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Classical Music active mood!

Paul Arden-Taylor (shawm, bombarde, recorder, rauschpfeife) Elizabeth Wright & Malcolm Peake (strings/percussion). A medley consisting of: (1) 0:00 - 1:19, a salterello, often modernly called "La Regina", from mss London, British Library, Additional 29987, pages 62v & 63r, . Late 14th or early 15th century Italy. (2) 1:19 - 2:15, "La Quinte Estampie Real" from the manuscript called "Chansonnier du Roi" (mss Paris, Bibliothèque Nationale, fronds français 844, page 104r.) Second half of 13th century. (3) 2:15 - 3:31, an excerpt (the first part) from "Tre Fontane", an istampitta from mss London, British Library, Additional 29987, pages 57r & 58v. Late 14th or early 15th century Italy. (4) 3:31 - 4:00, "Schiarazula Marazula" by Giorgio Maineri, mid 16th century. (5) 4:00 - 5:21, "La Quarte Estampie Royal", from the manuscript called "Chansonnier du Roi" (mss Paris, Bibliothèque Nationale, fronds français 844, page 104r.) Second half of 13th century. (6) 5:22 - 6:40, a salterello (popularly the "Dead Can Dance Salterello"), from mss London, British Library, Additional 29987, page 62v. Late 14th or early 15th century Italy. (7) 6:40 - 7:33, ??? Strauss Jr Waltz medley The Piano Concerto no. 21 in C major, K. 467, was completed in 1785 by Wolfgang Amadeus Mozart, almost inmediatly after the completion of the previous K. 466 concerto. Concerto no. 21 is a work in three movements, the most famous of them being the second one. This movement was featured in the 1967 Swedish film Elvira Madigan, an appearence which led to the anachrostic nickname Elvira Madigan for the piece. Frédéric Chopin wrote his Preludes, Op. 28, between 1835 and 1839, the year when the set was published. The cycle consists of 24 pieces for solo piano, one in each of the 24 keys (much like Bach's Well Tempered Clavier), and organized according to the circle of fifths. Chopin's preludes are carefully planned, self-contained miniatures which avoided the improvisatory feeling associated with the 'prelude' name. This led some critics to consider them incomplete pieces. Liszt, however, saw them as innovative and poetic. Although each work can stand alone, some scholars have suggested that the collection is one large work with twenty-four pieces, citing motivic connections among the preludes, and even musical connections from the ends of some preludes to the beginnings of others. Chopin never played all twenty-four in a row in a public performance. In fact, he never played more than four in concert. Neither did he give them evocative names, like Schumann and Liszt did for some of their pieces that were of a similar character. Hans von Bülow suggested some names for the preludes like Reunion, Tolling Bells, The Polish Dancer, and Raindrop. The preludes were dedicated to Camille Pleyel and Joseph Christoph Kessler. Photos downloaded under public domain from: https://unsplash.com/. https://useum.org/ Royalty free music downloaded from: https://musopen.org/