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Table of Contents

Anthology of Scores to Accompany The Oxford History of Western Music, College Edition

Volume 1: The Earliest Notations to the Early Eighteenth Century
Eds. David J. Rothenberg and Robert Holzer

  1. Epitaph of Seikilos

  2. Psalm verse Justus ut palma (Ps.91, 12) in Four Liturgical Settings
    1. Antiphon to full psalm recitation (Commemoration of a Martyr Saint)
    2. Introit (Commemoration of a Saint who was a Confessor but not a Bishop)
    3. Offertory (Commemoration of a Church Doctor)
    4. Alleluia (Commemoration of an Abbot)

  3. Two Graduals
    1. Justus ut palma (Feast of St. John the Baptist)
    2. Haec dies (Easter Sunday)

  4. Frankish chants for the Mass Ordinary
    1. Kyrie IV (Cunctipotens genitor)
    2. Cunctipotens genitor
    3. Gloria IV
    4. Credo I
    5. Sanctus I
    6. Agnus Dei II

  5. Two Sequences in Modern Use
    1. Victimae paschali laudes (Easter)
    2. Dies irae (Mass for the Dead)

  6. Hildegard of Bingen, Columba aspexit (Sequence for St. Maximinus)

  7. Three Frankish Hymns
    1. Ave maris stella (Veneration of the Virgin Mary)
    2. Pange lingua gloriosi (Feast of Corpus Christi)
    3. Veni creator spiritus (Pentecost)

  8. Two Tropes to Resurrexi et adhuc tecum sum, the Easter Introit
    1. Ecce pater (Interpolated trope)
    2. Quem qeritis in sepulchro (Easter Dialogue Trope)

  9. Two Marian Antiphons
    1. Regina caeli laetare
    2. Salve Regina

  10. Bernart de Ventadorn, Can vei la lauzeta mover

  11. Marcabru, L'autrier jost' una sebissa

  12. Comtessa de Dia, A chantar

  13. Richard the Lionheart, Ja nun hons pris

  14. Moniot d'Arras, Ce fu en mai

  15. Adam de la Halle, Three Dance Songs With Refrains
    1. Je muir, je muir d'amorete (rondeau)
    2. Dieus soit en cheste maison (ballade)
    3. Fines amouretes (virelai)

  16. Anon., Jubilemus exultemus

  17. Anon., Ad superni Regis

  18. Leonin, Viderunt omnes

  19. Perotin, Viderunt omnes

  20. Anon., Vetus abit littera

  21. Anon., Ex semine rosa/Ex semine Habrahe/EX SEMINE

  22. Anon., L'autre jour/Au tens pascour/IN SECULUM

  23. Anon., On parole/A Paris/FRESE NOUVELE

  24. attrib. Philippe de Vitry, Tribum/Quoniam/MERITO

  25. Guillaume de Machaut, Felix virgo/Inviolata genitrix/AD TE SUSPIRAMUS

  26. Machaut, Three Virelais
    1. Douce dame jolie
    2. En mon cuer
    3. Tres bonne et belle

  27. Machaut, Rose, liz

  28. Machaut, Messe de Nostre Dame: Kyrie

  29. Philippus de Caserta, En remirant

  30. Solage, Fumeux fume

  31. Jacopo da Bologna, Two Settings of Osellecto selvaggio
    1. madrigal
    2. caccia

  32. Francesco Landini, Non avrà ma' pietà

  33. Johannes Ciconia, Doctorum Principem/Melodia Suavissima/VIR MITIS

  34. Guillaume Du Fay, Nuper rosarum flores/TERRIBILIS EST LOCUS ISTE

  35. Anon., Sumer is icumen in

  36. Anon., Thomas gemma Cantuariae/Thomas cesus in Doveria

  37. John Dunstable, Quam pulchra es

  38. Guillaume Du Fay, Ave maris stella

  39. Gilles Binchois, Deuil angoisseux

  40. Anon., Missa Caput: Kyrie

  41. Johannes Ockeghem, Missa Caput: Kyrie

  42. Antoine Busnoys, Missa L'homme armé
    1. Sanctus
    2. Agnus Dei

  43. Philippe Basiron, Salve regina

  44. Loyset Compère, Ave Maria

  45. Johannes Ockeghem, Ma bouche rit

  46. Johannes Ghiselin, La Alfonsina

  47. Josquin des Prez, Ave Maria . . . Virgo serena

  48. Josquin des Prez, Benedicta es

  49. Antoine de Févin, Missa super Ave Maria: Kyrie

  50. Adrian Willaert, Benedicta es

  51. Giovanni Pierluigi da Palestrina, Missa Papae Marcelli
    1. Kyrie
    2. Gloria
    3. Credo

  52. Palestrina, Tui sunt caeli

  53. William Byrd, two settings of the Agnus Dei
    1. from the Mass in Four Parts
    2. from the Mass in Five Parts

  54. Johann Walther, Christ lag in Todesbanden

  55. Giovanni Gabrieli, In ecclesiis

  56. Marco Cara, Mal un muta per effecto

  57. Claudin de Sermisy, Tant que vivray

  58. Orlando di Lasso, four compositions
    1. Je l'ayme bien
    2. Matona mia cara
    3. Audite nova
    4. Prophetiae Sibyllarum: Prologue

  59. Jacques Arcadelt, Il bianco e dolce cigno

  60. Cipriano de Rore, Dalle belle contrade d'oriente

  61. Luca Marenzio, Solo e pensoso

  62. Claudio Monteverdi, Cruda Amarilli

  63. Carlo Gesualdo, Moro, lasso

  64. Thomas Weelkes, As Vesta was from Latmos Hill descending

  65. Giulio Caccini (1551–1618), Amarilli, mia bella, from Le nuove musiche (Florence, 1602)

  66. Jacopo Peri (1561–1633), Le musiche . . . sopra l’Euridice (Florence, 1601), excerpt from Scene 2

  67. Claudio Monteverdi (1567–1643), L'Orfeo favola in musica (Mantua, 1607), Act II

  68. Claudio Monteverdi (1567–1643), L'incoronazione di Poppea (Venice, 1643), excerpts from Acts I and III

  69. Girolamo Frescobaldi (1583–1642), Cento partite sopra passacagli, from Aggiunta to Toccate d'intavolatura di cimbalo et organo, partite di diverse arie et corrente, balletti, ciaccone, passacagli. . . . Libro primo, 5th edition (Rome, 1637)

  70. Samuel Scheidt (1587–1654), Christ lag in Todesbanden, SSWV 131, fromTabulatura nova (Hamburg, 1624)

  71. Johann Hermann Schein (1586–1630), Christ lag in Todesbanden from Opella nova (Leipzig, 1618)

  72. Heinrich Schütz (1585–1672), O quam tu pulchra es, SWV 265-66, from Symphoniae sacrae I, Op. 6 (Venice, 1629)

  73. Heinrich Schütz (1585–1672), Saul, Saul, was verfolgst du mich, SWV 415, from Symphoniae sacrae III, op. 12 (Dresden, 1650)

  74. Giacomo Carissimi (1605–1674), Jephthe (Rome, 1640s), concluding solo and chorus

  75. Barbara Strozzi (1619–77), Lagrime mie, a che vi trattenete from Diporti di Euterpe, overo cantate & ariette a voce sola, op. 7 (Venice, 1659)

  76. Jean-Baptiste Lully (1632–1687), Atys, LWV 53 (St. Germain-en-Laye, 1676), Overture and Act III

  77. Jean-Philippe Rameau (1683–1764), Castor et Pollux (Paris, 1737), ariette from Act V, Scene 7, Brillez, brillez, astres nouveaux

  78. Henry Purcell (1659–95), Dido and Aeneas (first known performance, Chelsea, 1689), Act III, conclusion

  79. Alessandro Scarlatti, (1660–1725), Andate, o miei sospiri, al cor d'Irene (1712)

  80. Arcangelo Corelli (1653–1713), Trio Sonata in G minor, op. 3, no. 11 (Rome, 1689)

  81. Antonio Vivaldi (1678–1741), Violin Concerto in E, RV 269, La primavera, from Il cimento dell'armonia e dell'inventione, op. 8 (Amsterdam, 1725)

  82. Johann Sebastian Bach (1685–1750), Fugue in G minor, BWV 578 (before 1707?)

  83. Johann Sebastian Bach (1685–1750), two pieces from Das wohltemperirte Clavier, Book 1 (1722):
    1. Prelude no. 1 in C, BWV 846
    2. Fugue no. 24 in B minor, BWV 869

  84. Two Chorale Preludes on Durch Adams Fall ist ganz verderbt:
    1. Dietrich Buxtehude (1637–1707), BuxWV 183
    2. Johann Sebastian Bach (1685–1750), BWV 637, from Orgel-Büchlein (ca. 1715)

  85. Johann Sebastian Bach (1685–1750), French Suite no. 5 in G, BWV 816 (1722–23, rev. 1725)

  86. François Couperin (1668–1733), Le rossignol en amour and Double de rossignol from Quartorzième Ordre, from Troisième Livre de Pièces de Clavecin (Paris, 1722)

  87. Johann Sebastian Bach (1685–1750), Brandenburg Concerto no. 5 in D, BWV 1050 (1721)

  88. George Frideric Handel (1685–1759), Empio, dirò, tu sei from Giulio Cesare in Egitto, HWV 17 (London, 1724), Act 1, scene 3

  89. George Frideric Handel (1685–1759), Israel in Egypt, HWV 54 (London, 1739), selections from Part 2

  90. George Frideric Handel (1685–1759), an example of self-borrowing:
    1. No, di voi non vo' fidarmi, HWV 189 (1741), movement 1
    2. "For unto us a Child is born" from Messiah, HWV 56 (Dublin, 1742), part 1

  91. Johann Sebastian Bach (1685–1750), Christ lag in Todesbanden, BWV 4 (1707–08)

  92. Johann Sebastian Bach (1685–1750), St. Matthew Passion, BWV 244 (1727, rev. 1736), opening chorus

  93. Domenico Scarlatti (1685–1757), Two Keyboard Sonatas:
    1. Sonata in G, K. 105
    2. Sonata in F minor, K. 481



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