Oxford Anthology of Western Music: Volume 1: The Earliest Notations to the Early Eighteenth Century

ISBN : 9780199768257

Robert R. Holzer; Richard Taruskin; Christopher H. Gibbs; David J. Rothenberg
544 ページ
211 x 296 mm

The Oxford Anthology of Western Music, Volume One: The Earliest Notations to the Early Eighteenth Century, accompanies chapters 1-11 of The Oxford History of Western Music, College Edition*, by Richard Taruskin and Christopher H. Gibbs (9780195097627). From ancient Greek music and Christian plainchant to the keyboard sonatas of Domenico Scarlatti, this comprehensive volume includes a rich assortment of landmark musical scores. These include works found in many surveys as well as important pieces that are rarely anthologized, including Antoine de Fevin's Missa super Ave Maria; Adrian Willaert's Benedicta es; the Overture and Act 3 of Jean-Baptiste Lully's Atys; Dietrich Buxtehude's Durch Adams Fall; and an aria from Jean-Philippe Rameau's Castor et Pollux. Designed with students in mind, this unique collection includes introductory essays at the beginning of each piece and an index of names and terms. A corresponding set of recordings* (2 CDs) contains all musical examples from the anthology in high-quality MP3 format (9780199768288). ALSO AVAILABLE* Oxford Anthology of Western Music Volume Two: The Mid-Eighteenth Century to the Late Nineteenth Century Edited by Klara Moricz and David E. Schneider > V2 Print Anthology: 9780199768264 > V2 Recorded Anthology (3 CDs): 9780199768295 Oxford Anthology of Western Music Volume Three: The Twentieth Century Edited by Klara Moricz and David E. Schneider > V3 Print Anthology: 9780199768271 > V3 Recorded Anthology (2 CDs): 9780199768301 Oxford Recorded Anthology of Western Music Concise Edition > Recorded Anthology (3 CDs): 9780199768318 The Oxford History of Western Music College Edition Richard Taruskin and Christopher H. Gibbs > Textbook: 9780195097627 * Sold separately


Note on Score Reading
1. Epitaph of Seikilos
Instructions for Reading Quadratic Notation
2. Psalm Verse, Justus ut palma (Ps. 91, 12) in Four Liturgical Settings
a) Antiphon to Full Psalm Recitation (Commemoration of a Martyr Saint)
b) Introit (Commemoration of a Saint Who Was a Confessor but Not a Bishop)
c) Offertory (Commemoration of a Church Doctor)
d) Alleluia (Commemoration of an Abbot)
3. Two Graduals
a) Justus ut palma (Feast of St. John the Baptist)
b) Haec dies (Easter Sunday)
4. Frankish Chants for the Mass Ordinary
a) Kyrie IV
b) Cunctipotens Genitor Deus
c) Gloria IV
d) Credo I
e) Sanctus I
f) Agnus Dei II
5. Two Sequences in Modern Use
a) Victimae paschali laudes (Easter)
b) Dies irae (Mass for the Dead)
6. Hildegard of Bingen, Columba aspexit (Sequence for St. Maximinus)
7. Three Frankish Hymns
a) Ave maris stella (Veneration of the Virgin Mary)
b) Pange lingua gloriosi (Feast of Corpus Christi)
c) Veni creator spiritus (Pentecost)
8. Two Tropes to the Easter Introit, Resurrexi et adhuc tecum sum
a) Ecce pater
b) Quem quaeritis in sepulchro
9. Two Marian Antiphons
a) Regina caeli laetare
b) Salve Regina
10. Bernart de Ventadorn, Can vei la lauzeta mover ("When I see the lark flutter his wings")
11. Marcabru, L'autrier jost' una sebissa ("The other day by a hedge row")
12. La Comtessa de Dia, A chantar m'er de so qu'ieu no volria ("I must sing of that which I would rather not")
13. Richard the Lionheart, Ja nun hons pris ("No captive can tell his story")
14. Moniot d'Arras, Ce fut en mai ("It was in May")
15. Adam de la Halle, Three Dance Songs with Refrains
a) Je muir, je muir d'amorete ("I die, I die of love"), Rondeau
b) Dieus soit en cheste maison ("God, be in this house"), Ballade
c) Fines amouretes ("I have many fine lovers"), Virelai
16. Anonymous, Jubilemus exultemus
17. Anonymous, Ad superni Regis
18. Leonin, Viderunt omnes
19. Perotin, Viderunt omnes
20. Anonymous, Vetus abit littera
21. Anonymous, Ex semine rosa/Ex semine Habrahe/EX SEMINE
22. Anonymous, L'autre jour/Au tens pascour/IN SECULUM
23. Anonymous, On parole/A Paris/FRESE NOUVELE
24. Attributed to Philippe de Vitry, Tribum/Quoniam/MERITO
25. Guillaume de Machaut, Felix virgo/Inviolata/AD TE SUSPIRAMUS
26. Guillaume de Machaut, Three Virelais
a) Douce dame jolie ("Fair, sweet lady")
b) En mon cuer ("In my heart")
c) Tres bonne et belle ("Very good and beautiful lady")
27. Guillaume de Machaut, Rose, liz ("Rose, lily")
28. Guillaume de Machaut, Messe de Nostre Dame ("Mass of Our Lady"), Kyrie
29. Philippus de Caserta, En remirant ("While admiring")
30. Solage, Fumeux fume ("A smoker smokes")
31. Jacopo da Bologna, Two Settings of Osellecto selvaggio ("A wild bird")
a) Madrigal
b) Caccia
32. Francesco Landini, Non avra ma' pieta ("My lady will never have on pity me")
33. Johannes Ciconia, Doctorum Principem/Melodia Suavissima/VIR MITIS
34. Guillaume Du Fay, Nuper rosarum flores/TERRIBILIS EST LOCUS ISTE
35. Anonymous, Sumer is icumen in ("Summer has come")
36. Anonymous, 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 ("Anguished grief")
40. Anonymous, Missa Caput, Kyrie
41. Johannes Ockeghem, Missa Caput, Kyrie
42. Antoine Busnoys, Missa L'homme arme
a) Sanctus
b) Agnus Dei
43. Philippe Basiron, Salve regina
44. Loyset Compere, Ave Maria
45. Johannes Ockeghem, Ma bouche rit ("My mouth laughs")
46. Johannes Ghiselin, La Alfonsina
47. Josquin des Prez, Ave Maria ... Virgo serena
48. Antoine de Fevin, Missa super Ave Maria, Kyrie
49. Josquin des Prez, Benedicta es
50. Adrian Willaert, Benedicta es
51. Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (Mass of Pope Marcellus), Kyrie, Gloria, Credo
52. Giovanni Pierluigi da Palestrina, Tui sunt caeli
53. William Byrd, two settings of the Agnus Dei
a) The Mass in Four Parts
b) The Mass in Five Parts
54. Johann Walther, Christ lag in Todesbanden ("Christ lay in the bonds of death")
55. Giovanni Gabrieli, In ecclesiis
56. Marco Cara, Mal un muta per effecto ("One cannot really change")
57. Claudin de Sermisy, Tant que vivray ("As long as I live")
58. Orlando di Lasso, Four Compositions
a) Je l'ayme bien ("I love her")
b) Matona mia cara ("My lady, my darling")
c) Audite nova ("Hear the news")
d) Prophetiae Sibyllarum, Prologue
59. Jacques Arcadelt, Il bianco e dolce cigno ("The white and sweet swan")
60. Cipriano de Rore, Dalle belle contrade d'oriente ("From the fair regions of the east")
61. Luca Marenzio, Solo e pensoso ("Alone and thoughtful")
62. Claudio Monteverdi, Cruda Amarilli ("Cruel Amaryllis")
63. Carlo Gesualdo, Moro, lasso ("I shall die, O miserable me")
64. Thomas Weelkes, As Vesta was from Latmos hill descending
65. Giulio Caccini, Le nuove musiche: "Amarilli, mia bella" (Amaryllis, my beautiful one")
66. Jacopo Peri, Le musiche ... sopra l'Euridice, Excerpt from Scene 2
67. Claudio Monteverdi, L'Orfeo favola in musica, Act 2
68. Claudio Monteverdi, L'incoronazione di Poppea ("The Coronation of Poppea"), Excerpts from Acts 1 and 3
69. Girolamo Frescobaldi, Cento partite sopra passacagli, ("A Hundred Variations on Passacagli")
70. Samuel Scheidt, Christ lag in Todesbanden ("Christ lay in the bonds of death")
71. Heinrich Schutz, Symphoniae sacrae: I, Op. 6, "O quam tu pulchra es" ("O how beautiful art thou")
72. Heinrich Schutz, Symphoniae sacrae: III, Op. 12, Saul, Saul, was verfolgst du mich, ("Saul, Saul, why do you persecute me?")
73. Giacomo Carissimi, Jephthe, Concluding solo and chorus
74. Barbara Strozzi, Lagrime mie ("My tears")
75. Jean-Baptiste Lully, Atys, Overture and Act 3
76. Jean-Philippe Rameau, Castor et Pollux, Act 5, Scene 7, arietta
77. Henry Purcell, Dido and Aeneas, Act 3, Conclusion
78. Alessandro Scarlatti, Andate, o miei sospiri ("Go, oh my sighs")
79. Arcangelo Corelli, Trio Sonata in G minor, Op. 3, No. 11
80. Antonio Vivaldi, La primavera ("Spring")
81. Two Chorale Preludes on Durch Adams Fall ist ganz verderbt ("Through Adam's Fall We Are Condemned"), (a) Dietrich Buxtehude, BuxWV 183, (b) Johann Sebastian Bach, BWV 637, fromOrgel-Buchlein
82. Johann Sebastian Bach, Fugue in G minor
83. Johann Sebastian Bach, Das wohltemperirte Clavier ("The Well-Tempered Keyboard"), Book 1
a) Prelude No. 1 in C
b) Fugue No. 24 in B minor
84. Johann Sebastian Bach, French Suite No. 5 in G
85. Francois Couperin, Le rossignol en amour and Rossignol double
86. Johann Sebastian Bach, Brandenburg Concerto No. 5 in D
87. George Frideric Handel, Giulio Cesare in Egitto, Act 1, Scene 3, "Empio, diro, tu sei" ("Evil you are, I say")
88. George Frideric Handel, Israel in Egypt, Selections from Part 2
89. George Frideric Handel, an example of self-borrowing
a) No, di voi non vo' fidarmi, Movement 1
b) Messiah, Part 1, "For unto us a Child is born"
90. Johann Sebastian Bach, Christ lag in Todesbanden, ("Christ lay in the bonds of death")
91. Johann Sebastian Bach, St. Matthew Passion, Opening Chorus
92. Domenico Scarlatti, Two Keyboard Sonatas:
a) Sonata in G, K. 105
b) Sonata in F minor, K. 481
Source Notes
Index of Names
Index of Terms


David J. Rothenberg is Associate Professor of Music at Case Western Reserve University. Robert R. Holzer is Associate Professor of Music History at the Yale University School of Music.