20 pièces pour Flûte à bec alto et Piano - avec CD. Peter Bowman and Kathryn Bennetts present the fourth and final volume in the Renaissance Recorder Anthology. Standard Renaissance works are included alongside lesser known works for treble (alto) recorder and piano (keyboard). The pieces are all of an intermediate to advanced level of difficulty (UKGrade 7-8 UK). Detailed information on the composers, dance forms and pieces is also included. / Niveau : Intermédiaire à Avancé / Recueil / Flûte à Bec

The Original First and Second Books including Dowland's Original Lute Tablature-Considered the greatest lute virtuoso and composer of the English school in the early 17th Century John Dowland (1563-1626) composed over 80 pieces of solo lute music. His peerless skills as an instrumentalist were hailed by poet Richard Barnfield who referred to Dowland as one '...whose heav'nly touch upon the lute doth ravish human sense.' As a composer Dowland displayed a versatility of mood with works ranging from the lighthearted to the deeply serious exquisitely melancholic vein in which he excelled.

Morley's early-Renaissance setting of the Magnificat And Nunc Dimittis alternates between the unison lines based upon Gregorian tones and an SATB chorale-style texture. Edited by Francis Burgess and Royle Shore.

Grades 6-7-Beautifully presented and thoroughly readable 'modern' editions of the best of these pre-Baroque masterpieces. Carefully graded.It has often struck me as intriguing that The Fitzwilliam Virginal Book (a collection of keyboard music spanning the period c.1562-1612) occupies a virtually non-existent place in the literature considered viable by pianists.Needless to say harpsichordists continue to hold the music in the highest esteem while a number of transcriptions for instruments and ensembles have been made available in more recent times. How can it be that this ancient heritage - which in keyboard music terms might be regarded as the equivalent to the DeadSea Scrolls - has hitherto seemed a no-go area for pianists? It is as if the first 'proper' keyboard music tumbled miraculously out of some parallel universe around Bach's time i.e. the first half of the 18th century. While our modern piano is perhaps as different from a virginal as a washing machine is from a mangle there are in fact a good many facets of virginal music which read across perfectly well to today's instruments. For this to be possible we need to take the time to look beyond peculiarities in translation which to a significant extent comes down to issues resulting from burgeoning notational practices. It also becomes necessary to re-imagine the music in light of what is possible as well as what is desirable. Problems with accessing the sound-world of pre-Baroque keyboard music can be overcome quite easily just as it is possible to become better in resonance with avant garde musical styles given appropriate immersion. Since the writing of the performance notes to The Fitzwilliam Virginal Book more than a century ago (by J.A. Fuller Maitland and W. Barclay Squire) the momentum generated by the Early Music Revival has brought about immeasurable insights into the intentions of Renaissance and Baroque composers. Performances on period instruments continue to reacquaint us with a bygone age and stimulate a healthy fascination for the

Taken from original sources and carefully fingered for the modern player this guitar anthology is as faithful as possible to the original while offering a practical performing score. All the pieces are graded in difficulty andsome are appropriate for beginners. Includes works by Sor Giuliani and other guitar masters from the early 19th Century. See also The Baroque Guitar The Renaissance Guitar and The Romantic Guitar.

4 Epigrams And A Prayer sets a variety of texts including Medieval Latin lyrics and Chinese poetry for Medium Voice and Piano.

For SATB Choir (with Divisions). These works may be performed ad libitum with instruments regular with renaissance performance practice.

Nunc Natus Est Altissimus is scored for three upper voices and piano (or harp) set to words by James Ryman. The words set in the first three movements of this work are reproduced from Medieval English Lyrics edited by R.T.Davies. Duration c. 20 minutes.