Conceptions of the Feminine in Renaissance Keyboard Music

First iteration: Fairchild Chapel, Oberlin Conservatory
Organ: Brombaugh op. 25 II+ped./15 stops 1/4 meantone, a=466

Die süβ nachtigall Buxheimer Orgelbuch (15th century)

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“As unattributed muse”

Gagliarda ‘comadrina’ Intabolatura Nova di Balli (Venice, 1551)
Gagliarda ‘fornerina’
Gagliarda ‘canella’

Alamanda bruynsmedelijn, SSWV 558 Samuel Scheidt (1587-1654)

“As monarch, the object of respect and devotion”

Galiardo 2o Mrsis Mary Brownlo William Byrd (c. 1539-1623)

The Queene’s Alman

Pavana chromatica “Mrs Katherin Tregian’s Pavan” William Tisdale (c. 1570- c. 1603/1605)

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Toccata primi toni, SwWV 286 Jan Pieterszoon Sweelinck (1562-1621)

“As mystical portent, bearer of the Redeemer”

Canto llano de la Inmaculada Concepción Francisco Correa de Arauxo (1584-1654)
Canto llano
Copla segunda
Otra copla glosada de nueve al compas
Tercera copla de a doze al compas

Tiento sobre el Imno Ave Maris Stella Juan Cabanilles (1644-1712)

Communio Beata viscera Mariae Antonio de Cabezón (1510-1566)

Tiento de 2o tono sobre la letania de la Virgen Pablo Bruna (1611-1679)

“As lover, the object of affection and reverence”

Wiplich figur Conrad Paumann (1410-1473)

Occhi miei lassi Jacques Arcadelt (1506-1568)

Frais et gagliard Sperindio Bertoldo (1530-1570)

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