SKU: SU.80101365
These three dances (pavane, tordion, and allemande) are inspired by Renaissance forms, although they employ a harmonic and melodic language that blends allusions to Renaissance harmony with more contemporary elements. They may be played on any keyboard instrument. Organ and harpsichord are the most likely candidates, but performance on clavichord, harmonium, reed organ, piano, or even electronic keyboard is also possible. Instrumentation: Keyboard. Composed: 2014 Published by: Zimbel Press.
SKU: SU.80101322
A set of 24 three movement sonatas that can be played on any keyboard instrument (organ, piano, harmonium/reed organ, harpsichord, clavichord, or electronic keyboard). The composer writes the following: My inspiration for composing these sonatas comes as a direct result of the music of the Renaissance and early Baroque. It is an attempt by this composer to capture in his own musical vocabulary some of the 'essence' that pervades the music of these past centuries. These pieces are easy to play and extremely useful for services, recitals, or teaching. Instrumentation: Keyboard. Composed: 2012 Published by: Zimbel Press.
SKU: ST.MB96
ISBN 9790220223853.
This volume is the first of two intended to extend the coverage of keyboard music in Musica Britannica comprehensively into the first quarter of the 17th century. (The other, MB102, includes material from the two virginal books in the Fitzwilliam Museum, Cambridge.) The present edition contains music by anonymous and a dozen or so named composers, including the complete keyboard works of Nicholas Carleton, the surviving twenty 'Miserere' canons by Thomas Woodson, and the anonymous 'Pretty ways for young beginners to look on'. The 77 complete pieces are organised by genre, including preludes, plainsong settings, voluntaries, dances and character pieces. Drawing on 22 manuscripts which mostly also transmit music by Byrd and other noted virginalists, this residue of music from these sources shows great diversity and a pleasing level of technical skill and musical interest, sufficient to enhance our wider view of English Renaissance music.
