Christian Erbach (1570-1635)
Toccata du 3ème ton

Jan Pieterszoon Sweelinck (1562-1621)
Erbam dich mein o Herre Gott

Hans Leo Hassler (1564-1612)
Versus supra Calicem Domini di J.L.H.
Ricercar du 2ème ton

Gregor Aichinger (1564-1628)
Duo Seraphim a 8

Anonyme
Fugue à 4 voix
Prélude du 1er ton
Toccata du 8ème ton

Cipriano de Rore (1515-1565)
Anchor che col partire

Johann Staden (1581-1634)
Toccata di Giouan
Gaillarde
Pavane

Luca Marenzio (1554-1599)
Zefiro torna
Ma per me lasso
Vienne montan
Corbo malvaggio
La santa pale

Giorgio Mainerio (?1535-1582)
Ballo Milanese

Giovanni Gabrieli (1555-1612)
Alleluia, quando iam emersit à 6 voix

Tanja Vogrin, soprano, harpe
Gerhard Hölze, ténor
Angelika Radowitz, douçaine
Michael Eberth, orgue, clavecin, virginal, clavicythérium

With this "colourful" selection of pieces, we intend to give an impression of the diverse repertoire collected in the Turin Tablature. The motets and liturgical works were most likely intended for performance in church, whereas dances and madrigals were intended more for secular settings: at festivals, celebrations, and for domestic music-making. Toccatas and ricercars could be played in both ecclesiastical and secular settings. [In light of the wide variety of purposes of this repetoire, we utilized a wide variety of instruments.] Thus, in addition to the Marx-Günzer organ, three other stringed keyboard instruments were used: a clavicytherium in southern German design from the 17th century, a virginal after Michael Praetorius (1619), and a harpsichord of a seventeenthcentury Italian design.