Early Music in parts for strings or wind
I am an amateur singer, viol, sackbut and recorder player who is passionate about music of the Renaissance.
I set a lot of music for myself and friends to play, since a great deal of choral music sounds great on viols but is only published in score. My editions almost always have parts and are clearly laid out, large enough to be visible from a stand and avoiding page turns in the middle of sections except where unavoidable.
The settings are a compromise between staying as close as possible to the original (with original note values and text underlay) but with some compromises to modern notation (they come with scores, normally have bar lines, sometimes transposed ranges to fit viols or recorders and suggested ficta).
Parts are available in string clefs suitable for viols (e.g. alto clef for tenor parts), wind clefs suitable for recorders or singers (e.g. octave treble clef for tenor parts) or both. Scores are in singer clefs. I sometimes provide editions at original and transposed pitches to suit different instrumentation and I am often willing to transpose individual pieces on request.
On this web site you will also find the first page of the score (with the part ranges) for each piece and midi files of the pieces. This is the best way to find out if the pieces will fit your instrumentation. Alternatively you can download the PDF catalogue which has a table of the pieces with the instrumentation and the prices for additional parts and scores.
I print to order and so I welcome comments or suggestions that might allow me to improve editions for the future.
To qualify for a discount on these prices, contact me to join the Particular Music Club.
Early music editions:
Gloria laus was a popular hymn, with a a repeated refrain, and was set by a number of composers (e.g. see editions AB3 & JR1). The words are the opening verses of a much longer Latin poem, entirely in elegiac couplets, by St Theodulph of Orleans (c.760-821).
XX1 Anon Gloria, laus et honor à 4 Score & set of parts £6
Antoine Brumel (c1460-c1512)
This mass by Brumel is an unusual piece with a special sound and extraordinary use of sequences. It is based on the Chanson by Josquin (also included) and as most sections include a cantus firmus, the part doing that (mostly the tenor part) has much less to do than the other parts, so it may not suit many groups, however the first section (Kyrie, Christe, Kyrie) and the final section (Agnus Dei I & III) provide a more balanced demand on each part and are well worth playing on their own. Two pitch versions are provided original in C and transposed down a 4th, the lower version in G being more suitable for renaissance viols.
AB1 Missa Berzerette Savoyenne à Score & set of parts £19.25
Original and low pitch versions:
This motet is published by Petrucci in Motetti libro quarto without any attribution but seems to have all the hallmarks of Brumel.
AB2 Brumel? Inviolata, integra et casta es à 4 Score & set of parts £6
This piece is published in Motetti libro quarto in 1505 by Petrucci attributed to Brumel. A later source (Formschneider 1538) attributes it to Josquin, but it seems to have all the signature mannerisms of Brumel. Gloria laus was a popular hymn, with a repeated refrain, and was set by a number of composers (e.g. see editions XX1 & AR1). The words are the opening verses of a much longer Latin poem, entirely in elegiac couplets, by St Theodulph of Orleans (c.760-821).
AB3 Gloria, laus et honor à 4 Score & set of parts £7
William Byrd (1540-1623)
These three masses are works of great beauty and feeling. When playing them you feel they could have been written especially for viols. Transposed versions are provided for the 3 and 4 part masses.
WB01 Mass à 3 Original and down a 4th versions Score & set of parts £7
WB02 Mass à 4 Original and down a 4th versions Score & set of parts £10
WB03 Mass à 5 Score & set of parts £11.25
This motet, published in Cantiones Sacrae II, is a setting of the meditation by friar Girolamo Savonarola (1452-98) on Psalm 0(51) from prison, written in his final hours before he was due to be burnt at the stake. Willaert, Lassus and Rore, also set these words and these settings are available (AW1, OL5, CR6/CR6d).
WB12 Motet: Infelix ego à 6 Score and set of parts £9
Pedro de Cristo (ca. 1548-1618)
Pedro de Cristo (ca. 1548-1618) was a monk from Coimbra in Portugal. He took his vows in the Monastery of Santa Cruz and subsequently became Maestro de Capella there and at Sãu Vicente de Fora in Lisbon. Over 200 motets, canticles and masses survive attributed to him, mostly in manuscripts (choirbook format) currently held in Coimbra and available to view on-line through the Portuguese Early Music Database. His style appears naïve, with generally rather limited ranges and much repetition and imitation, however the results can be hauntingly beautiful.
PC1 2 Motets à 4 Score & set of parts £4.75 NEW
1. Virgo prudentissima,
2. Quaeramus cum pastoribus
PC2 4 Motets à 4 Score & set of parts £5.50 NEW
1. De profundis,
2. Fuit homo missus a Deo,
3. Beata viscera Mariae,
4. Ave Regina caelorum
PC3 5 Motets à 4 Score & set of parts £10.50 NEW
1. Miserere mei Domine,
2. Hie mihi,
3. Lachrimans sitivit anima mea,
4. O crux venerabilis,
5. Inver vestibulum
PC4 2 Motets à 4 Score & set of parts £4.75 NEW
1. Sanctissimi quinque martires,
2. O magnum mysterium
PC5 Lamentations of Jeremiah à 4 Score & set of parts £6.50 NEW
PC6 4 Motets à 5 Score & set of parts £6.25 NEW
1. Inter natos mulierum,
2. Quae est ista,
3. Miserere mei,
4. Osanna filio David
Constanzo Festa (c1490-1545)
Festa’s flowing polyphonic style works well on renaissance instruments. This is a selection of his 3 part motets taken from a popular publication from the 16th century.
CF1 5 Motets à 3 Score and set of parts £9.25
Andrea Gabrieli (c1510-c1586)
These madrigals were settings of stanzas (30 in all) by Luigi Tansillo, Ludovico Ariosto and Pietro Bembo. They were very popular in their time and work well on viols or recorders.
AG1 9 Madrigals à 3 Score and set of parts £22.50
These 9 six part motets are from a volume of 39 motets published after Andrea’s death by his nephew and pupil Giovanni Gabrieli and all but one are by Andrea. They work very well on viols or recorders (though a few notes do go just below the bass recorder range). The low pitch version is aimed at renaissance viols, with a tenor in A on the top parts and bass in A on the lowest parts.
AG2 9 Motets à 6 Score and set of parts £25
Carlo Gesualdo (1560-1613)
This edition of his motets includes all 19 that survive. His motets tend to be performed less frequently than some of his extraordinary madrigals but are nevertheless extremely rich and passionate music. They are less idiomatically vocal (fewer rapid passages) so transfer well to performance on viols, which can show the glorious harmonies to advantage. Most fit comfortably within the range of recorders too.
CG1 19 Sacred Motets à 5 Score & set of parts £26.25
Johannes Ghiselin (1491-1507)
Ghiselin (also known as Verbonnet) was a contemporary of Josquin and probably worked alongside him at times. These motets are not as quirky as many of Josquin’s works but are very beautiful. The motets generally include a cantus firmus line and the texture often reduces to 3 or 2 parts. The three instrumental pieces based on La Spagna and Fors Seulement I & II are substantial works, very rewarding to play.
JG1 5 Motets à 4 Score & set of parts £13.25
JG2 3 Instrumental pieces à 4 Score & set of parts £4
Nicholas Gombert (c1495-c1560)
Gombert was highly regarded by his contemporaries; in particular his music was recommended by Ganassi for playing on viol consort (he also recommended that of Willaert). Gombert wrote many motets – these are just a sample showing his mastery of counterpoint. The mass based on a popular four-part Chanson Je suis desheritée by Caron is very attractive; a performing copy of the chanson is also included. Note - this mass includes sections in 2 parts (parts of the Gloria and Sanctus) and in 3 parts (parts of the Gloria, Credo and the Benedictus) which can stand alone as pieces on their own; the second Agnus is in 6 parts, but works as a four-part piece with some of the missing phrases shared out in other parts.
NG1 5 Motets à 4 Score & set of parts £13
NG2 Mass “Je suis desheritée” à 4 Score & set of parts £13
Heinrich Isaac (c.1450-1517)
Around 50 motets composed by Isaac, mainly in 4 parts, survive today. Many are substantial multi-part works with intricate counterpoint, which make satisfying instrumental pieces. The first volume includes a haunting dirge on the death of Lorenzo de’ Medici and two laments, and the fourth has a long setting of lamentations from the book of Jeremiah. The second volume contains Marian motets and the third contains settings from the Song of Songs. The six-part volume includes the famous Virgo prudentissima as well as the equally glorious but lesser known Angeli archangeli.
HI1 3 Motets à 4 Score & set of parts £7.50
1. Quis dabit capiti meo aquam?
2. Sustinuimus pacem 3. Quis dabit pacem populo timenti?
HI2 3 Motets à Score & set of parts £15
1. Alma redemptoris
2. Ave ancilla trinitatis
3. O Maria mater Christi
4. Ave sanctissima Maria
HI3 3 Motets à 4 Score & set of parts £11
1. Anima mea liquefacta est
2. Quae est ista
3. Tota pulchra es
HI4 2 Motets à 4 Score & set of parts £11
1. Oratio Jeremiae prophetae
2. Argentum et aurum
HI5 2 Motets à 4 Score & set of parts £11
1. Prophetarum maxime
2. Benedic, anima mea, Domino
HI6 4 Motets à 6 Score & set of parts £20
1. Optime divino date munere pastor ovili
2. Angeli archangeli
3. Virgo prudentissima,
Josquin des Prez (c1450-1521)
This famous mass will be well known to singers. Josquin’s vocal music does not always work in instrumental performance but this succeeds. There are a number of sections in two and three parts which can stand alone.
JP1 Mass Pange Lingua à 4 Score & set of parts £13
The Chanson is a masterpiece of writing for 3 equal parts – typical of the composer’s style and an exciting piece to perform. The motet is quite a contrast, being a contemplative but moving meditation on the passion of Christ.
JP2 Chanson La belle se siet à 3 Score & set of parts £2
JP3 O Domine Jesu à 4 Score & set of parts £7
This famous motet on Psalm 50(51)—the fourth penitential psalm—by Josquin is believed to have been inspired by the meditation of friar Girolamo Savonarola (1452-98) on that psalm, from prison, written in his final hours before he was due to be burnt at the stake. It in turn appears to have inspired a number of motet settings of that mediation titled Infelix ego by composers including Willaert, Lassus and Rore (working for patrons of the court of d’Este), who quote the cantus firmus; these settings are also available from Particular Music.
JP4 Motet: Miserere mei, Deus à 5 Score & set of parts £5.50
These two motets by Josquin have been selected because Ludwig Senfl based a composition on each of them (see LS2 & LS3). The cantus firmus of Stabat Mater is based on the tenor line of the chanson Comme femme descomfortée, surviving in a setting by Binchois (The Mellon Chansonnier). Josquin’s Ave Maria is published by Bernard Thomas (in halved note values) and many people will have a copy of this, this edition is published for those who do not have that publication.
JP5 Stabat mater à 5 Score & set of parts £5.25
JP6 Ave Maria à 4 Score & set of parts £3
Two well-known motets, also edited by Senfl.
JP7 Pater noster/Ave Maria à 6 Score & set of parts £5
JP8 Inviolata integra et casta à 5 Score & set of parts £5
Francesco Landini (c1335-1397)
Landini’s 3 part ballate can be performed on viols or recorders, with a mixture of viols and recorders or with the top line sung – available at high or low pitch. The ballate in volume one have been chosen because for each piece the score fits a single opening, which makes it easier to sight-read the sometimes complex rhythms; these scores are available at two pitches and in string or wind/vocal clefs – please specify how many of each type of score when ordering.
FL1 Vol. 1: 17 Ballate à 3 High and low pitch versions 3 Scores £15
Volume two comes with score and parts as normal and in this volume each part is underlayed with text; the volume is also available at two pitches.
FL2 Vol. 2: 6 Ballate à 3 High and low pitch versions Score & set of parts £5.50
Orlando Lassus (1534-1594)
Lassus wrote the Penitential Psalms in about 1559 for his employer, Duke Albrecht V of Bavaria. Each verse is set in a separate section, often with a reduced number of parts. Lassus’ masterly word-setting responds to every nuance of the text, so the translation is printed at the start of each section. This edition for instrumentalists is available at two pitches and in string or wind/vocal clefs – please specify how many of each type of score when ordering. The final sections of each psalm are in 6 parts, but a five-part edited version is included.
OL1 Vol. 1: Penitential Psalms I-III à 5 High and low pitch versions Score & set of parts £30
OL2 Vol. 2: Penitential Psalms IV-VII à 5 High and low versions Score & set of parts £35
OL3 Vol. 3: Laudate dominum à 5 High and low pitch versions Score & set of parts £8.75
The Nine Readings from the book of Job are equally rewarding and unlike the Penitential Psalms are in 4 parts throughout. Again they are available at two pitches.
OL4 Nine Readings from Job à 4 High and low pitch versions Score & set of parts £25
This motet is a setting of the meditation by friar Girolamo Savonarola (1452-98) on Psalm 50(51). Other settings of these words by Willaert (AW1), Rore (CR6/CR6d) and Byrd (WB12) are also available.
OL5 Motet: Infelix ego à 6 Score & set of parts £5
There are two settings of the Lamentations of Jeremiah by Lassus. The five-part setting is more well known, but the four-part setting is perhaps more useful. It is published here in two volumes, the first covering Maundy Thursday and the second Good Friday and Saturday.
OL6 Lamentations (Vol I) à 4 Score and set of parts £10
OL7 Lamentations (Vol II) à 4 Score and set of parts £20
This very beautiful two-part motet is unusual in having a cantus firmus part in a high voice.
OL8 Fremuit spiritu Jesus à 6 Score and set of parts £5
The five-part lamentations are published in one volume. The first and third sections of day 3 have been transposed to obviate instrument changes; original pitches throughout are available on request.
OL9 Lamentations) à 5 Score and set of parts £30
Jehan L’Héritier (c1480-1552?)
He was born near Paris and was reported to be a pupil of Josquin. He moved to Italy and is recorded as working in Ferrara, Rome, Mantua and Verona. His surviving output is almost entirely sacred (44 motets and one mass). Many of his motets, particularly the 4 and 5 part ones, can feel a little long and unvaried when played on instruments so this is a small selection that are more rewarding. The six part motet Salve Regina is a little hard to bring off but worth working on. The two motets Redde mihi laetitiam & Nigra sum sed Formosa both have cantus firmus parts and are linked by the text Nigra sum sed Formosa.
LH1 Motet: Salve Regina à 6 Score & set of parts £7.50
LH2 2 motets a6 Score & set of parts £6. 50
1. Redde mihi laetitiam
2. Nigra sum se d Formosa
LH3 Ave virgo gloriosa à 3 Score & set of parts £2. 50
LH4 3 motets à 4 Score & set of parts £7
1. Beata es, virgo Maria,
2. Virgo Christi egregia
3. Ave Maria, gratia plena
Nicholas Ludford (c1485-1557)
This mass is taken from the Arundel choirbook, a rare English survivor from the 16th century. The style contains frequent changes in the number of voices (not unlike Josquin) and it is rhythmically complex which perhaps makes it rather challenging for instrumental players – however the music is divine and well worth the effort.
NL1 Mass Benedicta et venerabilis à 6 Score & set of parts £18
Luzzasco Luzzaschi (1544-1607)
Luzzaschi is not much heard now, but like many outstanding composers of madrigals he was based at the Este court in Ferrara. He was apprenticed to Cipriano de Rore and was a generation ahead of Marenzio and Monteverdi. These two editions cover his 2nd book of five part madrigals published in 1576. One volume contains a selection of madrigals from his second book where the range fits a treble viol or descant recorder on the top line and a bass on the 5th line, the second where the top line fits an alto viol or treble recorder.
LL1 Nine madrigals à 5 Score & set of parts £8.75
LL2 Fourteen madrigals à 5 Score & set of parts £12
Jacquet de Mantua (1483-559)
Jacquet de Mantua was born in France but spent his working life in Italy. These four motets show what he is capable of; a haunting setting of O vos omnes and a short and very beautiful setting of O Jesu Christe frame two more up-beat motets.
JM1 Four motets in 4 parts Score & set of parts £12
1.O vos omnes
2.Alleluia surrexit Dominus vere
3.O Angele Dei
4. O Jesu Christe
Giovanni Pierluigi da Palestrina (c.1525-1594)
These two settings from Song of Songs worked well in a concert of voices and viols.
GP1 2 Motets from Song of Songs à 5 Score & set of parts £5
1. Quae est ista,
2. Descendi in hortum meum
Dominique Phinot (c.1510-c.1556)
He was probably born in France but worked mainly in Italy (Urbino), though he also worked in southern France. His polychoral works were admired by both Palestrina and Lassus and frequently reprinted. The Lamentations starts and finishes in two ATTB choirs but in between there are two 4 part sections, a high choir followed by a low choir.
DP1 Lamentations in 8 parts Score & set of parts £9
DP2 Two polychoral motets in 8 parts Score & set of parts £9
1. O sacrum convivium
2. Tanto tempore vobiscum
Jean Richafort (c.1480-c.1547)
He was born in the Netherlands, studied with Josquin and wrote a famous requiem in memoriam Josquin des Prez. He is known to have been choirmaster in Mechlen, Flanders (1507-09) and Bruges (1542-47) however the rest of his career is uncharted, although some of his music was written for Louis XII of France. Fifteen of his motets were published by Attaignant and a book of his motets was published by LeRoy & Ballard, both in Paris. This is a selection that seem to work well on instruments.
Gloria laus was a popular hymn, with a a repeated refrain, and was set by a number of composers (e.g. see editions XX1 & AB3). The words are the opening verses of a much longer Latin poem, entirely in elegiac couplets, by St Theodulph of Orleans (c.760-821). Veni Electa is a particularly sparse 6 part setting and very beautiful. Salve Regina is a long work and difficult to bring off on instruments.
JR1 Gloria, laus et honor à 4 Score & set of parts £4.50
JR2 Hac clara die à 4 Score & set of parts £5
JR3 2 motets for low voices Score & set of parts £6.50
JR4 Veni electa mea à 6 Score & set of parts £5
JR5 Two motets à 5 Score & set of parts £6.25 NEW
1. Jerusalem luge,
2. Ave Maria gratia plena
JR6 Salve Regina à 5 Score & set of parts £7.50 NEW
Cipriano de Rore (1515-1565)
Rore’s motets are a delight and deserve to be better known. He wrote a great many in a variety of styles and these are an initial selection. The notes are generally straightforward while the time changes provide structural interest. The two madrigals and antiphon in 3 parts are the only surviving three-part vocal music apart from sections of his masses. The mass is based on the famous chanson Doulce Memoir.
CR1 10 Motets à 4 for low voices Score & set of parts £18.75
CR2 6 Motets à 5 Score & set of parts £11.25
CR3 3 Motets à 7 Score & set of parts £13.75
CR4 2 Madrigals & 1 Antiphon à 3 Score & set of parts £5.75
Original and down a 4th versions
CR5 Mass Doulce Memoire à 5 Score & set of parts £15.75
These six-part motets are particularly fine works. One in particular, Infelix ego, is a setting of the meditation by friar Girolamo Savonarola (1452-98) on Psalm 50(51); it has a cantus firmus part based on Josquin’s Miserere, though not as sparse. This motet is also published on its own and other settings of these words by Willaert (AW1), Lassus (OL5) and Byrd (WB12) are also available. The six-part motets are particularly fine works.
CR6 4 Motets à 6 Score & set of parts £18
CR6d Motet: Infelix ego à 6 Score & set of parts £7
Pierre de la Rue (1452-1518)
De la Rue is known for his technical competence in contrapuntal writing, rhythmic complexity and use of dissonance; however his settings of the lamentations are more straightforward than many of his works. This edition has just the first reading for Thursday, as other lessons have too many changes in number of voices to be so suitable for consort playing.
PR1 Lamentations: Thursday I à 4 Score & Set of parts £4
Vincenzo Ruffo (C.1508-1587)
This varied collection of instrumental trios has been transcribed, retaining the original sequence, pitches and note values. The second and third parts generally fit a tenor and bass instruments in all the pieces, but the top part varies in range piece by piece, ideally requiring a change of instrument. This publication keeps these original pitches, but the top part is supplied in various options:
1. Entirely in treble clef, resulting sometimes in many ledger lines, but allowing all the pieces to be played on an alto instrument.
2. A mixture of treble and octave treble clefs for descant, treble and tenor recorders.
3. A mixture treble and alto clefs for treble, alto and tenor viols.
To go with option 1 a top part supplement is available with the 8 low range pieces in the alto clef.
In one piece the bass part has a very wide range and so the bass part is available with that piece either in just the bass clef (with ledger lines) or with the upper range passages in the alto clef as is common for viol players.
For those who want to be able to play all the pieces with a treble instrument on the top line, there is a separate publication with the 8 low pitched pieces 5, 6, 7, 13, 15, 18, 19 and 21 transposed up a 5th to fit a treble viol or descant recorder on the top line.
VR1 23 Capricci à 3 Score & Set of parts £22
VR1a 8 Capricci à 3 (transposed) Score & Set of parts £4.75
Ludwig Senfl (1486-c1542)
This cycle of 4 pieces based on Fortuna desperate show his mastery of the tenor lieder. The tenor part plays the same cantus firmus part in each setting while the other parts have music based on another text, making four quite different pieces. In this edition all the parts are underlayed; the quintus part is high in the first two pieces and low in the second two.
LS1 Four pieces based on Fortuna desperata à 5 Score and set of parts £8.75
These two stunning motets are both based on compositions by Josquin (see JP5 & JP6). The ranges of Ave, rosa sine spinis lie outside the comfortable ranges of recorders, but wind clefs are available on request. N.B both motets have a cantus firmus part.
LS2 Ave, rosa sine spinis à 5 Score and set of parts £5.25
LS3 Ave Maria à 6 Score and set of parts £10.50
More glorious motets from choirbooks edited by Senfl. Tota pulchra es has a challenging final section, but it is worth it. Sancte pater divumque decus has two cantus firmus parts in canon and was clearly meant to impress – it is a big piece at 265 bars. Mater digna Dei also has a cantus firmus part and paired with O gloriosum lumen they makes an upbeat set. Gaude Dei Genitrix is another cheerful two-part motet, and so too, on a grander scale is Verbum caro factum est – a motet for Christmas day.
LS4 Tota pulchra es à 5 Score & set of parts £6.50
LS5 Verbum caro factum est à 6 Score & set of parts £8
LS6 O Gloriosum lumen & Mater digna dei à 5 Score & set of parts £13
LS7 Sancte pater divumque decus à 6 Score & set of parts £9
LS8 Gaude Dei genitrix à 4 Score & set of parts £4.50
Claudin de Sermisy (c.1490 -1562)
Claudin is perhaps less well known now; he was a singer and composer at various cathedrals in France and at the royal court. These 7 motets are simple but attractive pieces that work well on viols or recorders – in particular 5 of them are suitable for two A tenor renaissance viols.
CS1 7 Motets à 3 Score and set of parts £11.25)
Thomas Tomkins (1572-1650)
Tomkins is well known for his madrigals and instrumental pieces. These seven penitential psalms in 3 parts make a nice set, though they are less easy to bring off as purely instrumental pieces. The ranges are a little problematic; the final piece would be better on two alto viols and a bass viol, but I have left it in the same clefs as the rest as it is possible to play it on a treble and two tenors. Recorder players will need to be flexible as the outer part ranges fluctuate between Descant and Treble and between Tenor and Bass.
TT1 Seven Penitential Psalms 3 Score & set of parts £8.50
Tomás Luis de Victoria (1548-1611)
Victoria’s motets seem to work brilliantly on viols or recorders and are very rewarding to play. These are a selection of 4, 5 and 6 part pieces published while he was working in Rome.
I have tried to group them by the ranges of the parts.
TV1 Two motets in 6 parts Score & set of parts £6
1. Surrexit pastor bonus
2. Congratulamini mihi
TV2 Motet Vadam et circuibo civitatem à 6 Score & set of parts £6
TV03 Two motets in 6 parts Score & set of parts £6
1. Benedicta sit sancta Trinitas
2. O Sacrum convivium
TV04 Motet Salve Regina à 6 Score & set of parts £6
Includes one 4 part section.
TV05 Three motets in 5 parts Score & set of parts £5
1. Gaude Maria Virgo
2. O lux et decus Hispanae
3. Resplenduit facies ejus
TV06 Two motets in 5 parts Score & set of parts £5
1. Alma Redemptoris Mater
2. Ecce, Dominus veniet
TV07 Two motets in 5 parts Score & set of parts £5
1. Ave Regina caelorum
2. Regina caeli laetare
TV08 Two motets in 5 parts Score & set of parts £5
1. Tantum ergo
2. Descendit angelus
TV09 Three motets in 5 parts Score & set of parts £10
1. Ascendens Christus in altum
2. Dum complerentur dies Pentecostes
3. Cum beatus Ignatius
TV10 Two motets in 4 parts Score & set of parts £3.50
1. O quam gloriosum
2. Senex puerum portabat
TV11 Seven motets in 4 parts Score & set of parts £15
1. Doctor bonus
2. Quam pulchra sunt
3. O decus apostolicum
4. O magnum mysterium
5. Magi viderunt stellam
6. Sancta Maria, succurre miseris
7. Gaudent in caelis
TV12 Four motets in 4 parts Score & set of parts £7
1. Ne timeas Maria 2. Pueri Hebraeorum 3. Vere languores nostros 4. O vos omnes
TV13a Three high motets in 4 parts Score & set of parts £9
TV13b Three low motets in 4 parts Score & set of parts £9
1. O Regem caeli
2. Duo Seraphom
3. O sacrum convivium
These are marked ‘Cum paribus vocibus’ in the source and so suit all male or female choirs. The low version can, for example, be played on 4 tenor sackbuts.
Giaches de Wert (c1535-1596)
Giaches de Wert (1535-1596) spent most of his life in Mantua working for the Gonzaga family. He was closely associated with the musical life at the court of the D’Este family in Ferrara where many of the foremost madrigal composers of the century worked or visited. His early work is clearly influenced by Cipriano de Rore, and his later work shows he was at the forefront of the madrigalist movement in Italy.
De Wert published 12 sets of madrigals in 5 or more parts and one set in 4 parts. The first two editions contain selections from his four-part publications – early works but very accomplished - the second edition being for lower instruments in the first two voices. The third edition includes all the five-part madrigals from his 9th book – mature works that demonstrate his genius (*the line goes slightly below the range of the recorders in a few places). The final two cover the six-part madrigals in books 5, 7 and 9.
GW1 5 Madrigals à 4 Score & Set of parts £8
GW2 8 Madrigals à 4 Score & Set of parts £14
GW3 10 Madrigals (book 9) à 5 Score & Set of parts £27
GW4 4 Madrigals (book 9) à 6 Score & Set of parts £13
1. Un bacio solo
2. Ha ninfe adorn’ e belle
3. Quel rossignol
4. Mesola, il Po da lato
GW5 3 Madrigals (books 5 & 7) à 6 Score & Set of parts £13
1. Le strane voci
2. Queste non son più lagrime
3. Gratie ch’a pochi il ciel
Robert White (c1538-1574)
Viol players may be familiar with his fantasias, however these Lamentations are in a different class – music for that desert island list. The motet Libera me, with a cantus firmus tenor and two trio sections, is less intense but still sublime. His motet Miserere contains more homophonic sections so perhaps works less well on just instruments, but try it with the top line sung; it is a substantial work.
RW1 Lamentations à 5 Score & set of parts £10
RW2 Libera me à 4 Score & set of parts £3.25
RW3 Miserere à 5 Score & set of parts £5.75
John Wilbye (1574-1638)
There is only one surviving motet by Wilbye, and unlike his many well known madrigals it only survives in manuscript, so tends to get missed. It is an engaging piece.
JW1 Motet à 6 Homo natus de muliere Score & set of parts £2
Adrian Willaert (1490-1562)
This motet Infelix ego was a setting of the meditation by friar Girolamo Savonarola (1452-98) on Psalm 50(51) from prison, written in his final hours before he was due to be burnt at the stake. It quotes the cantus firmus part from Josquin’s motet Misere and was followed by many others including Lassus, Rore and Byrd, whose settings are also available (OL5, CR6/CR6d, WB12).
AW1 Motet: Infelix ego à 6 Score and set of parts £5
Daniel Pegler (1799-1869)
This is the only surviving piece for piano composed by one of my ancestors, a professional musician and teacher. I would not claim it is great music but I hope a new generation will find it entertaining.
DP1 Introduction & Waltz Rondo for Piano Forte - £2
David Pennant (1951- )
David is a long-time friend and works as a piano teacher in Woking with over 50 pupils.
The composer's website has further information. www.pennantpublishing.co.uk
Confessions of a Piano Teacher. 19 short pieces (Tombola, Melody, Spanish Waltzer, Fishing for Ducks, Gondola Ride, Shooting Gallery, The Little Train, Pirate Ship, Helter Skelter, Hot Dog Vendor, Log Flume, Carousel, Runaway Train, Wall of Death, Horse Racing, Whirling Teacups, Elise by Starlight, Circus Animals (duet), Candy Floss to Take Home). Standard Grade eight. 2012.
DFP1 Fair Ground Suite for Piano - £5.50
The Book of Daniel. 10 pieces telling the story of the Bible Book. Standard Grade eight. 2013.
DFP2 The Book of Daniel - £3.50
Wildlife in the Psalms. 22 short pieces (Pelican in the Wilderness, Babes and Sucklings, The Eagle, Fish in the Sea, Horse and Mule, Coneys, Lion and Cobra, The Swallow at the Altar, Sheep, Lambs, Dogs Howling round the City, Cattle and Young Ravens, The Deer, Bees, Monsters of the Deep, The Wild Ox Tossing His Horn, Bird on the Roof, Bulls of Bashan, Frogs Flies and Lice, The Leviathan's Frolic, Desert Owl among the Ruins, Beasts of the Field and Birds of the Air). Standard Grade eight. 2015.
DFP4 Wildlife in the Psalms - £6
Thirty short pieces for pianists in their early years. Much easier than his other offerings!
DFP5 Easy Peasy Pieces for Piano (With some harder ones) - £5
The Resurrection for SATB, Soprano Tenor Bass and Bass soloists and organ. A 35 minute sequel to Stainer's Crucifixion (the composer's great-grandfather). 2015.
DFP3 The Resurrection - £5
Viol size designation A has a range suitable for Alto or A tenor renaissance viol and most tenor lines can be played comfortably on bass viols reading from the alto clef.
* added to the instrument name indicates that the part sometimes goes a little outside the range of the instrument.
cf added to the instrument name indicates that the part is solely a Cantus Firmus part.
To order contact Stephen Pegler: email@example.com.
Number Three, Rectory Lane, Pulborough RH20 2AB UK. Phone +44 (0)1798 874193
N.B. Scores are in singer clefs; please specify if the alto and tenor parts should be suitable for viols (C3) or singers and recorders (G2 or G28).
Postage & packing 10% in UK, overseas at cost, minimum £2.00.
Payment in advance by bank transfer (details on invoice), UK cheque payable to S.H. Pegler or PayPal (I will send a PayPal invoice on request).