The Oxford Anthology of Western Music, Volume One: The Earliest Notations to the Early Eighteenth Century, accompanies chapters 1-11 of The Oxford History of Western Music, College Edition*, by Richard Taruskin and Christopher H. Gibbs (9780195097627).
From ancient Greek music and Christian plainchant to the keyboard sonatas of Domenico Scarlatti, this comprehensive volume includes a rich assortment of landmark musical scores. These include works found in many surveys as well as important pieces that are rarely anthologized, including Antoine de Févin's Missa super Ave Maria; Adrian Willaert's Benedicta es; the Overture and Act 3 of Jean-Baptiste Lully's Atys; Dietrich Buxtehude's Durch Adams Fall; and an aria from Jean-Philippe Rameau's Castor et Pollux.
Designed with students in mind, this unique collection includes introductory essays at the beginning of each piece and an index of names and terms.
A corresponding set of recordings* (2 CDs) contains all musical examples from the anthology in high-quality MP3 format (9780199768288).
ALSO AVAILABLE*
Oxford Anthology of Western Music Volume Two: The Mid-Eighteenth Century to the Late Nineteenth Century Edited by Klįra Móricz and David E. Schneider > V2 Print Anthology: 9780199768264 > V2 Recorded Anthology (3 CDs): 9780199768295
Oxford Anthology of Western Music Volume Three: The Twentieth Century Edited by Klįra Móricz and David E. Schneider > V3 Print Anthology: 9780199768271 > V3 Recorded Anthology (2 CDs): 9780199768301
Oxford Recorded Anthology of Western Music Concise Edition > Recorded Anthology (3 CDs): 9780199768318
The Oxford History of Western Music College Edition Richard Taruskin and Christopher H. Gibbs > Textbook: 9780195097627
* Sold separately
Preface ; Note on Score Reading ;
1. Epitaph of Seikilos ; Instructions
for Reading Quadratic Notation ;
2. Psalm Verse, Justus ut palma (Ps. 91, 12)
in Four Liturgical Settings ; a) Antiphon to Full Psalm Recitation
(Commemoration of a Martyr Saint) ; b) Introit (Commemoration of a Saint Who
Was a Confessor but Not a Bishop) ; c) Offertory (Commemoration of a Church
Doctor) ; d) Alleluia (Commemoration of an Abbot) ;
3. Two Graduals ; a)
Justus ut palma (Feast of St. John the Baptist) ; b) Haec dies (Easter
Sunday) ;
4. Frankish Chants for the Mass Ordinary ; a) Kyrie IV ; b)
Cunctipotens Genitor Deus ; c) Gloria IV ; d) Credo I ; e) Sanctus I ; f)
Agnus Dei II ;
5. Two Sequences in Modern Use ; a) Victimae paschali laudes
(Easter) ; b) Dies irae (Mass for the Dead) ;
6. Hildegard of Bingen, Columba
aspexit (Sequence for St. Maximinus) ;
7. Three Frankish Hymns ; a) Ave maris
stella (Veneration of the Virgin Mary) ; b) Pange lingua gloriosi (Feast of
Corpus Christi) ; c) Veni creator spiritus (Pentecost) ;
8. Two Tropes to the
Easter Introit, Resurrexi et adhuc tecum sum ; a) Ecce pater ; b) Quem
quaeritis in sepulchro ;
9. Two Marian Antiphons ; a) Regina caeli laetare ;
b) Salve Regina ;
10. Bernart de Ventadorn, Can vei la lauzeta mover ("When I
see the lark flutter his wings") ;
11. Marcabru, L'autrier jost' una sebissa
("The other day by a hedge row") ;
12. La Comtessa de Dia, A chantar m'er de
so qu'ieu no volria ("I must sing of that which I would rather not") ;
13.
Richard the Lionheart, Ja nun hons pris ("No captive can tell his story") ;
14. Moniot d'Arras, Ce fut en mai ("It was in May") ;
15. Adam de la Halle,
Three Dance Songs with Refrains ; a) Je muir, je muir d'amorete ("I die, I
die of love"), Rondeau ; b) Dieus soit en cheste maison ("God, be in this
house"), Ballade ; c) Fines amouretes ("I have many fine lovers"), Virelai ;
16. Anonymous, Jubilemus exultemus ;
17. Anonymous, Ad superni Regis ;
18.
Leonin, Viderunt omnes ;
19. Perotin, Viderunt omnes ;
20. Anonymous, Vetus
abit littera ;
21. Anonymous, Ex semine rosa/Ex semine Habrahe/EX SEMINE ;
22. Anonymous, L'autre jour/Au tens pascour/IN SECULUM ;
23. Anonymous, On
parole/A Paris/FRESE NOUVELE ;
24. Attributed to Philippe de Vitry,
Tribum/Quoniam/MERITO ;
25. Guillaume de Machaut, Felix virgo/Inviolata/AD TE
SUSPIRAMUS ;
26. Guillaume de Machaut, Three Virelais ; a) Douce dame jolie
("Fair, sweet lady") ; b) En mon cuer ("In my heart") ; c) Tres bonne et
belle ("Very good and beautiful lady") ;
27. Guillaume de Machaut, Rose, liz
("Rose, lily") ;
28. Guillaume de Machaut, Messe de Nostre Dame ("Mass of Our
Lady"), Kyrie ;
29. Philippus de Caserta, En remirant ("While admiring") ;
30. Solage, Fumeux fume ("A smoker smokes") ;
31. Jacopo da Bologna, Two
Settings of Osellecto selvaggio ("A wild bird") ; a) Madrigal ; b) Caccia ;
32. Francesco Landini, Non avra ma' pieta ("My lady will never have on pity
me") ;
33. Johannes Ciconia, Doctorum Principem/Melodia Suavissima/VIR MITIS
;
34. Guillaume Du Fay, Nuper rosarum flores/TERRIBILIS EST LOCUS ISTE ;
35.
Anonymous, Sumer is icumen in ("Summer has come") ;
36. Anonymous, Thomas
gemma Cantuariae/Thomas cesus in Doveria ;
37. John Dunstable, Quam pulchra
es ;
38. Guillaume Du Fay, Ave maris stella ;
39. Gilles Binchois, Deuil
angoisseux ("Anguished grief") ;
40. Anonymous, Missa Caput, Kyrie ;
41.
Johannes Ockeghem, Missa Caput, Kyrie ;
42. Antoine Busnoys, Missa L'homme
arme ; a) Sanctus ; b) Agnus Dei ;
43. Philippe Basiron, Salve regina ;
44.
Loyset Compere, Ave Maria ;
45. Johannes Ockeghem, Ma bouche rit ("My mouth
laughs") ;
46. Johannes Ghiselin, La Alfonsina ;
47. Josquin des Prez, Ave
Maria ... Virgo serena ;
48. Antoine de Fevin, Missa super Ave Maria, Kyrie ;
49. Josquin des Prez, Benedicta es ;
50. Adrian Willaert, Benedicta es ;
51.
Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (Mass of Pope
Marcellus), Kyrie, Gloria, Credo ;
52. Giovanni Pierluigi da Palestrina, Tui
sunt caeli ;
53. William Byrd, two settings of the Agnus Dei ; a) The Mass in
Four Parts ; b) The Mass in Five Parts ;
54. Johann Walther, Christ lag in
Todesbanden ("Christ lay in the bonds of death") ;
55. Giovanni Gabrieli, In
ecclesiis ;
56. Marco Cara, Mal un muta per effecto ("One cannot really
change") ;
57. Claudin de Sermisy, Tant que vivray ("As long as I live") ;
58. Orlando di Lasso, Four Compositions ; a) Je l'ayme bien ("I love her") ;
b) Matona mia cara ("My lady, my darling") ; c) Audite nova ("Hear the news")
; d) Prophetiae Sibyllarum, Prologue ;
59. Jacques Arcadelt, Il bianco e
dolce cigno ("The white and sweet swan") ;
60. Cipriano de Rore, Dalle belle
contrade d'oriente ("From the fair regions of the east") ;
61. Luca Marenzio,
Solo e pensoso ("Alone and thoughtful") ;
62. Claudio Monteverdi, Cruda
Amarilli ("Cruel Amaryllis") ;
63. Carlo Gesualdo, Moro, lasso ("I shall die,
O miserable me") ;
64. Thomas Weelkes, As Vesta was from Latmos hill
descending ;
65. Giulio Caccini, Le nuove musiche: "Amarilli, mia bella"
(Amaryllis, my beautiful one") ;
66. Jacopo Peri, Le musiche ... sopra
l'Euridice, Excerpt from Scene 2 ;
67. Claudio Monteverdi, L'Orfeo favola in
musica, Act 2 ;
68. Claudio Monteverdi, L'incoronazione di Poppea ("The
Coronation of Poppea"), Excerpts from Acts 1 and 3 ;
69. Girolamo
Frescobaldi, Cento partite sopra passacagli, ("A Hundred Variations on
Passacagli") ;
70. Samuel Scheidt, Christ lag in Todesbanden ("Christ lay in
the bonds of death") ;
71. Heinrich Schutz, Symphoniae sacrae: I, Op. 6, "O
quam tu pulchra es" ("O how beautiful art thou") ;
72. Heinrich Schutz,
Symphoniae sacrae: III, Op. 12, Saul, Saul, was verfolgst du mich, ("Saul,
Saul, why do you persecute me?") ;
73. Giacomo Carissimi, Jephthe, Concluding
solo and chorus ;
74. Barbara Strozzi, Lagrime mie ("My tears") ;
75.
Jean-Baptiste Lully, Atys, Overture and Act 3 ;
76. Jean-Philippe Rameau,
Castor et Pollux, Act 5, Scene 7, arietta ;
77. Henry Purcell, Dido and
Aeneas, Act 3, Conclusion ;
78. Alessandro Scarlatti, Andate, o miei sospiri
("Go, oh my sighs") ;
79. Arcangelo Corelli, Trio Sonata in G minor, Op. 3,
No. 11 ;
80. Antonio Vivaldi, La primavera ("Spring") ;
81. Two Chorale
Preludes on Durch Adams Fall ist ganz verderbt ("Through Adam's Fall We Are
Condemned"), (a) Dietrich Buxtehude, BuxWV 183, (b) Johann Sebastian Bach,
BWV 637, fromOrgel-Buchlein ;
82. Johann Sebastian Bach, Fugue in G minor ;
83. Johann Sebastian Bach, Das wohltemperirte Clavier ("The Well-Tempered
Keyboard"), Book 1 ; a) Prelude No. 1 in C ; b) Fugue No. 24 in B minor ;
84.
Johann Sebastian Bach, French Suite No. 5 in G ;
85. Francois Couperin, Le
rossignol en amour and Rossignol double ;
86. Johann Sebastian Bach,
Brandenburg Concerto No. 5 in D ;
87. George Frideric Handel, Giulio Cesare
in Egitto, Act 1, Scene 3, "Empio, diro, tu sei" ("Evil you are, I say") ;
88. George Frideric Handel, Israel in Egypt, Selections from Part 2 ;
89.
George Frideric Handel, an example of self-borrowing ; a) No, di voi non vo'
fidarmi, Movement 1 ; b) Messiah, Part 1, "For unto us a Child is born" ;
90.
Johann Sebastian Bach, Christ lag in Todesbanden, ("Christ lay in the bonds
of death") ;
91. Johann Sebastian Bach, St. Matthew Passion, Opening Chorus ;
92. Domenico Scarlatti, Two Keyboard Sonatas: ; a) Sonata in G, K. 105 ; b)
Sonata in F minor, K. 481 ; Source Notes ; Index of Names ; Index of Terms
David J. Rothenberg is Associate Professor of Music at Case Western Reserve University.
Robert R. Holzer is Associate Professor of Music History at the Yale University School of Music.
