early music fans may prefer (I know I do) a more serene version of the “alamo” by early 16th-century Spanish composer Juan Vazquez, the lovely Villancicos, “De los alamos venue” — “from the cottonwoods.”
Vasquez: De los alamos vengo Read More »
I first learned the Biber Passacaglia in a class with my earliest period instrument teacher, Jane Starkman, whom I met at my first Baroque Performance Institute.
Biber: Passacaglia in G minor from Mystery Sonata XVI Read More »
I love hearing the two recorders improvising together in Canarios.
Anoymous: Canario (17th century) Read More »
I have always loved Carver’s nineteen-voice motet for its easy navigation between intricately decorative figures and large-scale tutti acclamations that are both grand and serene at the same time.
Robert Carver: O bone Jesu a19 Read More »
When you play Louis’s music on a harpsichord, you understand why the instrument exists.
Louis Couperin: Suite de Pièces in C Major: Passacaille Read More »
