco Luzzaschi
from MADRIGALI PER CANTARE ET SONARE
XI. Aura soave
Montserrat Figueras (soprano), Anthony Bailes, Hopkinson Smith (lute)
[setting by Anonymous]
Aura soave di segreti accenti
Che penetrando per l'orecchie al core
Svegliasti la dove dormiva Amore
Per te respiro e vivo
Da che nel petto mio
Spirasti tu d'Amor vital desio
Vissi di vita privo
Mentre amorosa cura in me fu spenta
Hor vien che l'alma senta
Virtu di quel tuo spirto gentile
Felice vita oltre l'usato stile
XII. O! Primavera
Montserrat Figueras (soprano), Aline Parker-Zylberajch (organ)
[setting by G. B. Guarini]
O primavera, gioventù de l'anno,
bella madre de' fiori,
d'erbe novelle e di novelli amori,
tu ben, lasso, ritorni,
ma senza i cari giorni
de le speranze mie.
Tu ben sei quella
ch'eri pur dianzi, sì vezzosa e bella;
ma non son io quel che già un tempo fui,
sì caro a gli occhi altrui.
- published: 01 Jan 2013
- views: 16175
- Playlist
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48:09
Virtuoso chamber music from the XVIth century / by
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Cleme...
published: 01 Jan 2013
Virtuoso chamber music from the XVIth century / by
Virtuoso chamber music from the XVIth century / by
- Report rights infringement
- published: 01 Jan 2013
- views: 16175
1:55
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The co...
published: 07 Apr 2013
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
- Report rights infringement
- published: 07 Apr 2013
- views: 1652
5:27
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE ...
published: 06 Nov 2014
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
- Report rights infringement
- published: 06 Nov 2014
- views: 1420
3:08
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the ...
published: 06 Apr 2013
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
- Report rights infringement
- published: 06 Apr 2013
- views: 1768
3:52
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me...
published: 01 Apr 2013
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
- Report rights infringement
- published: 01 Apr 2013
- views: 3501
2:38
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555...
published: 09 Apr 2012
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
- Report rights infringement
- published: 09 Apr 2012
- views: 15264
1:02
PROVENCE - XVIth Century Castle - 30 mn from Avignon
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, al...
published: 23 May 2011
PROVENCE - XVIth Century Castle - 30 mn from Avignon
PROVENCE - XVIth Century Castle - 30 mn from Avignon
- Report rights infringement
- published: 23 May 2011
- views: 18
2:41
La Volta, 16th century dance
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern a...
published: 22 Feb 2012
La Volta, 16th century dance
La Volta, 16th century dance
- Report rights infringement
- published: 22 Feb 2012
- views: 58848
4:36
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
published: 05 Apr 2013
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
- Report rights infringement
- published: 05 Apr 2013
- views: 1030
0:36
Sayyida A novel of XVIth Century Morocco
published: 10 May 2017
Sayyida A novel of XVIth Century Morocco
Sayyida A novel of XVIth Century Morocco
- Report rights infringement
- published: 10 May 2017
- views: 0
- Playlist
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48:09
Virtuoso chamber music from the XVIth century / by
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Cleme...
published: 01 Jan 2013
Virtuoso chamber music from the XVIth century / by
Virtuoso chamber music from the XVIth century / by
- Report rights infringement
- published: 01 Jan 2013
- views: 16175
1:55
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Robert Dowland Varietie of Lute Lessons
Sir Henry Guildfordes his almaine (anonym)
The co...
published: 07 Apr 2013
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
Paul O'dette - Sir Henry Guilforde his Almaine (XVIth century) Variety of Lute Lessons
- Report rights infringement
- published: 07 Apr 2013
- views: 1652
5:27
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVI century)
A Galyarde
performed live by Anton Batagov, piano
BATTLE ...
published: 06 Nov 2014
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
Anonymous (Early XVIth century). A Galyarde. Anton Batagov, piano
- Report rights infringement
- published: 06 Nov 2014
- views: 1420
3:08
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Source :
http://www.contemplator.com/england/carman.html
As I abroad was walking
By the ...
published: 06 Apr 2013
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
Paul O'dette - Carman's Whistle - John Johnson (XVIth century)
- Report rights infringement
- published: 06 Apr 2013
- views: 1768
3:52
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
XVI th century piece anonym. M.s. Sturt Lute Book
John come kiss me now,
John come kiss me...
published: 01 Apr 2013
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
Paul O'dette - John-com-kisse-me-now XVIth century (Anonym)
- Report rights infringement
- published: 01 Apr 2013
- views: 3501
2:38
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Music from the Stadtpfeifer (Town band, or Waits) Bartholomäus and Paul Hess, Breslau 1555...
published: 09 Apr 2012
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
Instrumental Music from the 16th century - Bartholomäus Hess, Passamezzo / Saltarello
- Report rights infringement
- published: 09 Apr 2012
- views: 15264
1:02
PROVENCE - XVIth Century Castle - 30 mn from Avignon
Between the MONT VENTOUX and the LUBERON, on the edge of a village in COMTAT VENAISSIN, al...
published: 23 May 2011
PROVENCE - XVIth Century Castle - 30 mn from Avignon
PROVENCE - XVIth Century Castle - 30 mn from Avignon
- Report rights infringement
- published: 23 May 2011
- views: 18
2:41
La Volta, 16th century dance
Medieval musicians play 'La Volta', 16th century dance played on pipe and tabor, cittern a...
published: 22 Feb 2012
La Volta, 16th century dance
La Volta, 16th century dance
- Report rights infringement
- published: 22 Feb 2012
- views: 58848
4:36
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
published: 05 Apr 2013
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
Paul O'dette - Passingmeasures Galliard - John Johnson (XVIth century)
- Report rights infringement
- published: 05 Apr 2013
- views: 1030
0:36
Sayyida A novel of XVIth Century Morocco
published: 10 May 2017
Sayyida A novel of XVIth Century Morocco
Sayyida A novel of XVIth Century Morocco
- Report rights infringement
- published: 10 May 2017
- views: 0
- Playlist
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1:43:15
Serge Gruzinski - The Eagle and the Dragon, México and China in the XVIth century
Serge Gruzinski - The Eagle and the Dragon, México and China in the XVIth century
published: 15 Apr 2014
Serge Gruzinski - The Eagle and the Dragon, México and China in the XVIth century
Serge Gruzinski - The Eagle and the Dragon, México and China in the XVIth century
- Report rights infringement
- published: 15 Apr 2014
- views: 947
56:42
Women and the Reformation
Prof. Dr. Albrecht Classen, University of Arizona, about „Women and the Reformation: Audac...
published: 06 Dec 2016
Women and the Reformation
Women and the Reformation
- Report rights infringement
- published: 06 Dec 2016
- views: 266
48:09
Virtuoso chamber music from the XVIth century / by
Giovanni Bassano (c. 1558-1617)
I. Division sur Frais et gaillard [after madrigal by Cleme...
published: 01 Jan 2013
Virtuoso chamber music from the XVIth century / by
Virtuoso chamber music from the XVIth century / by
- Report rights infringement
- published: 01 Jan 2013
- views: 16175
Serge Gruzinski - The Eagle and the Dragon, México...
Women and the Reformation...
Virtuoso chamber music from the XVIth century / by...
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Kuhn hits century before SA A suffer middle-order setback
Edit Supersport 23 Jun 2017
Heino Kuhn struck a fluent century before a middle-order collapse stung the progress of South Africa ‘A’ on day two of their one-off, four-day encounter against the England Lions at The Spitfire Ground in Canterbury on Thursday ... ....
Hockey: Century's Will Zmolek commits to Bemidji State University
Edit Post-Bulletin 23 Jun 2017
Doug and Jenny Zmolek will have a tough decision to make in a couple of years ... "I liked it in Bemidji right away ... Zmolek had a stellar three-year high school career at Century, playing alongside Riese as a sophomore, when Riese was a senior ... Doug has also served as an assistant coach at Century for five years. "Will is a kid who wants to learn and grow," Century head coach Josh Klingfus said about Zmolek following his senior season ... ....
Inside this 19th century stone cottage on the market in Wicklow for €995k
Edit Irish Independent 23 Jun 2017
The house itself began as a modest 19th-century granite-built workman's cottage, and like the forest within its sights, it too has been preserved for posterity ... Granite Lodge is a 19th-century workman’s cottage that has been extended ... Granite Lodge is in the townland of Ballyhad Lower, about a kilometre down the road (and downriver) from the cute Clara Vale Church and the 17th-century Clara Bridge over the Avonmore ... Granite Lodge ... Agent....
Islamic State destroy 12th century mosque in Iraq
Edit Detroit news 23 Jun 2017
Irbil, Iraq — With their control of Mosul slipping away, Islamic State militants decided to send a message of defiance. They blew up the 12th century al-Nuri Mosque, along with its famous leaning minaret. The mosque, destroyed Wednesday night, would have been a symbolic prize in the fight for Iraq’s second-largest city ... Gen. Abdul-Wahab al-Saadi, adding that his troops were only 50 meters (yards) from the mosque site ... AP) ... airstrike ... U.S ... ....
How These Basic Materials Stocks are Performing? -- Century Aluminum, Alcoa, Arconic, and Schnitzer Steel Industries
Edit Market Watch 23 Jun 2017
Century Aluminum Co. CENX, +2.29% Alcoa Corp. AA, +0.37% Arconic Inc ... Century Aluminum. Chicago, Illinois headquartered Century Aluminum Co.'s stock finished Thursday's session 2.29% higher at $13.86 with a total trading volume of 1.74 million shares ... Moreover, shares of Century Aluminum, which together with its subsidiaries, produce primary aluminum in the US and Iceland, have a Relative Strength Index (RSI) of 42.79 ... Alcoa ... Arconic ... Email....
From gay Nazis to ‘we’re here, we’re queer’: A century of arguing about gay pride
Edit Raw Story 23 Jun 2017
This month, hundreds of thousands of people around the world will join gay pride marches in cities big and small. In many cities, pride marches are controversial. In some – like Moscow – they are even banned. But for many people in North America, parts of Europe, Latin America and elsewhere, attendi... ....
Statement by NATCA President Paul Rinaldi supporting the 21st Century Aviation Innovation, Reform, and Reauthorization ...
Edit MENA FN 23 Jun 2017
(MENAFN Editorial) June 22, 2017 /PRNewswire-USNewswire/ --National Air Traffic Controllers Association (NATCA) President Paul Rinaldi issued this statement after House Transportat... ....
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