Norton Anthology of Western Music, 8th Edition. Vol. I: Ancien to Baroque

Eighth Edition

The definitive survey, combining current scholarship with a vibrant narrative. Carefully informed by feedback from dozens of scholars, it remains the book that students and teachers trust to explain what?s important, where it fits, and why it matters. Peter Burkholder weaves a compelling story of people, their choices, and the western musical tradition that emerged. From chant to hip-hop, he connects past to present to create a context for tomorrow?s musicians.

Libro con la selección de las partituras. No incluye las grabaciones

CONTENIDO

* indicates a recording included on the Concise version

Volume 1

*1. Epitaph of Seikilos, epigram
Atrium Musicae de Madrid; Gregorio Paniagua, director
2. Euripides: Orestes, tragedy, excerpt: Stasimon chorus
chromatic performance: Atrium Musicae de Madrid, Gregorio Paniagua, director
enharmonic performance: Gayle Stuwe Neuman and De Organographia
3. Mass for Christmas Day, Gregorian chant Mass

a) Introit: Puer natus est nobis
*b) Kyrie
c) Gloria
d) Gradual: Viderunt omnes
e) Alleluia: Dies sanctificatus
f) Credo
g) Offertory: Tui sunt coeli
h) Sanctus
*i) Agnus Dei
j) Communion: Viderunt omnes
k) Ite, missa est
Concentus; Paul Elliott, director
4. Chants from Vespers for Christmas Day, Gregorian chant Office
*a) First Antiphon: Tecum principium, with psalm Dixit Dominus
b) Hymn: Christe Redemptor omnium
Concentus; Paul Elliott, director
*5. Ascribed to Wipo of Burgundy: Victimae paschali laudes, sequence
Schola Cantorum of Amsterdam; Wim van Gerven, director
6. Tropes on Puer natus: Quem queritis in presepe and melisma, texted trope (liturgical drama) and untexted trope
Schola Hungarica; Laszlo Dobszay and Janka Szendrei, directors
*7. Hildegard of Bingen: Closing chorus, In principio omnes, from Ordo virtutum (The Virtues), sacred music drama
Sequentia; Barbara Thornton and Margriet Tindemans, directors
*8. Bernart de Ventadorn: Can vei la lauzeta mover, troubadour song
Paul Hillier
9. Comtessa de Dia: A chantar, canso (troubadour song)
Mara Kiek; Sinfonye; Stevie Wishart, director
10. Adam de la Halle: Jeu de Robin et de Marion: Rondeau, Robins m'aime
Tonus Peregrinus; Kathryn Oswald, alto; Mary Remnant, harp and bells; Antony Pitts, portative organ


11. Walther von der Vogelweide: Palästinalied (Nu alrest lebe ich mir werde), Minnelied
John Pepper, bass; Toronto Consort; David Fallis, artistic director
*12. Cantiga 159: Non sofre Santa María, from Cantigas de Santa María
The Martin Best Ensemble
13. La quarte estampie royal, from Le manuscrit du roi
Stevie Wishart, medieval fiddle; Jim Denley, bendir (percussion); Sinfonye; Stevie Wishart, director
14. Organa from Musica enchiriadis
a) Tu patris sempiternus, in parallel organum at the fifth below
b) Sit gloria domini, in parallel organum at the fifth below, with octave doublings
c) Rex caeli, in mixed parallel and oblique organum
Concentus; Paul Elliott, director
*15. Alleluia Justus ut palma, free organum, from Ad organum faciendum
Paul Elliott, tenor; Matthew Leese, baritone; Concentus; Paul Elliott, director
16. Jubilemus, exultemus, versus in Aquitanian polyphony
Dominique Vellard; Emmanuel Bonnardot
17. Léonin: Viderunt omnes, organum duplum
Concentus; Paul Elliott, tenor and director
18. Clausulae on Dominus from Viderunt omnes, substitute clausulae
a) Dominus, clausula, No. 26
b) Dominus, clausula No. 29
Paul Elliott and Wolodymyr Smishkewych, tenors
*19. Pérotin: Viderunt omnes, organum quadruplum
Theatre of Voices; Paul Hillier, director
20. Ave virgo virginum, conductus
Lionheart
21. Motets on tenor Dominus
a) Factum est salutare/Dominus, based on NAWM 18a
Paul Elliott and Wolodymyr Smishkewych, tenors
*b) Fole acostumance/Dominus
Paul Elliott and Wolodymyr Smishkewych, tenors
c) Super te/Sed fulsit/Dominus
Margaret Philpot, alto; Rogers Covey-Crump, Rufus Müller, and Leigh Nixon, tenors; Gothic Voices; Christopher Page, director
22. Adam de la Halle: De ma dame vient/Dieus, comment porroie/Omnes, motet
Tonus Peregrinus; Alexander L' Estrange, countertenor; Richard Eteson, tenor; Francis Brett, bass
*23. Sumer is icumen in, rota
The Hilliard Ensemble; Paul Hillier, director
24. Philippe de Vitry: In arboris/Tuba sacre fidei/Virgo sum, motet
Orlando Consort

*25. Guillaume de Machaut: Kyrie, from Messe de Nostre Dame
Ensemble Gilles Binchois; Dominique Vellard, director
*26. Guillaume de Machaut: Rose, liz, printemps, verdure, rondeau
Gothic Voices; Christopher Page, director
27. Johannes Ciconia: Sus une fontayne, virelai
Ensemble Project Ars Nova
28. Jacopo da Bologna: Fenice fù, madrigal
Early Music Consort of London; David Munrow, director
29. Gherardello da Firenze: Tosto che l'alba, caccia
Nigel Rogers and Edgar Fleet, tenors; David Munrow, tenor shawm; Musica Reservata; John Beckett, director
*30. Francesco Landini: Non avrà ma' pietà, ballata
Anonymous 4
31. Alleluia, A newë work, carol
Anonymous 4
*32. John Dunstable: Quam pulchra es, motet
Lionheart
*33. Binchois (Gilles de Bin): De plus en plus, rondeau
The Tallis Scholars; Peter Phillips, director
34. Guillaume Du Fay: Resvellies vous, ballade
Mark Rimple, voice and lute; David Douglass and Mary Springfels, vielle
35. Guillaume Du Fay: Conditor alme siderum, hymn in fauxbourdon style
Schola Hungarica; Janka Szendrei, director
*36. Guillaume Du Fay
a) Se la face ay pale, ballade
b) Gloria, from Missa Se la face ay pale, cantus-firmus mass
Chiaroscuro Ensemble; Nigel Rogers, director
37. Jean de Ockeghem: Agnus Dei, from Missa De plus en plus
The Tallis Scholars; Peter Phillips, director
38. Henricus Isaac: Innsbruck, ich muss dich lassen, Lied
Sex Chorde
*39. Josquin des Prez: Ave Maria . . . virgo serena, motet
La Chapelle Royale; Philippe Herreweghe, director
40. Josquin des Prez
*a) Kyrie, from Missa Pange lingua
b) Credo (excerpt), from Missa Pange lingua
The Tallis Scholars; Peter Phillips, director
41. Josquin des Prez: Mille regretz, chanson
Scholars of London

42. Martin Luther: Nun komm, der Heiden Heiland and Ein' feste Burg, chorales
a) Attributed to St. Ambrose: Veni Redemptor gentium
Concentus; Paul Elliott, director
b) Martin Luther: Nun komm, der Heiden Heiland
Concentus; Paul Elliott, director
c) Martin Luther: Ein' feste Burg
Concentus; Paul Elliott, director
d) Johann Walter: Ein' feste Burg, first four-voice setting from Geistliches
Gesangbüchlein
Wiener Motettenchor; Ensemble Mvsica Antiqva Wien; Bernhard Klebel, conductor
43. Loys Bourgeois: Psalm 134, Or sus, serviteurs du Seigneur, metrical psalm
a) Psalm 134, Or sus, serviteurs du Seigneur
b) William Kethe: Psalm 100, All people that on earth do dwell
Concentus; Paul Elliott, director
*44. William Byrd: Sing joyfully unto God, full anthem
The Tallis Scholars; Peter Phillips, director
45. Giovanni Pierluigi da Palestrina
a) Credo, from Pope Marellus Mass
*b) Agnus Dei I, from Pope Marcellus Mass
The Tallis Scholars; Peter Phillips, director
46. Tomás Luis de Victoria: O magnum mysterium
*a) O magnum mysterium, motet
Gabrieli Consort; Paul McCreesh, director
b) Kyrie, from Missa O magnum mysterium
Choir of Westminster Cathedral; David Hill, Master of the Music
*47. Orlando di Lasso: Tristis est anima mea, motet
Ex Cathedra; Jeffrey Skidmore, director
48. Juan del Encina: Oy comamos y bebamos, villancico
Circa 1500; Nancy Hadden, director
49. Marco Cara: Io non compro più speranza, frottola
Paul Elliott, tenor; Nigel North, lute
*50. Jacques Arcadelt: Il bianco e dolce cigno, madrigal
The Consort of Musicke; Anthony Rooley, director
*51. Cipriano de Rore: Da le belle contrade d'oriente, madrigal
The Consort of Musicke; Anthony Rooley, director
52. Luca Marenzio: Solo e pensoso, madrigal
Pomerium Musices; Alexander Blachly, director
*53. Carlo Gesualdo: "Io parto" e non più dissi, madrigal
Les Arts Florissants; William Christie, director
*54. Claudin de Sermisy: Tant que vivray, chanson
Ensemble Clement Janequin; Dominique Visse, director
55. Claude le Jeune: Revecy venir du printans, chanson
The Waverly Consort; Michael Jaffee, director

*56. Thomas Morley: My bonny lass she smileth, ballett
Tonus Peregrinus; Rebecca Hickey, soprano; Kathryn Oswald, alto; Alexander Hickey and Richard Eteson, tenors; Francis Brett, bass; Antony Pitts, director
*57. Thomas Weelkes: As Vesta was, madrigal
The Consort of Musicke; Anthony Rooley, director
*58. John Dowland: Flow, my tears, air or lute song
Ellen Hargis, voice; Paul O'Dette, lute
*59. Pierre Attaingnant (publisher): From Danseries a 4 parties, second livre
a) No. 1: Basse danse
b) No. 36: Branle gay, Que je chatoulle ta fossette
Studio für alte Musik, Düsseldorf
60. Luis de Narváez: From Los seys libros del Delphín, works for vihuela
a) Cancion Mille regres, intabulation of Josquin's Mille regretz
b) Cuatro diferencias sobre "Guárdame las vacas," variation set
Lex Eisenhardt, vihuela
*61. William Byrd: Pavana Lachrymae, pavane variations
Elaine Comparone, virginal/muselar
62. Giovanni Gabrieli: Canzon septimi toni a 8, from Sacrae symphoniae (1597), ensemble canzona
His Majestys Sagbutts and Cornetts; Timothy Roberts, director
*63. Claudio Monteverdi: Cruda Amarilli, madrigal
The Consort of Musicke; Anthony Rooley, director
*64. Giulio Caccini: Vedrò 'l mio sol, solo madrigal
Ellen Hargis, voice; Paul O'Dette, lute
65. Jacopo Peri: Le musiche sopra l'Euridice, opera, excerpts
a) Prologue: Io, che d'alti sospir, strophic aria
b) Recitative: Nel pur ardor
c) Dialogue in recitative: Per quel vago boschetto
La Compagna dei Febi Armonici; Anibal Cetrangolo, conductor
66. Claudio Monteverdi: L'Orfeo, opera, excerpt from Act II
*a) Canzonetta: Vi ricorda o boschi ombrosi
b) Aria: Mira, deh mira Orfeo
*c) Dialogue in recitative: Ahi, caso acerbo
*d) Recitative: Tu se' morta
*e) Choral madrigal: Ahi, caso acerbo
Nigel Rogers (Orfeo); Guillemette Laurens (Messenger); Chiaroscuro; Nigel Rogers, director; London Baroque, Charles Medlam, director
*67. Claudio Monteverdi: L'incoronazione di Poppea, opera, Act I, scene 3
Danielle Borst (Poppea); Guillemette Laurens (Nerone); Concerto Vocale; René Jacobs, conductor
68. Antonio Cesti: Orontea, opera excerpts from Act II
a) Scene 16, recitative: E che si fa?
b) Scene 17, opening aria: Intorno all' idol mio
Helga Müller Molinari (Orontea); Gastone Sarti (Gelone); Concerto Vocale; René Jacobs, director
69. Barbara Strozzi: Lagrime mie, cantata
Julianne Baird, soprano; Colin Tinley, harpsichord
70. Alessandro Grandi: O quam tu pulchra es, solo motet (sacred concerto)
Ricercar Consort; Henry Ledroit, director
71. Giacomo Carissimi: Historia di Jephte, oratorio, excerpts
*a) Recitative: Plorate colles
b) Chorus: Plorate filii Israel
Gabrieli Consort and Players; Paul McCreesh, director
72. Heinrich Schütz: O lieber Herre Gott, from Kleine geistliche Konzerte I (1636), sacred concerto
Soloists of the Tölzer Knabenchor: Helmut Wittek, Stefan Gienger, sopranos; Michael Hell, violoncello; Roman Summereder, organ; Gerhard Schmidt-Gaden, director
*73. Heinrich Schütz: Saul, was verfolgst du mich, sacred concerto
Musica Fiata; Kammerchor Stuttgart; Frieder Bernius, conductor
*74. Girolamo Frescobaldi: Toccata No. 3
Gustav Leonhardt, harpsichord
75. Girolamo Frescobaldi: Ricercare after the Credo, from Mass for the Madonna, in Fiori musicali
Rinaldo Alessandrini, organ
76. Biagio Marini: Sonata IV per il violino per sonar con due corde, from Op. 8
Romanesca
*77. Jean-Baptiste Lully: Armide, tragédie lyrique, excerpts
a) Overture
b) Act II, scene 5: Enfin il est en ma puissance
Chapelle Royale; Philippe Herreweghe, conductor
78. Elisabeth-Claude Jacquet de la Guerre: Suite No. 3 in A Minor, from Pièces de clavecin, Book I (1687)

*a) Prelude
*b) Allemande
*c) Courante I
d) Sarabande
e) Gigue
f) Chaconne
g) Gavotte
h) Menuet
Geneviève Soly, harpsichord
79. Henry Purcell: Dido and Aeneas, opera, conclusion
*a) Recitative: Thy hand, Belinda
*b) Lament (ground bass aria): When I am laid in earth
c) Chorus: With drooping wings
Lorraine Hunt (Dido); The Choir of Clare College, Cambridge; Philharmonia Baroque Orchestra; Nicholas McGegan, director
80. Tomás de Torrejón y Velasco, La púrpura de la rosa, opera, excerpt: Y bien, ¿qué es lo que adviertes?
Judith Malafronte (Venus), Ellen Hargis (Adonis); The Harp Consort; Andrew Lawrence-King, director
81. Juan de Araujo: Los coflades de la estleya, villancico
Ex Cathedra; Jeffrey Skidmore, conductor
82. Alessandro Scarlatti: Clori vezzosa, e bella, cantata, conclusion
a) Recitative: Vivo penando
b) Aria: Sì, sì, ben mio
Brian Asawa, countertenor; Arcadian Academy; Nicholas McGegan, music director
83. Arcangelo Corelli: Trio Sonata, Op. 3, No. 2
a) Grave
b) Allegro
*c) Adagio
*d) Allegro
Ingrid Seifert, violins; Charles Medlam, cello; Lars Ulrik Mortensen, organ
84. Dieterich Buxtehude: Praeludium in E Major, BuxWV 141, organ prelude
Harald Vogel, organ
85. Antonio Vivaldi: Concerto for Violin and Orchestra in A Minor, Op. 3, No. 6, from L'estro armonico
*a) Allegro
b) Largo
c) Presto
Simon Standage, violin; English Concert; Trevor Pinnock, harpsichord and conductor
86. François Couperin: Vingt-cinquième ordre, excerpts
a) La visionaire
*b) La muse victorieuse
Richard Rephann, harpsichord
*87. Jean-Philippe Rameau: Hippolyte et Aricie, opera: Act IV, conclusion
Les Musiciens du Louvre; Marc Minkowski, conductor
*88. Johann Sebastian Bach: Prelude and Fugue in A Minor, BWV 543
Michael Murray, Organ of St. Andreas-Kirk, Hildesheim
89. Johann Sebastian Bach: Chorale Prelude on Durch Adams Fall, BWV 637
Wolfgang Röbsam, organ
90. Johann Sebastian Bach: Nun komm, der Heiden Heiland, BWV 62, cantata
*a) Chorus: Nun komm, der Heiden Heiland
b) Aria (tenor): Bewundert, O Menschen
c) Recitative (bass): So geht aus Gottes Herrlichkeit und Throne
d) Aria (bass): Streite, siege, starker Held!
e) Accompanied recitative (soprano and alto): Wie ehren diese Herrlichkeit
f) Chorale: Lob sei Gott, dem Vater, ton
Sibylla Rubens, soprano; Sarah Connolly, alto; Christoph Prégardien, tenor; Peter Kooy, bass; Collegium Vocale; Philippe Herreweghe, director


*91. George Frideric Handel: Giulio Cesare, opera, excerpt: Act II, scenes 1-2
a) Eseguisti
b) V'adoro pupille
James Bowman (Giulio Cesare); Lynne Dawson (Cleopatra); La Grande Ecurie et la Chambre du Roy; Jean-Claude Malgoire, director
*92. George Frideric Handel: Saul, oratorio, excerpt: Act II, scene 10
a) Accompanied recitative: The Time at length has come
b) Recitative: Where is the Son of Jesse?
c) Chorus: O fatal Consequence of Rage
Marcel Beekman, tenor; Stephan MacLeod, bass; Junge Kantorei; Frankfurt Baroque Orchestra; Joachim Carlos Martini, conductor