Music History

Flow My Tears

Composed by John Dowland in 1600, adapted from a lute piece 'Lachrimae', in pavane form with AABBCC structure.

Revecy venir du printans

Composed by Claude Le Jeune in the late 1500s, exemplifies musique mesurée, unifying poetry and music in French.

Canzon a 8 from Sacrae Symphoniae

Giovanni Gabrieli's 1597 piece with two groups of instruments, canzona form, and divided choirs for cathedral performance.

Amarilli mia bella

Giulio Caccini's 1602 piece from Le nuove musiche, focusing on expressive ornamentation and the Greek myth of Amaryllis.

L’Orfeo, Toccata

Claudio Monteverdi's 1607 opera with flexible recitative, dramatic unity, and a baroque toccata section.

Vespers of 1610, I

Claudio Monteverdi's 1610 piece showcasing various styles, considered a job application after leaving Mantua.

L’incoronazione di Poppea, ‘Pur ti miro'

Claudio Monteverdi's 1643 opera finale scene with word painting, dissonances, and depiction of human emotions.

Lagrime mie

Barbara Strozzi's 1659 cantata with recitative, arioso, and aria sections, emphasizing seconda prattica tradition.

Pièces de clavecin, Suite No

Élisabeth Jacquet de la Guerre's 1687 publication at 22, featuring prelude, dances, and rhythmic freedom.

As Vesta Was

Thomas Weelkes. 1601. Initially dedicated to Anna of Denmark, later changed to Queen Elizabeth. Poetry by Weelkes features literal word painting and self-written text. Incorporates Greek mythology, specifically the story of 'maiden queen’ related to Diana. Repetition of 'Long live fair Oriana' 49 times for emphasis. Designed for amateur singers to perform at home