Title page of John Hilton, Catch that Catch Can (London: Playford, 1652), Folger Shakespeare Library
John Ward, “Weep forth your tears,” performed by Gallicantus with our very own Gabriel Crouch (conductor):
William Lawes, excerpts from Consort No. 8 in G Major (before 1645), performed by Il Caleidoscopio:
Orlando Gibbons, “If ye be risen again with Christ” (before 1625), performed by the Truro Cathedral Choir, Robert Sharpe, director.
William Byrd, Ave verum corpus, performed by Tallis Scholars:
- Paul’s Steeple:
- Schottisch Tanz:
Henry Purcell, Fantasia upon One Note, Z. 745, performed by Hespèrion XX, conducted by Jordi Savall:
Henry Purcell, King Arthur, Act 3 “What ho!” and “What power art thou,” performed by The English Baroque Soloists, John Elliot Gardiner (conductor) and Stephen Varcoe (Cold Genius):
See also “What power art thou,” performed by the French ensemble “Le Concert Spirituel,” Hervé Niquet (conductor):
Henry Purcell, “When I am laid in earth” from Dido and Aeneas, performed by Barbara Bonney:
Additional versions of the lament:
- Performed by Véronique Gens:
- Performed by Susan Graham:
Dido and Aeneas, opera in three acts (complete), film directed by Richard Hickox, with Maria Ewing as Dido.
Additional Digital Resources:
- Musical Creativity in Restoration England is a database of 17th-century English music manuscripts.
- Many of the largest collections of seventeenth-century broadside ballads have been digitized in the English Broadside Ballad Archive created by the Early Modern Center in the English Department at the University of California, Santa Barbara.
- A 3-D tour of seventeenth-century London before the Great Fire of 1666, produced by a team from De Montfort University.
Austern, Linda Phyllis. “‘For Musicke Is the Handmaid of the Lord’: Women, Psalms, and Domestic Music-Making in Early Modern England.” In Psalms in the Early Modern World, ed. Linda Phyllis Austern, Kari Boyd McBride, and David L. Orvis. Farnham, Surrey, and Burlington, VT: Ashgate, 2011. http://www.worldcat.org/oclc/756484126
Burden, Michael, ed. Performing the Music of Henry Purcell. Oxford: Clarendon Press; New York: Oxford University Press, 1996. http://www.worldcat.org/oclc/32240218
Burden, Michael, ed. A Woman Scorn’d: Responses to the Dido Myth. London: Faber and Faber, 1998. http://www.worldcat.org/oclc/60138178
Burrows, Donald. Handel and the English Chapel Royal. Oxford Studies in British Church Music. Oxford and New York: Oxford University Press, 2008. http://www.worldcat.org/oclc/57283035
Cunningham, John. The Consort Music of William Lawes, 1602–1645. Music in Britain, 1600–1900. Woodbridge, Suffolk, and Rochester, NY: Boydell Press, 2010. http://www.worldcat.org/oclc/619611629
Gouk, Penelope. Music, Science, and Natural Magic in Seventeenth-Century England. New Haven: Yale University Press, 1999. http://www.worldcat.org/oclc/40927065
Harley, John. Orlando Gibbons and the Gibbons Family of Musicians. Aldershot, Hants, and Brookfield, VT: Ashgate, 1999. http://www.worldcat.org/oclc/41387611
Heller, Wendy. “‘A Present for the Ladies’: Ovid, Montaigne, and the Redemption of Virgil’s Dido.” Music & Letters 84, no. 2 (May 2003): 189–208. http://www.jstor.org/stable/3526191
Herrisone, Rebecca. “Playford, Purcell, and the Functions of Music Publishing in Restoration England.” Journal of the American Musicological Society 63, no. 2 (Summer 2010): 243–90. http://www.jstor.org/stable/10.1525/jams.2010.63.2.243
Holman, Peter. Four and Twenty Fiddlers: The Violin at the English Court, 1540–1690. Oxford Monographs on Music. Oxford: Clarendon; New York: Oxford University Press, 1993. http://www.worldcat.org/oclc/27265398
Lindenbaum, Peter. “John Playford: Music and Politics in the Interregnum.” Huntington Library Quarterly 64, no. 1/2 (2001): 124–38. http://www.jstor.org/stable/3817880
Marsh, Christopher W. Music and Society in Early Modern England. New York: Cambridge University Press, 2010. http://www.worldcat.org/oclc/605019363
Playford, John. A Breefe Introduction to the Skill of Musick for Song and Violl. London, 1654. http://www.worldcat.org/oclc/839045122
Pollack, Janet. “Princess Elizabeth Stuart as Musician and Muse.” In Musical Voices of Early Modern Women: Many-Headed Melodies, ed. Thomasin La May. Women and Gender in the Early Modern World. Aldershot, Hants, and Burlington VT: Ashgate, 2005. http://www.worldcat.org/oclc/54974608
Price, Curtis A. Henry Purcell and the London Stage. Cambridge and New York: Cambridge University Press, 1984. http://www.worldcat.org/oclc/9852421
Shay, Robert. “Dryden and Purcell’s King Arthur: Legend and Politics on the Restoration Stage.” In King Arthur in Music, ed. Richard Barber. Arthurian Studies . Cambridge: D. S. Brewer, 2002. http://www.worldcat.org/oclc/50334083
Uribe, Patrick Wood. “‘On that single Instrument a full Consort’: Thomas Baltzar’s Works for Solo Violin and “the grand metamorfosis of musick.” Journal of Seventeenth-Century Music 15, no. 1 (2009). http://www.sscm-jscm.org/v15/no1/uribe.html
Winkler, Amanda Eubanks. O Let Us Howle Some Heavy Note: Music for Witches, Its Melancholic, and the Mad on the Seventeenth-Century English Stage. Bloomington: Indiana University Press, 2006. http://www.worldcat.org/oclc/64688662