Celtic Harp: Traditional English Songs Stephen Arndt 2025-09-14 | The selections are as follows: 00:00 The British Grenadiers: the lyrics, from around 1600, celebrate the soldiers in question as being greater than Alexander, Hercules, Hector, or Lysander.01:23 Go from My Window: a woman bids her love to depart from her window since "he can't have a lodging here." There are a handful of lute variations on this folk song, from which I have drawn in making my arrangement.03:26 Love Will Find Out the Way: this anonymous song from the first half of the 17th century describes the lengths to which love (personified as male) will go to achieve his ends, one of which implies freeing a woman, "whom Love doth honor," though she have "a thousand guards upon her."04:36 When the King Enjoys His Own Again: this song has its origins in the English Civil War (1642 - 1651) and foretells that civil strife and war will not end until the King (Charles I, 1640 - 1649) "enjoys his own again."05:58 March of the Merionethshire Men: I have not succeeded in finding lyrics for this song or any other information about it, beyond the fact that it is a traditional Welsh song. Merionethshire was a former county in Wales.07:26 I Care Not for These Ladies: the speaker in this song by Thomas Campion (1557 - 1620) states that he does not desire women who must be "wooed and prayed" but Amaryllis, "the wanton country maid."08:50 What If a Day: this song is also attributed to Thomas Campion. The lyrics point to the ephemerality of all things human for "Fortune, honor, beauty, youth are but blossoms dying" (hence, the painting of the Ages of Man).09:59 Old King Cole: this melody is not the one by the same name that John Gay (1685 - 1732) wrote for his two-act opera "Achilles," and I do not know whether it bears any relation to the nursery rhyme. I have not been able to find any reference to it beyond the source in which I found it.11:23 Heart's Ease: this song is mentioned in Shakespeare's "Romeo and Juliet" (Act IV, Scene V), but apparently no lyrics have survived for it. The melody dates from the 16th century.12:42 From Oberon in Fairyland: Oberon was a mythological king who makes several appearances in Shakespeare's "Midsummer Night's Dream." The melody I have arranged is by R. J. S. Stevens (1757 - 1837).
Michael Praetorius, Ballet des Sorciers et al. (Terpsichore CCLXII, CCLXIX, CCLXX) Stephen Arndt 2025-09-28 | In addition to many sacred works, Michael Praetorius (1571 - 1621) published Terpsichore, a collection of 312 dances, mostly of French origin. The present video contains numbers CCLXII, CCLXIX, and CCLXX. On these recordings, I play the top three voices on recorders and the bottom voice on bass viola da gamba.Praetorius specifies that the first of these pieces, the "Ballet des Sorciers" ("Dance of the Sorcerers") is to be played before the second, the "Ballet du Roy" ("The Dance of the King"), although a number of pieces come between them in the collection. The latter is followed immediately by "Ballet des Amazones" ("Dance of the Amazon Women").
Early English Songs Arranged for Viola da Gamba Stephen Arndt 2025-08-31 | The selections in this video are as follows:00:00 Never Weather-Beaten Sail: a prayer in which the speaker says that "never weather-beaten sail more willing bent to shore" than his weary spirit longs to ascend to heaven.01:02 Love Me Little, Love Me Long: a love song in which the singer wishes to be loved moderately for the long term rather than intensely for the short term.02:22 I Pass All My Hours: a nostalgic song in which a man passes all his hours in a shady grove, remembering the happy times he once spent there with his love.03:53 Since First I Saw Your Face: a love song in which a man professes his love for the woman who has disdained him.05:13 The Oak and the Ash: a song in which a girl regrets having moved to London because she so misses the rustic life of the north country.06:18 What Shall I Do: the first line of the song completes the question with "to show how much I love her?" In the continuation, the singer describes the lengths to which he will go to prove his love and expresses the wish to die in the arms of his belovèd.07:56 Now Is the Month of Maying: a song celebrating the pleasures of spring.09:13 We Be Three Poor Mariners: a song expressing pride in the life of merchant men.10:38 The Self-Banished: a song in which a man vows never again to see the woman he loves in vain and will not break his vow lest she not believe him when he vowed to love her.12:16 There Was a Jolly Miller: the song tells of a miller who lives happily from day to day, content with his work and caring for no one if no one cares for him.If you like this music, you might also enjoy my arrangements of traditional Irish airs: youtube.com/playlist?list=PLg2GtsZ0EeLsljGKI85_p3A0jdibL7zoP.
The Lute Songs of Arnolt Schlick Stephen Arndt 2025-08-17 | In 1512, Arnolt Schlick published his work "Tabulaturen etlicher Lobgesang." It contained nine works for organ, twelve for lute and voice, and three for solo lute. In this video, I present the lute songs, playing the vocal part on alto recorder. The selections are as follows:00:00 Cupido hat im he erdacht01:49 Philips Zwolffpot auss not hilff mir03:40 Maria zart05:57 Möcht es gesein06:35 Nun hab ich all mein tag gehört08:14 Herzliebstes Bild09:38 Ich schrei und rieff10:56 Mein M. hab ich12:29 Mein lieb ist weg13:27 Metzkin Isaack15:07 Nach Lust hab ich16:35 Vil hinderlist
Michael Praetorius, Ballet des Anglois et al. (Terpsichore CCLXXI - CCLXXVI) Stephen Arndt 2025-08-03 | In addition to many sacred works, Michael Praetorius (1571 - 1621) published Terpsichore, a collection of 312 dances, mostly of French origin. The present video contains numbers CCLXXI - CCLXXVI. On these recordings, I play the top three voices on recorders and the bottom voice on bass viola da gamba.
Renaissance Dances on Viola da Gamba Stephen Arndt 2025-07-20 | In 1604, Cesare Negri published his "Nuove inventioni di balli" ("New Inventions of Dance"), a manual to teach young members of the court the art of courtly dance. It contained forty-three dance pieces written in Italian tablature, ten of which I have arranged for bass viola da gamba for this video. On the lute, I would play these pieces a little faster, but on the gamba I generally play them around 120 bpm. The illustrations, designed by Giovanni Mauro della Rovere (1575–1640) and etched by Leone Palavicini (fl. 1590–1616), are taken directly from Negri's work. The selections are as follows:00:00 Il bianco fiore01:26 La cortesia d'amore03:43 Alemana d'amore05:50 Sò ben mi hà bon tempo08:05 Villanicco08:48 Galeria d'amore10:15 Lo spagnoletto11:14 Bassa delle ninfe messa12:28 Fedeltà d'amore14:14 Pavaniglia alla RomanaIf you enjoy this instrument, you might like to listen to my other recordings of bass viola da gamba. You will find a playlist here: youtube.com/playlist?list=PLg2GtsZ0EeLsljGKI85_p3A0jdibL7zoP.
Michael Praetorius, Ballets (Terpsichore CCLIX) Stephen Arndt 2025-07-06 | In addition to many sacred works, Michael Praetorius (1571 - 1621) published Terpsichore, a collection of 312 dances, mostly of French origin. The present video contains numbers CCLIX, CCLX, and CCLXIV - CCLXVIII, each of which is entitled "Ballet." On these recordings, I play the top three voices on recorders and the bottom voice on bass viola da gamba.
Renaissance Lute: Robert Johnson, Allemandes Stephen Arndt 2025-06-22 | This video presents eight allemandes by Robert Johnson (1583 - 1633), the scores to which Sarge Gerbode has collected from several manuscripts, edited, and typeset in an easily readable edition. Strangely, one of these eight pieces is entitled "Allemande 12," which leads me to believe that Robert Johnson composed at least eleven other pieces for this type of dance. I do not know whether they were originally included in a manuscript that did not survive or whether some of them were never made public. Since I cannot be sure of the numbers that Robert Johnson assigned to these pieces, I simply number my recordings. The second one is known as "The Prince's Allemande," of which five differently ornamented versions exist, only one of which I have recorded. For the sixth one, there is both the piece itself and an ornamented version of its first section, which I append at the end, giving the whole an ABA structure.00:00 Recording 0101:20 Recording 0202:37 Recording 0304:01 Recording 0405:36 Recording 0509:09 Recording 0610:33 Recording 0711:49 Recording 08
Michael Praetorius: Bransle de la Royne (Terpsichore XVII) Stephen Arndt 2025-06-08 | In addition to many sacred works, Michael Praetorius (1571 - 1621) published Terpsichore, a collection of 312 dances, mostly of French origin. Many of these dances, such as the present one, consist of a series of short pieces. In modern French, the title would be "Branle de la Reine." A branle was originally a rustic line dance or circle dance, with couples linking arms or holding hands, but it was later adopted into the repertoire of courtly dances. The present piece is a branle of a queen (reine). If Praetorius had a specific queen in mind, it could possibly have been Anne of Austria (1601 - 1666), who is pictured here, though any identification remains purely speculative. Most of the dances in Terpsichore are for five unspecified instruments. Number XVII, presented here, however is for four. I play the top three voices on recorders and the bottom voice on bass viola da gamba.
Renaissance Lute: Les Préludes de Nicolas Vallet Stephen Arndt 2025-05-25 | This set of fourteen preludes occurs at the beginning of Nicolas Vallet's large work "Le Secret des Muses," published in 1615. Given that they occur as a group, they seem to be stand-alone pieces. Perhaps they were intended as pedagogical studies, but I can imagine that they were also performed at social gatherings, like dinner parties, and as introductions to chamber music performances that combined the lute with other instruments like recorders and violins or members of the viola da gamba family. It is with that possibility in mind that I have chosen the artwork to illustrate these recordings.
Traditional Irish Airs Arranged for Viola da Gamba 05 Stephen Arndt 2025-05-11 | This video concludes my series of traditional Irish airs arranged for solo bass viola da gamba, a collection comprising fifty pieces in all.The selections in this video are as follows:00:00 The Shamrock Shore: A song about a man who leaves all his friends in Ireland when he sails to England.01:36 Along with My Love I'll Go: A song about a young woman who wishes to accompany her love, a soldier, even into war at the risk of her life.03:15 The Green Bushes: There is an English song by this title, and it describes a chance encounter between a young man and a betrothed maiden, which becomes love at first sight and leads to an elopement. The melody, however, is different, and the Irish piece may well have been an instrumental.04:47 The Magic Mist: The singer describes how he or she fell into a rapturous swoon at the singing of the "dread bard out of Desmond" as "earth faded in magical mist."06:02 The Lowlands of Holland: A song about a woman whose husband was drafted on her wedding night to fight in Holland.07:38 Come All You Maids Where'er You Be: In spite of the title, this song is about a single maid whose heart was stolen by a "proper, tall man" and a "son of a gardener."08:42 Adieu, Lovely Mary: In this song, a young man is about to leave his love to sail to the East Indies. When she is willing to disguise herself as a sailor and to go with him, he reconsiders and decides to stay.10:01 Barabara Allen: A young man, "sweet William," dies from his unrequited love for Barbara Allen. After his demise, she realizes her hardheartedness and dies from sorrow.11:29 Bessie: This tune appears to have no surviving lyrics, and it is unclear whether the title refers to a historical or fictional person or the melody is a love song or a ballad. 12:54 Captain Thompson: P. W. Joyce says that the subject of this song is "a voyage to America and a narrow escape from shipwreck." I was unable to find any Irish sea captain by the name of Thompson prior to 1855, when Joyce's work was published.
Robert Ballard, Éntrees de luth Stephen Arndt 2025-04-27 | These pieces are taken from Robert Ballard's 1614 publication "Diverses pièces mises sur le luth." Although their names ("Lute Entrances") might suggest that they served as a kind of prelude to some courtly or theatrical event, they seem to be stand-alone pieces and fall into an initial group of nine and, after a few intervening works, a subsequent group of three. As far as I know, there are no other such "Éntrees de luth" in Renaissance-lute literature.
Lute and Recorder: The Psalms of Pierre Certon Stephen Arndt 2025-04-13 | Pierre Certon (ca. 1510/1520 - 1572) was a French composer of vocal music, whereas Guillaume Morlaye (ca. 1510 - ca. 1558) was a lutenist and music publisher who adapted Certon's psalm settings for lute and voice, which latter part I play on the recorder. These "psalm settings" are not of entire psalms but only of the first one or two verses of any given psalm, and the second to the last is not of a psalm at all but of the Canticle of Simeon from Luke's Gospel.I have chosen paintings of King David, the traditional author of the psalms, to illustrate these pieces, though obviously that choice does not fit the Canticle of Simeon.
Traditional Irish Airs Arranged for Viola da Gamba 04 Stephen Arndt 2025-03-30 | Notes on the selections in this video:00:00 (Untitled) Air: an "air" was originally an Elizabethan art song but then came to mean simply a melody. This one is without lyrics.01:26 The Lovely Sweet Banks of the Suir: this song was a ballad with a certain circulation, but, apart from the first line, the lyrics seem to have been lost.03:30 The Dirge of Carolan: the lyrics to this song were written by Robert Tannahill and commemorate the blind Irish harper Turlough Carolan. Each stanza concludes with the line "The soul of sweet music now sleeps in his urn."04:56 I Would Rather Than Ireland (Be Free): the singer in this song addresses a thrush, which he asks to sing to his love to soften her heart towards him since he is (literally or figuratively) a captive and envies the bird's freedom. Perhaps the title can be interpreted to mean that he would sacrifice his freedom as an Irishman in exchange for the freedom to pursue his love.06:28 Dermott (Take Back the Virgin Page): Thomas Moore set to this melody lyrics written on the occasion of receiving a blank book as a gift and reflecting on the contrast between the blank "virgin" page and his fiery passions, which, he hopes, shall someday be subdued.07:58 The Shanavest and the Caravat: the former were wealthy farmers and land owners and the latter laborers and small tenant farmers, and the two often clashed violently. This piece is an example of a "faction song."09:00 The Pleasant Rocks: I have not been able to find lyrics for his song.10:08 Fr. Quin (Whene'er I See Those Smiling Eyes): the lyrics by Thomas Moore lament the loss of youth, love, and happiness.11:17 'Tis Not Your Gold Would Me Entice: only one verse survives of this song, stating that wealth is not a sufficient reason for marriage.12:28 Slán Beo Farewell: the first two words mean "Goodbye" in Irish. P. W. Joyce, who wrote down the melody, did not pass on the lyrics.
Traditional Irish Airs Arranged for Viola da Gamba 03 Stephen Arndt 2025-03-16 | This video is the third in the series. The selections are as follows: 00:00 The Banks of the Shannon: there are several tunes with this title, none of which seem to have lyrics, unless they are those of Thomas Campbell's poem "The Harper," which describes a man who must leave his love and take his dog as his only companion.01:05 The Foggy Dew: a ballad from the 1916 Easter Rising, encouraging young Irish men to fight for Ireland against British rule rather than for Britain in foreign lands during World War I. There are, however, other, earlier lyrics by the same title.02:26 The Forlorn Queen: I was unable to locate the lyrics for this song, though it is supposedly about Mary, the mother of Jesus.04:38 Lament for Owen Roe O'Neill: the subject of this song was a military officer who served abroad in Spain and then returned to Ireland in 1642 to fight against the Stuart regime. He may have been poisoned to death.05:40 The Irish Lullaby: the lyrics to this song may describe a grown man's nostalgic recollection of his mother, who sang a lullaby to him when he was young.07:11 The Little Harvest Rose: there is a song from around 1745 with this title, celebrating the return of spring and promising to plant "the tree of liberty" and to greet "our long-lost, little harvest rose." Thomas Moore also set his poem "In the Morning of Life" to this melody.8:20 MacFarlane's Lamentation: Thomas Moore's "Shall the Harp then Be Silent" was set to this melody. There is also a ballad called "Widow MacFarlane's Lamentation for Her Son," but I can't find the score for it and don't know whether it was sung to this melody.09:52 A Song of Sorrow: I was not able to find lyrics for this song. It may be an instrumental.10:56 Avenging and Bright: the lyrics by Thomas Moore ostensibly recount the betrayal of Deirdre and the sons of Usna by Conchubar, King of Ulster. They have been interpreted, however, as Moore's criticism of King George IV for not bringing about Catholic emancipation.11:43 Shule Aroon: a song with lyrics in both Gaelic and English about a woman who will sacrifice all she has for her love to fight in the Jacobite rebellions.
Old School Blues Stephen Arndt 2025-03-02 | Note for guitarists: all these pieces are in the twelve-bar format. In many of them, I have used various chord substitutions in order to vary the standard I-IV-V progression.If you play guitar and would like to try these pieces, the scores are available free of charge on my website here: verseandsong.com/song/acoustic-guitar/.As far as I am able to determine, the photos of one-room schoolhouses used in this video are all in the public domain. If you believe that you own the copyright to one of these photos, please contact me.
Traditional Irish Airs Arranged for Viola da Gamba 02 Stephen Arndt 2025-02-16 | This video continues my arrangements of traditional Irish airs, using double stops and chords on the bass viola da gamba. The selections are as follows, with a bit of information on the songs, wherever I could find any:00:00 The Leaves So Green: a man asks his love to bury him in a verdant place when he dies.01:51 The Dear Irish Boy: a young woman remembers her love who went off to war and has not returned.03:08 The Snowy Breasted Pearl: a young man's tale of unrequited love.4:58 The Hard Hearted Maiden: I have not been able to find any lyrics to this song, but it too is probably a tale of unrequited love.06:44 Erin's Lovely Home: There seem to be numerous versions of the lyrics to this song, some shorter, some longer. What they all have in common is the theme of having to leave Ireland because of poverty.08:25 She's a Lovely Girl: I haven't found lyrics for this song either, but the title suggests that it is praise of an admired beauty.10:28 The Foggy Morn: This piece appears to be instrumental.12:25 The Young Man's Dream: a young is united with his love only to awake and discover that he had been dreaming.13:33 Molly McAlpin: perhaps a song about a woman who was left alone after five members of her family were outlawed in the early 17th century.15:21 Dermot O'Dowd: a song about an unhappily married couple.
Traditional Irish Airs Arranged for Viola da Gamba 01 Stephen Arndt 2025-02-02 | As part of my ongoing attempt to learn the viola da gamba, I arranged the following pieces to practice double stops and chords.00:00 The Standard of Ireland: I have not been able to find any lyrics to this song.01:25 The Pretty Maid Milking Her Cow: a song about love at first sight.03:43 The Little Heathy Hill: apparently an instrumental.05:23 The Little Girl of My Heart: a song about a man who keeps putting off his engagement to a woman who wants to marry him.07:16 The Dawning of the Day: there seem to be several tunes by this name, one of which describes a chance meeting at dawn between a man and a woman. He proposes to her and she rebuffs him.09:18 Bandon Bridge: the title refers to a bridge over the river Bandon in County Cork, but I haven't been able to find any lyrics to it.10:40 The Sunny Bank: there is a Christmas carol by this name, but it is in 6/8 time rather than 3/4.13:01 Castle Donovan: a 16th-century tower house in County Cork. I have not found any lyrics to this song.15:28 General Monroe's Lamentation: Henry Monroe led an uprising in County Down against the British in 1798. After an initial success, he was defeated, arrested, and executed. The lyrics celebrating him are placed in the mouth of one of his soldiers.17:47 The Parting Glass: a farewell song with the recurring line "Good night and joy be to you all."
Church Hymns Arranged for Renaissance Lute Stephen Arndt 2025-01-19 | A decade ago, I played lute once a month at my wife's church for just over a year. If I remember correctly, I played a historical lute piece for the offertory and then one of my own arrangements of a traditional hymn during communion. Having recently listened to the recordings of the latter I made at the time, I have decided to make them available here, illustrating them with paintings of church interiors. In the process of looking for paintings, I was happy to make the acquaintance of a couple of artists I had not known before.If you play a 10-course Renaissance lute, the scores to these arrangements are available free of charge here: verseandsong.com/song/renaissance-lute/. Please note that they are not in the same order as in this video.Thank you kindly for listening to this music.
Sacred Motets for ATTB Choir Stephen Arndt 2025-01-05 | I have done four videos of sacred motets for SATB choir on recorders in the past, and, given the instruments at my disposal, have to play the top three voices up an octave, which sometimes sounds a bit shrill, at least to my ear. Therefore, I thought I would try a different configuration and find this one more pleasing. I hope you agree and enjoy these pieces as much as I have. Thank you, for listening..
Viola da Gamba: Selections from Jacob van Eyck, Der Fluyten Lust-Hof Stephen Arndt 2024-12-22 | The pieces in this video are taken from Jacob van Eyck's “Der Fluyten Lust-Hof,” printed in 1648. Although they were originally intended for the soprano recorder, I play them here three octaves down on the bass viola da gamba, an instrument with which I have now been struggling for almost two years. The following information, which I thought too much to put in the video itself, gives the title and, where available, my English translation of the lyrics (space did not allow quoting the original Dutch text). Since it was no easy task to find paintings to illustrate these pieces, I also make a short comment on the rationale for the work of art chosen.00:00 Preludium of Vorspeel (Renaissance Latin and Dutch for “Prelude”). The opening piece to the entire collection.The painting by Gabriel Metsu shows, for those unfamiliar with it, the type of instrument I am playing here. 01:07 Courant, of Ach treurt myn bedroefde (Courante, or Oh! Grieve Now, My Sorrowful Sheep). Oh! Grieve now, my sorrowful sheep; Have pity on your shepherd's pain. I see the joyful lads go driving (their sheep) Who are there welcomed by their faithful loves, I who with love pursue Silvia. Oh! Strict Goddess, why do you always flee however bitterly I complain?Silvia does not seem to be a known figure. I have chosen to illustrate the theme of pursuit by “Apollo Pursuing Daphne” by Domenichino.03:33 Courante Mars (Mars Courante or March)Had I a thousand tongues, free of impurities, which all together flowed and sang in praise of Diana, who, by her countenance, far surpasses the Moon in splendor and glory, Beautiful Woman, Oh! I would in no way depict your worth with my sound.Since the lyrics mention Diana, I have chosen a painting of her by Johannes Mijtens. The reference in the title originally stems from a French song that mentions Mars, the Greek god of war. In Dutch, it was taken to mean a march.05:07 Geswinde Bode van de Min (Swift Messenger of Love)Swift Messenger of Love, hold still a while. You know where my Shepherdess drives her young flock: her cottage of reeds stands by a spring in the field. There she rules alone and has her own pleasure being at rest there. However I beg or flatter, I may not enter her pasture.To illustrate the woman in this song, I have chosen “A Shepherdess Seated with a Basket of Flowers Near a Ruin in a Wooded Landscape” by Jean-Honoré Fragonard.06:58 Ghy Ridders in het prachtigh Romen (Ye Knights in Splendid Rome)No lyrics seem to survive for this song. In accord with the title, I have chosen Antonio Tempesta's “Battle Scene with a Castle,” though the setting is not necessarily Rome.09:22 Lanterlu (Lanterloo)Lanterloo is a 17th-century card game that involves taking tricks, hence the painting by Norbert van Bloemen of “Peasants Playing Cards.”13:41 Stil, stil een reys (Be Still A While, Still)Be still a while, still, you who praise the fair skin and beauties of your Goddesses; you who consume all your time writing poetry to prove your love to your belovèd ones. It makes no sense, whatever you may brew up for your belovèd ones: for the Queen who holds my heart in her power iIs the pinnacle of all Women.I am hoping that “The Stolen Kiss” by Jean-Honoré Fragonard will convey something of the attitude of the speaker in this song.15:55 Tweede Daphne (Daphne 02). This is the second song about Daphne in this collection.As Daphne, the very beautiful maiden, took flight from Apollo into the woods and was quickly pursued by him, she ran, and he cried, “Stay, O beautiful Goddess! Wait, wait a bit. Do not be angry. Why are you running away? Have you thought this through? Neither lions nor bears nor tigers pursue you; rather, it is Apollo who loves you so. Will you show some mercy? Do you not heed my prayer? Are you letting my kindness fall to grief?Have mercy, O Daphne, have mercy on me.The painting “Apollo and Daphne” by Theodoor van Thulden illustrates this scene.18:25 Tweede Rosemond (Rosemond 02). This is the second song in this collection with this title, though it is spelled with a final “t” in the title but a “dt” in the lyrics of the first.Rosemond, however you flee, you will still not escape me that way. The leaves that you move as you speed through the woods say: my Rosemond is hereabouts. The dust that you raise is what betrays you.Rosemond does not seem to be a known person. Since the theme is similar to the previous piece about Apollo and Daphne, I have used a painting portraying a similar chase: “Alpheus and Arethusa” by Paolo de Matteis.20:19 Vande Lombart (About the Lombard)No lyrics seem to survive for this song. “Lombart” originally referred to an inhabitant of Lombardy, Italy, many inhabitants of which emigrated to the Netherlands, where they often worked as pawnbrokers and moneylenders. “The Moneylender and His Wife” by Quentin Matsijs depicts such a couple.
Guitar Sass Stephen Arndt 2024-12-08 | I wrote and recorded these pieces in late 2016 and early 2017, about the time I did "Live from Old Joe's Barroom," and then forgot about them. I recently rediscovered them and decided to make them available here.I think this music has a 1920s feel to it, so I have used period photos of the flappers from that decade. Since these pictures are around 100 years old, I assume they are in the public domain. If you believe you own the copyright to any of them, please contact me.
Trios for Recorder, Lute, and Gamba: A Musical Bouquet, Part Three Stephen Arndt 2024-11-24 | This short collection consists of ten trios written for alto recorder, tenor recorder, and bass viola da gamba written in a late-Renaissance / early-baroque style.I have included this video in my viola da gamba playlist: youtube.com/playlist?list=PLg2GtsZ0EeLsljGKI85_p3A0jdibL7zoP
Trios for Two Recorders and Gamba: A Musical Bouquet, Part Two Stephen Arndt 2024-11-10 | This short collection consists of ten trios written for tenor recorder and bass viola da gamba written in a late-Renaissance / early-baroque style.I have included this video in my viola da gamba playlist: youtube.com/playlist?list=PLg2GtsZ0EeLsljGKI85_p3A0jdibL7zoP
Duets for Recorder and Gamba: A Musical Bouquet Stephen Arndt 2024-10-27 | This short collection consists of ten duets for tenor recorder and bass viola da gamba written in a late-Renaissance / early baroque style.I have included this video in my viola da gamba playlist: youtube.com/playlist?list=PLg2GtsZ0EeLsljGKI85_p3A0jdibL7zoPThe score is available free of charge on my website here: http://www.verseandsong.com/song/viola-da-gamba/.
Viola da Gamba: Suite in G Major Stephen Arndt 2024-10-13 | I wrote and recorded these pieces when I had been playing viola da gamba for a year and five months, which, at this point, was some time ago. Although I believe I have improved on the instrument since then, I share them here as they are with those who have been kind enough to follow my progress thus far. If you play viola da gamba and would like to try these pieces yourself, you can find the scores available free of charge on my website.
Celtic Harp: 17th-Century Scottish Music 16 Stephen Arndt 2024-09-29 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.I have posted these pieces in groups of ten at two-week intervals. At this point, only seven pieces remain, and, since the next video would be somewhat shorter, I have chosen to conclude this series here. The following pieces are given in this video:00:00: The Northland Lad and the Northland Lassie01:52: For the Love of Jean03:15: The Blackest Man is the Bravest04:35: An Thy Minnie Bidding Thee06:02: Keik Bo06:59: Northland Nannie08:47: If Thou Wert Mine Own Thing (David Grieve's Way)09:48: This One Night (John Red's Way)11:31: Montrose's Tune (John Red's Way)13:11: Full Forty Times OverThe first fourteen videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 15 Stephen Arndt 2024-09-15 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: The Paralment's Rant00:57: The Cararies (Mr. Lesslie's Way)02:18: News Are Come to Town03:29: The Captain Shall Not Get Thee05:31: Over the Moore to Maggie (The Old Way)06:34: Cromlick's Lilt (Mr. MacKlachland's Way)08:04: The Chancellour's Farewell09:39: If Thou Wert Myne Own Thing (Mr. McClaughlan's Way)11:05: The Malt Grinds Well12:39: Bessie BellThe first fourteen videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 14 Stephen Arndt 2024-09-01 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: Buffcoat01:57: Peggy, I Must Love Thee03:29: No Charmes Above Her05:16: The King's Delight0627: The Lord Alboin's Aire08:00: Over the Moore to Maggie (The Old Way, by David Grieve)09:04: The Brome of Caudinknows (David Grieve's Way)10:07: Minnie's Dutie11:22: I Love My Love in Secret (Mr. Lesslie's Way)12:41: Franking is Fled AwayThe first fourteen videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 13 Stephen Arndt 2024-08-18 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: The Canaries01:40: Cause Give the Bride Her Supper02:58: The New Gilderoy04:26: The Caping Trade05:47: The New Moutar06:52: Over the Moore to Katie08:19: Janet Drinks No Water09:43: If Thy Wife Were Dead, Laddie11:05: The Yellow-Haired Laddie (Heneretta Imbrie's Way)12:49: Sir William Hope's Scotts MeasureThe first thirteen videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 12 Stephen Arndt 2024-08-04 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: The German02:10: Cause Give the Bride 03:44: If Thou Wert My Own Thing05:03: Da mihi manum07:03: Wantones for Evermore08:27: Skipp Thom Walker10:06: The Bonniest Lass in the World11:36: My Nannieo13:06: This One Night (Mr. McGlaughlen's Way)15:34: Woe's the Heart That We Should SunderThe first twelve videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 11 Stephen Arndt 2024-07-21 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: The Highland King01:32: Fairly Shott Off Her03:04: Over the More to Maggie (in Mr. Mclaughland's Fashion)05:15: I Never Knew I Loved Thee07:21: Love is the Cause of My Mourning09:33: Mr. McKenzie's Scotts Measure11:11: The Newest Scotts Measure12:42: Where Will Our Goodman Lye?14:55: Port Atholl17:19: The ShoemakerThe first eleven videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 10 Stephen Arndt 2024-07-07 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: Amaryllis Told Her Swanne02:17: My Lady's Night Gown03:35: Munck's March04:59: Phil Porter's Rant08:06: Amaryllis09:58: Imperiall Sweetnesse11:21: My Own Dear Honey13:02: Simon Brodie14:41: Peggy, I Must Love TheeThe first ten videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 09 Stephen Arndt 2024-06-23 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: Donald Coupar02:54: Pantaloon04:02: Trenchmore05:34: For Old Long Syne07:07: Down the Burne Davie (Mr. Beck's Daughter's Way)09:53: Down the Burne Davie (John Morrison's Way)13:20: The Lady Erroll's Delight (John Red's Way)14:46: The Lady Erroll's Delight (Mr. Lesslie's Way)16:16: Bonnie Christian17:44: John Robinson's ParkThe first nine videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 08 Stephen Arndt 2024-06-09 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: The Galloway Horne Pipe01:42: Gerard's Mistress03:12: The Last Time Over the Moore05:21: I Will Have My Gown Made07:40: The Nightingale (Without Any Division)10:17: I Wish I Were Where Helen Lyes11:36: The Nightingale (With A Division)14:17: If the Kirk Would Lett Me Be16:42: The Lady Binnie's Lilt18:25: A Scots TuneThe first eight videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 07 Stephen Arndt 2024-05-26 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: Sugar Candie00:54: The Black Ewe02:18: The Lass Which Made the Bed to Me03:46: I Never Knew I Loved Thee06:22: Over the Moore to Maggie08:41: Port Gordon11:04: John, Cock Thy Beaver14:35: The Lady Errol's Delight, the Second Way15:50: Cockston17:33: God Be With My Bonnie LoveThe first seven videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 05 Stephen Arndt 2024-05-12 | Please note: this video was originally uploaded on April 28, 2024 but was accidentally deleted. I am now making it available again.The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. Please note that I skip the first piece, a minuet, as being French. The following pieces are given in this video:00:00: From the Fair Lavinian Shore01:04: The Old Duke of Loraine's March02:32: Katherine Ogle05:20: I Serve a Worthie Lady07:28: Hallow Even08:53: McClain's Scots Measure10:19: Alen Water11:38: Joy to the Person of My Love13:51: Almeda15:30: DrumlangriggesThe first six videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.
Celtic Harp: 17th-Century Scottish Music 06 Stephen Arndt 2024-05-12 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: Watson's Scots Measure01:23: Come Hither, My Honey Bird Chuck02:35: Rothe's Rant 0105:05: Rothe's Rant 0207:32: The Duke's Port09:16: My Dearie, An Thou Dye 0110:43: My Dearie, An Thou Dye 0213:49: Jock, the Laird's Brother 0115:36: Jock, the Laird's Brother 0216:51: Rothymay's LiltThe first six videos in this series are now available in this playlist, to which further videos will be added as they become available: youtu.be/AoysdDnUQMQ.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 04 Stephen Arndt 2024-04-14 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: The Bonnie Boatman01:21: This One Night03:10: The Broom of Cowdenknowes04:03: Fancy Free06:30: The King Enjoy His Own07:45: Jean is Best of Any09:08: Love Me As I Deserve10:12: Tweedsyde, the Old Way11:38: Tweedsyde, the New Way13:40: The New Duke of Loraine’s MarchThe first four videos in this series are now available in this playlist, to which further videos will be added as they become available: 00:00: From the Fair Lavinian Shore01:04: The Old Duke of Loraine's March02:32: Katherine Ogle05:20: I Serve a Worthie Lady07:28: Hallow Even08:53: McClain's Scots Measure10:19: Alen Water11:38: Joy to the Person of My Love13:51: Almeda15:30: DrumlangriggesThe first six videos in this series are now available in this playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux..You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 03 Stephen Arndt 2024-03-31 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00: Another New Scots Measure01:24: My Bird, If I Come Neer Thee02:48: The Yellow Haired Laddie04:55: The Gaberlunie Man07:00: Willie Winks09:08: The Soldier’s Misery11:44: Balow13:19: Nathaniell Gordon, the Old Way14:51: Nathaniell Gordon, the New Way16:24: TarphickenThe first three videos in this series are now available in this playlist, to which further videos will be added as they become available: youtu.be/AoysdDnUQMQ.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Renaissance Motets for Holy Week Stephen Arndt 2024-03-22 | The selections in this video, covering the time span from Palm Sunday through Holy Saturday, are as follows:00:00: Pueri hebraeorum (The Children of the Hebrews)01:51: Hosanna filio David (Hosanna to the Son of David)02:49: O sacrum convivium (O Sacred Feast)04:56: Domine, tu mihi lavas pedes (Lord, Do You Wash My Feet?)06:11: Pange lingua (Sing My Tongue)07:32: Hoc corpus (This is My Body)10:20: Unus ex discipulus meis (One of My Disciples)11:16: In monte Oliveti (On the Mount of Olives)13:37: Una hora (One Hour)15:13: Seniores populi (The Elders of the People)17:36: Amicus meus (My Friend)19:48: O Domine Jesu Christe (O Lord Jesus Christ)22:38: Adoramus te, Christe (We Adore You Christ)24:01: O vos omnes (O All of You)24:51: Ecce vidimus eum (Behold, We Have Seen Him)26:50: Tenebrae factae sunt (Darkness Came About)27:46: Christus factus es (Christ Was Made Obedient)28:46: Sepulto Domino (Once the Lord was Buriend)Next year, I hope to do a similar series for Easter Sunday.
Celtic Harp: 17th-Century Scottish Music 02 Stephen Arndt 2024-03-17 | The Balcarres Lute Book is a late 17th-century compilation of mostly Scottish music arranged for lute. Thanks to the Universities of Glasgow and Aberdeen and the editorial work of Matthew Spring, we have a facsimile edition of the lute tablature and a grand-staff transcription, from which I shall be playing. I have chosen to focus on native Scottish pieces and to omit the foreign, predominantly French, ones. Also, I shall omit, at least for the time being, some pieces that are excessively long, though I may come back to them at a later date. In some cases, though, I shall have to omit a not-too-long native Scottish piece as well because it is not technically possible on the harp, requiring the left hand to play a note and flip a lever at the same time. Also, on very rare occasions, I might have to move a note to a different octave to make it playable on the harp. Many of the pieces in this manuscript consist of paired strains and thus have an AB structure. Where the AB structure occurs only once, I treat the double bars as repeat signs. In cases where the AB structure appears two or more times, I treat the double bars simply as section divisions.The most common ornament in the lute tablature is a comma sign after a note. On shorter notes, I treat it as an appoggiatura and on longer notes generally as a short trill, though on the lute I would probably do something a little more elaborate.It is my present plan to post these pieces in groups of ten at two-week intervals. The following pieces are given in this video:00:00 Amarillis01:15 Port Atholl03:05 The Prince’s Air04:06 Celia That Once Was Blest05:53 Another Celia06:51 Another Celia07:58 Gilderoy09:27 Dearest Jockie11:31 I Love My Love in Secret12:05 A New Scots MeasureThe first two videos in this series are now available in this playlist to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Celtic Harp: 17th-Century Scottish Music 01 Stephen Arndt 2024-03-03 | This video is now available in a playlist, to which further videos will be added as they become available: youtube.com/playlist?list=PLg2GtsZ0EeLsL-7FkrIr0xIKjevdUT5ux.You may find a playlist of my other harp work here: studio.youtube.com/playlist/PLg2GtsZ0EeLsbzHY3kVCcnGSdUn6VmfM7/edit.
Viola da Gamba: Suite in F Major Stephen Arndt 2024-02-18 | This suite represents my progress on the viola da gamba at thirteen to fourteen months of actual playing. (Although I've had the instrument longer, there have been five months or so altogether when, for various reasons, I wasn't able to play.) The suite consists of the following movements:00:00 Prélude04:32 Allemande06:17 Courante08:36 Bourrée11:17 Sarabande13:49 Minuet15:49 GigueIf you play viola da gamba and would like to try this suite, the score is available free of charge here: verseandsong.com/song/viola-da-gamba/.My other efforts on this instrument can be found here: youtube.com/playlist?list=PLg2GtsZ0EeLsljGKI85_p3A0jdibL7zoP.Thank you for supporting my continuing efforts on this instrument by your kind listening.
The Klosterneuburg Lute Book: Individual Pieces Stephen Arndt 2024-02-04 | The manuscript from which these pieces are taken lies in the library of the Augustinian Abbey in Klosterneuburg, Austria, and dates from around the year 1700. I am playing from the Tree Edition of this work, edited with a forward by Michael Treder, who has skillfully grouped these pieces into "partitas," of which there are nineteen, along with a number of individual pieces. Concluding the series, this video consists of the remaining individual pieces, which Michael Treder places between Partitas XVII and XVIII and after XIX. To listen to all the recordings from this manuscript, please see this playlist: youtube.com/playlist?.list=PLg2GtsZ0EeLtuwZBAk4s4RQcH45kcQepEIf you enjoy lute music, please see the playlist of my lute recordings here: youtube.com/playlist?list=PLg2GtsZ0EeLtMBkiDQDVzG8rARl6X3WEh.
The Klosterneuburg Lute Book: Partita XIX Stephen Arndt 2024-01-28 | The manuscript from which these pieces are taken lies in the library of the Augustinian Abbey in Klosterneuburg, Austria, and dates from around the year 1700. I am playing from the Tree Edition of this work, edited with a forward by Michael Treder, who has skillfully grouped these pieces into "partitas," of which there are nineteen, along with a number of individual pieces, all of which I hope to record in time.To listen to all the recordings from this manuscript as they become available, please see this playlist: youtube.com/playlist?.list=PLg2GtsZ0EeLtuwZBAk4s4RQcH45kcQepEIf you enjoy lute music, please see the playlist of my lute recordings here: youtube.com/playlist?list=PLg2GtsZ0EeLtMBkiDQDVzG8rARl6X3WEh.
The Klosterneuburg Lute Book: Partita XVIII Stephen Arndt 2024-01-20 | The manuscript from which these pieces are taken lies in the library of the Augustinian Abbey in Klosterneuburg, Austria, and dates from around the year 1700. I am playing from the Tree Edition of this work, edited with a forward by Michael Treder, who has skillfully grouped these pieces into "partitas," of which there are nineteen, along with a number of individual pieces, all of which I hope to record in time.To listen to all the recordings from this manuscript as they become available, please see this playlist: youtube.com/playlist?.list=PLg2GtsZ0EeLtuwZBAk4s4RQcH45kcQepEIf you enjoy lute music, please see the playlist of my lute recordings here: youtube.com/playlist?list=PLg2GtsZ0EeLtMBkiDQDVzG8rARl6X3WEh.
The Klosterneuburg Lute Book: Partita XVII Stephen Arndt 2024-01-14 | The manuscript from which these pieces are taken lies in the library of the Augustinian Abbey in Klosterneuburg, Austria, and dates from around the year 1700. I am playing from the Tree Edition of this work, edited with a forward by Michael Treder, who has skillfully grouped these pieces into "partitas," of which there are nineteen, along with a number of individual pieces, all of which I hope to record in time.To listen to all the recordings from this manuscript as they become available, please see this playlist: youtube.com/playlist?.list=PLg2GtsZ0EeLtuwZBAk4s4RQcH45kcQepEIf you enjoy lute music, please see the playlist of my lute recordings here: youtube.com/playlist?list=PLg2GtsZ0EeLtMBkiDQDVzG8rARl6X3WEh.
The Klosterneuburg Lute Book: Partita XVI Stephen Arndt 2024-01-07 | The manuscript from which these pieces are taken lies in the library of the Augustinian Abbey in Klosterneuburg, Austria, and dates from around the year 1700. I am playing from the Tree Edition of this work, edited with a forward by Michael Treder, who has skillfully grouped these pieces into "partitas," of which there are nineteen, along with a number of individual pieces, all of which I hope to record in time.Please note that Michael Treder lists the final selection ("Ciaccona") as an individual piece.To listen to all the recordings from this manuscript as they become available, please see this playlist: youtube.com/playlist?.list=PLg2GtsZ0EeLtuwZBAk4s4RQcH45kcQepEIf you enjoy lute music, please see the playlist of my lute recordings here: youtube.com/playlist?list=PLg2GtsZ0EeLtMBkiDQDVzG8rARl6X3WEh.
The Klosterneuburg Lute Book: Partita XV Stephen Arndt 2023-12-31 | The manuscript from which these pieces are taken lies in the library of the Augustinian Abbey in Klosterneuburg, Austria, and dates from around the year 1700. I am playing from the Tree Edition of this work, edited with a forward by Michael Treder, who has skillfully grouped these pieces into "partitas," of which there are nineteen, along with a number of individual pieces, all of which I hope to record in time.To listen to all the recordings from this manuscript as they become available, please see this playlist: youtube.com/playlist?.list=PLg2GtsZ0EeLtuwZBAk4s4RQcH45kcQepEIf you enjoy lute music, please see the playlist of my lute recordings here: youtube.com/playlist?list=PLg2GtsZ0EeLtMBkiDQDVzG8rARl6X3WEh.
