If I've overlooked a thread similar to this one, I apologize. Be patient with a newbie, please.
Now to the point. At the beginning of the October the second edition of my course in philosophy of art is starting out. It is entitled: Art of the Baroque – The Forgotten Codes. The course isn't devoted to exclusively a music. Notwithstanding music should play an important role in it. As my students usually are not familiar with classical music, at the beginning of my course I try to provide them with an sketchy picture of the whole Western music. To this purpose I've prepared a selection of short pieces written by various Western composers. If you find this idea interesting, if you have some free time, please listen to the music I have prepared. Any comment is welcome. It is likely to improve my scholar work as well.
What is to be found in my selection is described beneath the link (the link should take you to my web site).
To begin with, I am presenting the Japanese Zen Fuke Komuso music. What I have chosen is Shirabe, an introductory piece to the set of 10 sacred Zen melodies (Honkyoku). Shirabe (Introduction) is played by John Singer, who is a virtuoso of Japanese bamboo flute. Next I proceed to the tradition of the Chinese ancient music. As a representative of it I have picked out Taiji tune, a piece of taoist music played by The Taoist Music Orchestra of The White Cloud Taoist Temple (Benijing). The two samples of the Oriental music should give you a background for the music of West.
After having heard them you can listen to Anacrusis. Anacrusis serves as a representative of the music of ancient Greece, and to the same purpose the next piece entitled Papyrus Oxyrhynchus 2436 is adopted. However, Anacrusis belongs to the tradition of pagan Greece, while Papyrus gives you an example of the music of early Christian epoch. Anacrusis and Papyrus are performed by Paniagua's group.
The presentation of the medieval music begins with a sacred Gregorian chorale (In Paradisum Angeli), and then it shifts to the secular Hoccetus.
As to Renaissance, I have decided to choose a mass by Palestrina and a madrigal by de Rore. The mass (part 1. Agnus Dei) is sung by a group of Bulgarian "folk" singers (cannot believe they are genuine folk singers). It is neither a joke nor is it done for a mere fun. De Rore's beautiful madrigal is sung by trained singers of The Hilliard Ensemble.
So as to span the variety of the Baroque, I start my presentation with a crumb of Schutz's St Matthew's Passion, which is followed by Carissimi's Plorate colles and Albinoni's Concerto a cinque in d, part 1.
The representatives of the Classicism are: Haydn's Cello Concerto in C part 3. (with Du Pré) and Beethoven's V Symphony part 1. Actually, I have made use of Liszt's transcription of the symphony played by Gould; once again, it was not my intention to ridicule either Beethoven or Liszt.
And now Romanticism. First comes out Ave Maria d'Arcadelt by Liszt, next the first movement of Mahler's II Symphony. Mahler's symphony is the only case I have chosen for some extra-musical reasons, or at least also for such reasons. Namely its first part was written just after Malehr had read Mickiewicz's Dziady (a romatic Polish national drama). So there is a polonicum in that case.
It was extremely difficult for me to prepare a portrait of the music of XX century, so diverse it seems to be. After long dithers, I decided to select Reich's Pulse I, Szymanski's Piano Étude No 1., and Dufour's Terra incognita part 1. De inventione. That is all... Oh, I have almost forgotten about it. At the end of the story there is a bonus...
Unfortunately the mp3 file with Dufur's music is damaged. I must fix it