Diego Ortiz – Recercada Quarta: sobre tenores Italianos (Folia)

One of Ortiz’s eight sets of divisions on Italian ground basses for viol from his Trattado de Glossas, 1553. This album includes backing tracks at A=440 and A=415 in meantone temperament at the following speeds:

Minim = 80

Minim = 90

Minim = 100

Minim = 110

Minim = 120

Minim = 130

Also included are tuning tracks for both pitches.

Download the music here.

Diego Ortiz – Recercada Quinta: sobre tenores Italianos (Passamezzo Antico)

One of Ortiz’s eight sets of divisions on Italian ground basses for viol from his Trattado de Glossas, 1553. This album includes backing tracks at A=440 and A=415 in meantone temperament at the following speeds:

Minim = 40

Minim = 45

Minim = 50

Minim = 55

Minim = 60

Minim = 65

Also included are tuning tracks for both pitches.

Download the music here.

Diego Ortiz – Recercada Sesta: sobre tenores Italianos (Romanesca)

One of Ortiz’s eight sets of divisions on Italian ground basses for viol from his Trattado de Glossas, 1553. This album includes backing tracks at A=440 and A=415 in meantone temperament at the following speeds:

Minim = 80

Minim = 90

Minim = 100

Minim = 110

Minim = 120

Minim = 130

Also included are tuning tracks for both pitches.

Download the music here.

Diego Ortiz – Recercada Settima: sobre tenores Italianos (Romanesca)

One of Ortiz’s eight sets of divisions on Italian ground basses for viol from his Trattado de Glossas, 1553. This album includes backing tracks at A=440 and A=415 in meantone temperament at the following speeds:

Minim = 80

Minim = 90

Minim = 100

Minim = 110

Minim = 120

Minim = 130

Also included are tuning tracks for both pitches.

Download the music here.

Diego Ortiz – Recercada Tercera: sobre tenores Italianos (Passamezzo Antico)

One of Ortiz’s eight sets of divisions on Italian ground basses for viol from his Trattado de Glossas, 1553. This album includes backing tracks at A=440 and A=415 in meantone temperament at the following speeds:

Minim = 80

Minim = 90

Minim = 100

Minim = 110

Minim = 120

Minim = 130

Also included are tuning tracks for both pitches.

Download the music here.

Diego Ortiz – Recercadas Sobre El Canto Llano "La Spagna"

These accompaniment tracks work with the six Recercadas on the cantus firmus ‘La Spagna’, which form part of Ortiz’s Trattado de Glossas, 1553. There are 2 versions of the accompaniment (labelled A and B) which might suit different Recercadas depending on taste.  Backing tracks are at A=440 and A=415 in a mild meantone temperament at the following speeds:

Minim = 80

Minim = 90

Minim = 100

Minim = 110

Minim = 120

Download the music here.

Diego Ortiz – Recercadas sobre el madrigal ‘O Felici Occhi Miei’

These accompaniment tracks work with the four Recercadas on the madrigal O’ Felici Occhi Miei’ firmus‘which form part of Ortiz’s Trattado de Glossas, 1553. There are 3 versions of the accompaniment (labelled A and B) which might suit different Recercadas depending on taste.  Backing tracks are at A=440 and A=415 in a mild meantone temperament at the following speeds:

Minim = 80

Minim = 90

Minim = 100

Minim = 110

Minim = 120

Also included are tuning tracks for both pitches.

Download the music here.

The original madrigal by Jacques Arcadelt can be downloaded here.

Giovanni Pierluigi da Palestrina - Vestiva i colli

Palestrina’s madrigal, Vestiva i colli was one of the most celebrated of the period, widely copied, quoted and used by other composers for the basis of other works.  

These backing tracks are compatible with

• Girolamo dalla Casa (from Il vero modo di diminuir, 1584). Compatible with London Pro Musica REP13.
• Bassano (1 version). Compatible with London Pro Musica REP13.
• Francesco Bassano. Compatible with London Pro Musica REP13.
• Bartolomeo de Selma e Salaverde. Compatible with London Pro Musica REP13.

The accompaniment takes the form of an organ playing the bottom four vocal parts, leaving the top part (‘Superius’) to be ornamented.

Performance notes:

• The accompaniment part follows the stated tempo throughout with a slight retardation before the final note; there are no other tempo deviations.
• Notes have been added to the part to help the performer maintain tempo; these are limited to subdivisions of long notes and occasional added bass notes.

Backing Track downloads:

A=415

Minim = 50, Equal Temperament and ⅙ comma Meantone

Minim = 55, Equal Temperament and ⅙ comma Meantone

Minim = 60, Equal Temperament and ⅙ comma Meantone

Minim = 65, Equal Temperament and ⅙ comma Meantone

A=440

Minim = 50, Equal Temperament and ⅙ comma Meantone

Minim = 50, Equal Temperament and ⅙ comma Meantone

Minim = 60, Equal Temperament and ⅙ comma Meantone

Minim = 65, Equal Temperament and ⅙ comma Meantone

A=465

Minim = 50, Equal Temperament and ⅙ comma Meantone

Minim = 55, Equal Temperament and ⅙ comma Meantone

Minim = 60, Equal Temperament and ⅙ comma Meantone

Minim = 65, Equal Temperament and ⅙ comma Meantone

Andreas Parcham – Solo in G for Recorder

From 40 Airs angloise et 3 sonates ... choisis & mis en ordre par George Bingham, 1703.

Backing track played on Harpsichord.

Compatible with edition by Dolce 291/London Pro Musica

Performance notes:

• The accompaniment part follows the stated tempo throughout with a slight retardation at cadence points.
• All repeats are played.
• All tracks have been recorded in a mild historical temperament suitable for playing with modern and baroque instruments.
• Some chords have been added to aid ensemble: movement 4, bar 42 (chord on the first beat of the bar);

Movement 1 (Poco Allegro): Crotchet = 78, 86, 94, 102, 110, 118

Movement 2 (Allegro): 70, 78, 86, 94, 102, 110

Movement 3 (Adagio): Quaver = 65, 70, 75, 80, 85, 90

Movement 4 (Vivace-Adagio-Allegro): Crotchets = 130, 150, 170, 190, 210 (Vivace sections) / 50, 54, 58, 62 (Adagio/Largo) / 90, 100, 110, 120 (Allegro)

Movement 5 (Aria): Crotchet = 62, 70, 78, 86, 94, 102, 110

Total tracks: 72

Henry Purcell – ‘I’ll Sail Upon the Dog-Star’

One of eight songs Purcell contributed to the play A Fool’s Preferment, or The Three Dukes of Dunstable in 1688.

This album of harpsichord accompaniment tracks includes the following versions:

Pitch choices:

High voice (C major, original key): A=415 and A=440

Medium voice (B-flat): A=415, A=440

Low voice (G major): A=415 and A=440

Tempo choices:

Crotchet = 90

Crotchet = 100

Crotchet = 110

Crotchet = 120

Total tracks: 24

Henry Purcell – Evening Hymn (‘Now that the sun hath veil’d his light’)

Purcell’s setting of Fuller was written for Dryden’s 1679 play Oedipus.

This album of organ and harpsichord accompaniment tracks at pitches A=415 and A=440.

For each pitch there are the following tempo versions.

Slow (minim = 75)

Medium (minim = 80)

Fast (minim = 85)

Super-fast (minim = 90)

Total tracks: 8

Henry Purcell – ‘Ah, How Sweet it is to Love’

This song was set by Purcell for Dryden’s 1694 production of Tyrannic Love, or The Royal Martyr.

This album of harpsichord accompaniment tracks includes the following versions:

Pitch choices:

High voice (G minor, original key): A=415, A=440

Medium voice (F minor): A=415 and A=440

Low voice (D minor): A=415 and A=440

Tempo choices:

Crotchet = 82

Crotchet = 90

Crotchet = 98

Crotchet = 105

Total tracks: 24