UPC · Release
Various Artists
Last verified:
The UPC for “L'Oiseau-Lyre: Medieval and Renaissance” by Various Artists is 028947881049. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2016-01-01. Label: L'Oiseau-Lyre. This release contains 832 tracks, each with its own ISRC. Tracks include GBF078640601, GBF078640602, GBF078640603.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Hymn: Vexilla Regis | — | ||
| 2 | Maundy Thursday: Introit and Kyrie | — | ||
| 3 | Maundy Thursday: Gradual | — | ||
| 4 | Maundy Thursday: Offertory | — | ||
| 5 | Maundy Thursday: Sanctus | — | ||
| 6 | Maundy Thursday: Communion | — | ||
| 7 | Good Friday: First Responsory | — | ||
| 8 | Good Friday: Second Responsory | — | ||
| 9 | Good Friday: Improperia | — | ||
| 10 | Antiphon: Ecce Lignum Crucis | — | ||
| 11 | Antiphon: Crucem Tuam | — | ||
| 12 | Antiphon: Cum Fabricator Mundi | — | ||
| 13 | Responsorial Hymn: Crux Fidelis / Pange Lingua | — | ||
| 2-1 | Prophilias, un des nobles de Roume | — | ||
| 2-2 | À l'arbre sec puis estre comparé | — | ||
| 2-3 | Pictagoras, Jabol et Orpheüs | — | ||
| 2-4 | Je me merveil / J'ay pluseurs fois | — | ||
| 2-5 | En ce gracieux tamps joli | — | ||
| 2-6 | Fuions de ci, fuions, povre compaingne | — | ||
| 2-7 | Dieux gart qui bien le chantera | — | ||
| 2-8 | Or voit tout en aventure | — | ||
| 2-9 | La Harpe de melodie | — | ||
| 2-10 | En attendant esperance conforte | — | ||
| 2-11 | Tel me voit et me regarde | — | ||
| 2-12 | Si con cy gist mon cuer en grief martire | — | ||
| 2-13 | Le Sault perilleux a l'aventure prins | — | ||
| 2-14 | En atendant d'avoir la douce vie | — | ||
| 2-15 | En Albion de fluns environee | — | ||
| 2-16 | Se j'ay perdu toute ma part | — | ||
| 3-1 | In Gedeonis area (CB 37) | Tessa Bonner, Catherine Bott, Sally Dunkley, Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | — | |
| 3-2 | Homo, quo vigeas vide! (CB 22) | Michael George, Simon Grant, Andrew King, Philip Pickett, New London Consort | — | |
| 3-3 | Ecce torpet probitas (CB 3) | Catherine Bott, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-4 | Nomen a solemnibus (CB 52) | Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-5 | Planctus ante nescia (CB 14) | Catherine Bott, Philip Pickett, New London Consort | — | |
| 3-6 | Michi confer, venditor (CB 16) | Catherine Bott, Michael George, Philip Pickett, New London Consort | — | |
| 3-7 | Olim sudor Herculis (CB 63) | Tessa Bonner, Catherine Bott, Sally Dunkley, Michael George, Simon Grant, Philip Pickett, New London Consort | — | |
| 3-8 | Procurans odium (CB 12) | Michael George, Simon Grant, Andrew King, Philip Pickett, New London Consort | T-001.141.411-1 | |
| 3-9 | Dulce solum (CB 119) | Michael George, Philip Pickett, New London Consort | — | |
| 3-10 | Axe Phebus aureo (CB 71) | Catherine Bott, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-11 | Alte clamat Epicurus (CB 211) | Michael George, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-12 | Exiit diluculo (CB 90) | Tessa Bonner, Catherine Bott, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-13 | Hiemali tempore (CB 203) | Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-14 | Tempus est iocundum (CB 179) | Tessa Bonner, Catherine Bott, Sally Dunkley, Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | T-915.096.150-5 | |
| 4-1 | O Virgo splendens | — | ||
| 4-2 | Stella splendens | — | ||
| 4-3 | Laudemus Virginem | — | ||
| 4-4 | Mariam Matrem Virginem | — | ||
| 4-5 | Polorum regina | — | ||
| 4-6 | Cuncti simus concanentes | — | ||
| 4-7 | Splendens ceptigera | — | ||
| 4-8 | Los set goyts | — | ||
| 4-9 | Imperayritz de la ciutat joyosa | — | ||
| 4-10 | Ad mortem festinamus | — | ||
| 5-1 | First Vespers: Lux Hodie | — | ||
| 5-2 | First Vespers: Orientis partibus | — | ||
| 5-3 | First Vespers: Veni doctor previe | — | ||
| 5-4 | First Vespers: Hec est clara dies | — | ||
| 5-5 | Music from the Office: Festa Januaria | — | ||
| 5-6 | Music from the Office: Verbum patris humanatur | — | ||
| 5-7 | Music from the Office: Salvatoris hodie | — | ||
| 5-8 | The Drinking Bout in the Cathedral Porch: Kalendas Ianuaris | — | ||
| 5-9 | Mass of the Asses, Drunkards and Gamblers: Dies festa colitur | — | ||
| 5-10 | Mass of the Asses, Drunkards and Gamblers: Kyrie asini | — | ||
| 5-11 | Mass of the Asses, Drunkards and Gamblers: Lux optata claruit | — | ||
| 5-12 | Mass of the Asses, Drunkards and Gamblers: Gambler's prayer/malediction | — | ||
| 5-13 | Mass of the Asses, Drunkards and Gamblers: Orientis partibus (Conductus Subdiaconi ad Epistolum) | — | ||
| 5-14 | Mass of the Asses, Drunkards and Gamblers: Gradual Bachi | — | ||
| 5-15 | Mass of the Asses, Drunkards and Gamblers: Sequentia: Vinum bonum | — | ||
| 5-16 | Mass of the Asses, Drunkards and Gamblers: Quantas Bachi | — | ||
| 5-17 | Mass of the Asses, Drunkards and Gamblers: Hunc diem/Ite missa est/Deo gratias | — | ||
| 5-18 | Mass of the Asses, Drunkards and Gamblers: Tityri tu patule | — | ||
| 5-19 | Music from the Office: Hac in die salutari | — | ||
| 5-20 | Music from the Office: Procedenti puero | — | ||
| 5-21 | Music from the Office: Notem fecit Dominus | — | ||
| 5-22 | Music from the Office: Verbum patris hodie | — | ||
| 5-23 | Second Vespers - The Ceremony of the Baculus: Deus in adjutorum | — | ||
| 5-24 | Second Vespers - The Ceremony of the Baculus: Magnificat | — | ||
| 5-25 | Second Vespers - The Ceremony of the Baculus: Anni novi novitas | — | ||
| 5-26 | Second Vespers - The Ceremony of the Baculus: Baculi sollempnia | — | ||
| 5-27 | Second Vespers - The Ceremony of the Baculus: Gregis pastor Tityrus | — | ||
| 5-28 | Second Vespers - The Ceremony of the Baculus: Tityri tu patule (Conductus ad Poculum) | — | ||
| 5-29 | The Banquet: Novus annus dies magnus | — | ||
| 5-30 | The Banquet: Hac in anni janua | — | ||
| 5-31 | Processional: Verbum Caro | — | ||
| 6-1 | Cantigas de Santa Maria: Quen a Virgen ben servira | Alfonso El Sabio | — | |
| 6-2 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Belial Vocatur | [anonymous] | — | |
| 6-3 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Surrexit de tumulo | [anonymous] | — | |
| 6-4 | Cantigas de Santa Maria: Non e gran causa | Alfonso El Sabio | — | |
| 6-5 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Ex illustri | [anonymous] | — | |
| 6-6 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Alpha bovi et leoni/Domino | [anonymous] | — | |
| 6-7 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: 4 Planctus | [anonymous] | — | |
| 6-8 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Verbum bonum et suavi | [anonymous] | — | |
| 6-9 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Agnus Dei/Regula moris | [anonymous] | — | |
| 6-10 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Fa fa mi fa/Ut re mi ut | [anonymous] | — | |
| 6-11 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Dum pater familias | [anonymous] | T-010.280.113-7 | |
| 7-1 | Cantigas de Santa Maria: De grad'a Santa Maria | New London Consort, Philip Pickett | — | |
| 7-2 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Annua Gaudia | New London Consort, Philip Pickett | — | |
| 7-3 | Cantigas de Santa Maria: Ben com'aos | New London Consort, Philip Pickett | — | |
| 7-4 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Regi perennis | New London Consort, Philip Pickett | — | |
| 7-5 | Cantigas de Santa Maria: Non sofre Santa Maria - Por dereito ten a Virgen | New London Consort, Philip Pickett | — | |
| 7-6 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Nostra phalanx | New London Consort, Philip Pickett | — | |
| 7-7 | Cantigas de Santa Maria: A madre de Deus | New London Consort, Philip Pickett | — | |
| 7-8 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Congaudeant catholici | New London Consort, Philip Pickett | — | |
| 7-9 | Martim Codax: 7 Cantigas d'amigo | New London Consort, Philip Pickett | — | |
| 7-10 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Dum pater familias | New London Consort, Philip Pickett | — | |
| 8-1 | Lay de la fonteinne: I. Je ne cesse de prier | — | ||
| 8-2 | Lay de la fonteinne: II. Et ou porroit on querir | — | ||
| 8-3 | Lay de la fonteinne: III. C'est celle qui par ordonnance | — | ||
| 8-4 | Lay de la fonteinne: IV. Ces trois un a po de peinne | — | ||
| 8-5 | Lay de la fonteinne: V. Et qui de ceste eaue prendroit | — | ||
| 8-6 | Lay de la fonteinne: VI. Mais ceste trinite | — | ||
| 8-7 | Lay de la fonteinne: VII. De la duis le Pere nomme | — | ||
| 8-8 | Lay de la fonteinne: VIII. Et pour ce di que cil troy | — | ||
| 8-9 | Lay de la fonteinne: IX. Pour ce te pri | — | ||
| 8-10 | Lay de la fonteinne: X. Mais de tel confort | — | ||
| 8-11 | Lay de la fonteinne: XI. He! fonteinne de concorde | — | ||
| 8-12 | Lay de la fonteinne: XII. Pour laver et nettoier | — | ||
| 8-13 | Lay de consolation: I. Pour ce que plus proprement | — | ||
| 8-14 | Lay de consolation: II. Je fui ma dame de pris | — | ||
| 8-15 | Lay de consolation: III. Et quant je me senti a ce mene | — | ||
| 8-16 | Lay de consolation: IV. Et vous ma dame honnoree | — | ||
| 8-17 | Lay de consolation: V. Ainsi departant | — | ||
| 8-18 | Lay de consolation: VI. Et ce m'a tenu en joie | — | ||
| 8-19 | Lay de consolation: VII. Helas! celle douce vie | — | ||
| 8-20 | Lay de consolation: VIII. Quar ce que j'ay plus doubte que mourir | — | ||
| 8-21 | Lay de consolation: IX. Et elle est a dire voir | — | ||
| 8-22 | Lay de consolation: X. Je ne scay | — | ||
| 8-23 | Lay de consolation: XI. Ma tres doulce dame excellente | — | ||
| 8-24 | Lay de consolation: XII. Amis tieng certainnement | — | ||
| 9-1 | Aim guet geporen edelman (monophonic) | — | ||
| 9-2 | Aim guet geporen edelman (polyphonic) | — | ||
| 9-3 | Der oben swebt | — | ||
| 9-4 | Frölich, zärtlich, lieplich | — | ||
| 9-5 | Der mai mit lieber zal | — | ||
| 9-6 | Der mai mit lieber zal (organ solo) | — | ||
| 9-7 | Wolauff, gesell | — | ||
| 9-8 | Du aesserweltes schöns mein herz | — | ||
| 9-9 | Frölich geschrai so well wir machen | — | ||
| 9-10 | Ach senliches leiden | — | ||
| 9-11 | Stand auff, Maredel | — | ||
| 9-12 | Grasselick lif | — | ||
| 9-13 | Wach auff, mein hort! | — | ||
| 9-14 | Wach auff, mein hort! (organ solo) | — | ||
| 9-15 | "Nu huss" sprach der Michel von Wolkenstein | — | ||
| 9-16 | Durch Barbarei, Arabia | — | ||
| 10-1 | Ma bouche rit et ma pensee pleure | — | ||
| 10-2 | La despourveue et la bannye | — | ||
| 10-3 | D'un autre amer mon cueur s'abesseroit | — | ||
| 10-4 | Quant ce viendra au droit destraindre | — | ||
| 10-5 | Il ne m'en chault plus de nul ame | — | ||
| 10-6 | Presque transi ung peu moins qu'estre mort | — | ||
| 10-7 | Ma maistresse et ma plus grant amye | — | ||
| 10-8 | Les desleaux ont la saison | — | ||
| 10-9 | Mort tu as navré de ton dart | — | ||
| 10-10 | Quant de vous seul je pers la veue | — | ||
| 10-11 | Au travail suis que peu de gens croiroient | — | ||
| 10-12 | Prenez sur moi vostre exemple amoureux | — | ||
| 11-1 | Fors seulement l'actente que je meure | — | ||
| 11-2 | L'autre d'antan l'autrier passa | — | ||
| 11-3 | S'elle m'amera je ne scay | — | ||
| 11-4 | O rosa bella o dolce anima mia` | — | ||
| 11-5 | Tant fuz gentement resjouy | — | ||
| 11-6 | Je n'ay dueil que je ne suis morte | — | ||
| 11-7 | Malheur me bat | — | ||
| 11-8 | Se vostre cuer | — | ||
| 11-9 | Qu'es mi vida preguntays (original three-part version) | — | ||
| 11-10 | Qu'es mi vida preguntays | — | ||
| 11-11 | Je n'ay dueil | — | ||
| 11-12 | Ce n'est pas jeu desloigner ce qu'on ame | — | ||
| 11-13 | Resjois toy terre de France | — | ||
| 11-14 | Departez vous | — | ||
| 11-15 | Ung autre l'a n'en queres plus | — | ||
| 11-16 | Autre Venus estes sans faille | — | ||
| 11-17 | Baissiez moi dont fort | — | ||
| 11-18 | Fors seulment contre ce qu'ay promis | — | ||
| 12-1 | Sera quel zorno mai | — | ||
| 12-2 | Dame que j'aym | — | ||
| 12-3 | Pre du soloil | — | ||
| 12-4 | Dame d'honour | — | ||
| 12-5 | Dame souvrayne | — | ||
| 12-6 | Trouver ne puis aucunement confort | — | ||
| 12-7 | Pour bel accueil | — | ||
| 12-8 | Ne me chant | — | ||
| 12-9 | Se je me plaing | — | ||
| 12-10 | Bell sans per | — | ||
| 12-11 | Helas merci | — | ||
| 12-12 | Gia da rete d'amor | — | ||
| 13-1 | Reis glorios, verais lums e clartatz | Catherine Bott | — | |
| 13-2 | Trop est mes maris jalos | Catherine Bott | — | |
| 13-3 | Lanquan li jorn son lonc en may | Catherine Bott | — | |
| 13-4 | Desconfortez, plains d’ire et de pesance | Catherine Bott | — | |
| 13-5 | Fine amours en esperance | Catherine Bott | — | |
| 13-6 | Can vei la lauzeta mover | Catherine Bott | — | |
| 13-7 | Bele Yolanz en ses chambres seoit | Catherine Bott | — | |
| 13-8 | A chantar m’er de so qu’ieu non volria | Catherine Bott | — | |
| 13-9 | Deus est ausi comme li pellicans | Catherine Bott | — | |
| 13-10 | Onques n’amai tant que jou fui amee | Catherine Bott | — | |
| 13-11 | S’ie·us quer conselh, bell’ami’ Alamanda | Catherine Bott | — | |
| 13-12 | Fortz chausa es que tot lo major dan | Catherine Bott | — | |
| 14-1 | Complete Secular Music Group 2a: Ce moys de may soyons lies et joyeux | — | ||
| 14-2 | Complete Secular Music Group 7: Je n'ai doubté fors que des envieux | — | ||
| 14-3 | Complete Secular Music Group 7: Se la face ay pale | — | ||
| 14-4 | Complete Secular Music Group 2a: J'ay grant (doulour) | — | ||
| 14-5 | Complete Secular Music Group 7: Par le regart de vos beaux yeux | — | ||
| 14-6 | Complete Secular Music Group 1: Resvelons nous, resvelons, amoureux | — | ||
| 14-7 | Complete Secular Music Group 2a: Ma belle dame souveraine | — | ||
| 14-8 | Complete Secular Music Group 7: Trop lonc temps ai esté en desplaisir | — | ||
| 14-9 | Complete Secular Music Group 2b: Dona i ardenti ray | — | ||
| 14-10 | Complete Secular Music Group 1: Helas, et quant vous veray? | — | ||
| 14-11 | Complete Secular Music Group 1: J'ay mis mon cueur et ma pensée | — | ||
| 14-12 | Complete Secular Music Groups 8 & 8a: Lamentatio sanctae matris ecclesiae | — | ||
| 14-13 | Complete Secular Music Group 2b: He, compaignons, resvelons nous | — | ||
| 14-14 | Complete Secular Music Group 7: Puisque celle qui me tient en prison | — | ||
| 14-15 | Complete Secular Music Group 1: Entre vous, gentils amoureux | — | ||
| 14-16 | Complete Secular Music Group 7: Mille bonjours je vous presente | — | ||
| 14-17 | Complete Secular Music Group 2a: Je me complains piteusement | — | ||
| 14-18 | Complete Secular Music Group 7: Entre les plus plaines danoy | — | ||
| 14-19 | Complete Secular Music Groups 8 & 8a: Je vous pri, mon tres doulx ami | — | ||
| 14-20 | Complete Secular Music Group 2a: La belle se siet au piet de la tour | — | ||
| 14-21 | Complete Secular Music Group 2b: Portugaler | — | ||
| 14-22 | Complete Secular Music Group 2a: J'atendray tant qu'il vous playra | — | ||
| 14-23 | Complete Secular Music Group 2b: Adieu ces bon vins de Lannoys | — | ||
| 14-24 | Complete Secular Music Group 9: Les doulers, dont me sens tel somme | — | ||
| 14-25 | Complete Secular Music Group 4: Belle, vueillies vostre mercy donner | — | ||
| 14-26 | Complete Secular Music Group 4: C'est bien raison de devoir essacier | — | ||
| 15-1 | Missa di dadi: Kyrie | — | ||
| 15-2 | Missa di dadi: Gloria | — | ||
| 15-3 | Missa di dadi: Credo | — | ||
| 15-4 | Missa di dadi: Sanctus - Benedictus | — | ||
| 15-5 | Missa di dadi: Agnus Dei | — | ||
| 15-6 | Missa "Faisant regretz": Kyrie | — | ||
| 15-7 | Missa "Faisant regretz": Gloria | — | ||
| 15-8 | Missa "Faisant regretz": Credo | — | ||
| 15-9 | Missa "Faisant regretz": Sanctus - Benedictus | — | ||
| 15-10 | Missa "Faisant regretz": Agnus Dei | — | ||
| 16-1 | Mon mari m'a diffamée | — | ||
| 16-2 | Ce pauvre mendiant pour Dieu / Pauper sum ego | — | ||
| 16-3 | De tous beins plaine | — | ||
| 16-4 | Fortuna d'un gran tempo | — | ||
| 16-5 | La belle se siet | — | ||
| 16-6 | Je me... | — | ||
| 16-7 | Que vous ma dame / In pace in idipsum | — | ||
| 16-8 | Cela sans plus | — | ||
| 16-9 | Je n'ose plus... | — | ||
| 16-10 | Si j'eusse Marion, hélas | — | ||
| 16-11 | En l'ombre d'ung buissonnet, au matinet | — | ||
| 16-12 | Quant je vous voye | — | ||
| 16-13 | A la mort on prioit / Monstra te esse matrem | — | ||
| 16-14 | La Bernadina | — | ||
| 16-15 | Fortuna desperata | — | ||
| 16-16 | Si j'ay perdu mon amy | — | ||
| 16-17 | Hélas madame... | — | ||
| 16-18 | La plus des plus | — | ||
| 16-19 | Madame, hélas | — | ||
| 16-20 | Ile fantazies de Joskin | — | ||
| 16-21 | Entré je suis en grant pensée | — | ||
| 16-22 | En l'ombre d'ung buissonet tou au loing... | — | ||
| 17-1 | Fille, vous avez mal garde | — | ||
| 17-2 | Par ung jour de matinee | — | ||
| 17-3 | Et qui le dira dira | — | ||
| 17-4 | Helas que devra | — | ||
| 17-5 | Maudit soit | — | ||
| 17-6 | J'ay pris amours | — | ||
| 17-7 | Je ne puis vivre | — | ||
| 17-8 | Le serviteur | — | ||
| 17-9 | Mon pere m'a donne mari | — | ||
| 17-10 | Et je boi d'autant | — | ||
| 17-11 | Donna, di dentro | — | ||
| 17-12 | Fortuna desperata | — | ||
| 17-13 | Nè più bella di queste | — | ||
| 17-14 | Hora è di maggio | — | ||
| 17-15 | La Martinella | — | ||
| 17-16 | Un di lieto giammai | — | ||
| 17-17 | La Morra | — | ||
| 17-18 | Es het ein Baur ein Töchterlein | — | ||
| 17-19 | O Venus bant | — | ||
| 17-20 | Innsbruck, ich muss dich lassen | — | ||
| 17-21 | Ain frewlich Wesen | — | ||
| 17-22 | Mich wundert hart | — | ||
| 17-23 | Zwischen Berg und tieffe Tal | — | ||
| 17-24 | Wann ich des Morgens | — | ||
| 17-25 | Der Hund | — | ||
| 17-26 | Greiner, zancker | — | ||
| 18-1 | Ave Maria, gratia plena | — | ||
| 18-2 | Se ben hor non scopra il foco | — | ||
| 18-3 | Che debb'io far? Cher me consigli, Amore? | — | ||
| 18-4 | Non val aqua al mio gran foco | — | ||
| 18-5 | Ite in pace suspir fieri | — | ||
| 18-6 | A la guerra | — | ||
| 18-7 | Si è debile il filo | — | ||
| 18-8 | O sacrum convivium | — | ||
| 18-9 | Ave Maria, regina in cielo | — | ||
| 18-10 | De[h] si, deh no | — | ||
| 18-11 | Bench'el ciel me t'habbi tolto | — | ||
| 18-12 | Ostinato vo seguire | — | ||
| 18-13 | Hor che'l ciel et la terra | — | ||
| 18-14 | Stavasi Amor dormendo | — | ||
| 18-15 | Vale, diva, vale in pace | — | ||
| 18-16 | Vergine bella che del sol vestita | — | ||
| 19-1 | La Chansonnier Cordiforme: I. Hora gridar "oimè" | — | ||
| 19-2 | La Chansonnier Cordiforme: II. Ben lo sa Dio | — | ||
| 19-3 | La Chansonnier Cordiforme: III. Dona gentile (rondeau) | — | ||
| 19-4 | La Chansonnier Cordiforme: IV. Zentil madona | — | ||
| 19-5 | La Chansonnier Cordiforme: V. Chiara fontana | — | ||
| 19-6 | La Chansonnier Cordiforme: VI. O pelegrina luce (first setting) | — | ||
| 19-7 | La Chansonnier Cordiforme: VII. O rosa bella | — | ||
| 19-8 | La Chansonnier Cordiforme: VIII. La gracia de voi | — | ||
| 19-9 | La Chansonnier Cordiforme: IX. Perla mia cara | — | ||
| 19-10 | La Chansonnier Cordiforme: X. Mort mercè | — | ||
| 19-11 | La Chansonnier Cordiforme: XI. Finir voglio la mia vita | — | ||
| 19-12 | La Chansonnier Cordiforme: XII. O pelegrina luce (second setting) | — | ||
| 19-13 | La Chansonnier Cordiforme: XIII. O meschin' inamorati | — | ||
| 20-1 | La Chansonnier Cordiforme: XIV. Comme ung homme desconforté | — | ||
| 20-2 | La Chansonnier Cordiforme: XV. S'il vous plaist que vostre je soye | — | ||
| 20-3 | La Chansonnier Cordiforme: XVI. L'aultre jour par ung matin | — | ||
| 20-4 | La Chansonnier Cordiforme: XVII. J'ay pris amours | — | ||
| 20-5 | La Chansonnier Cordiforme: XVIII. L'autre d'antan l'autrier passa | — | ||
| 20-6 | La Chansonnier Cordiforme: XIX. De tous biens plaine (rondeau) | — | ||
| 20-7 | La Chansonnier Cordiforme: XX. J'ay moins de bien | — | ||
| 20-8 | La Chansonnier Cordiforme: XXI. Vostre bruit et vostre grant fame | — | ||
| 20-9 | La Chansonnier Cordiforme: XXII. Cent mille escus | — | ||
| 20-10 | La Chansonnier Cordiforme: XXIII. Le souvenir de vous me tue | — | ||
| 20-11 | La Chansonnier Cordiforme: XXIV. L'omme bany de sa plaisance (rondeau) | — | ||
| 20-12 | La Chansonnier Cordiforme: XXV. N'aray je jamais mieulx | — | ||
| 20-13 | La Chansonnier Cordiforme: XXVI. Le serviteur hault guerdonné | — | ||
| 20-14 | La Chansonnier Cordiforme: XXVII. Fortune, par ta cruaulté | — | ||
| 20-15 | La Chansonnier Cordiforme: XXVIII. Est il mercy du quoy l'on peust finer | — | ||
| 21-1 | La Chansonnier Cordiforme: XXIX. Comme femme desconfortee | — | ||
| 21-2 | La Chansonnier Cordiforme: XXX. Tout a par moy | — | ||
| 21-3 | La Chansonnier Cordiforme: XXXI. Ma bouche rit | — | ||
| 21-4 | La Chansonnier Cordiforme: XXXII. Mon seul plaisir, ma doulce joye | — | ||
| 21-5 | La Chansonnier Cordiforme: XXXIII. Ma bouche plaint | — | ||
| 21-6 | La Chansonnier Cordiforme: XXXIV. Vray dieu d'amours | — | ||
| 21-7 | La Chansonnier Cordiforme: XXXV. Helas! Je n'ay pas osé dire | — | ||
| 21-8 | La Chansonnier Cordiforme: XXXVI. Or ay je perdu | — | ||
| 21-9 | La Chansonnier Cordiforme: XXXVII. Adieu vous dy | — | ||
| 21-10 | La Chansonnier Cordiforme: XXXVIII. Terriblement suis fortunee | — | ||
| 21-11 | La Chansonnier Cordiforme: XXXIX. De mon pouvoir vous veul complaire | — | ||
| 21-12 | La Chansonnier Cordiforme: XL. Helas! n'aray je jamais mieulx | — | ||
| 21-13 | La Chansonnier Cordiforme: XLI. Quant du dire adieu | — | ||
| 21-14 | La Chansonnier Cordiforme: XLII. Je ne veis onques la pareille | — | ||
| 21-15 | La Chansonnier Cordiforme: XLIII. Faites moy sçavoir de la belle | — | ||
| 22-1 | Mi verry joy | The Medieval Ensemble of London | — | |
| 22-2 | O rosa bella | — | ||
| 22-3 | Le serviteur | The Medieval Ensemble of London | — | |
| 22-4 | Myn hertis lust | The Medieval Ensemble of London | — | |
| 22-5 | Durer ne puis | The Medieval Ensemble of London | — | |
| 22-6 | Fortune alas | The Medieval Ensemble of London | — | |
| 22-7 | Se bylle to hir | The Medieval Ensemble of London | — | |
| 22-8 | Puisque m'amour | The Medieval Ensemble of London | — | |
| 22-9 | Je languis | The Medieval Ensemble of London | — | |
| 22-10 | I pray you alle | The Medieval Ensemble of London | — | |
| 22-11 | O rosa bella | The Medieval Ensemble of London | — | |
| 22-12 | Alas, alas, alas | The Medieval Ensemble of London | — | |
| 22-13 | "Watlin frew" | The Medieval Ensemble of London | — | |
| 22-14 | So ys emprentid | The Medieval Ensemble of London | — | |
| 22-15 | Tout a par moy | The Medieval Ensemble of London | — | |
| 23-1 | Lagrime di San Pietro ... con un mottetto nel fine: I. Il magnanimo Pietro | — | ||
| 23-2 | Lagrime di San Pietro ... con un mottetto nel fine: II. Ma gli archi, che nel petto gli avventaro | — | ||
| 23-3 | Lagrime di San Pietro ... con un mottetto nel fine: III. Tre volte haveva a l'importuna e audace ancella | — | ||
| 23-4 | Lagrime di San Pietro ... con un mottetto nel fine: IV. Qual' à l'incontro di quegli occhi santi | — | ||
| 23-5 | Lagrime di San Pietro ... con un mottetto nel fine: V. Giovane donna il suo bel volto in specchio non vide mai | — | ||
| 23-6 | Lagrime di San Pietro ... con un mottetto nel fine: VI. Così tal'hor (benchè profane cose...) | — | ||
| 23-7 | Lagrime di San Pietro ... con un mottetto nel fine: VII. Ogni occhio del Signor lingua veloce parea | — | ||
| 23-8 | Lagrime di San Pietro ... con un mottetto nel fine: VIII. Nessun fedel trovai, nessun cortese | — | ||
| 23-9 | Lagrime di San Pietro ... con un mottetto nel fine: IX. Chi ad una ad una raccontar potesse le parole di sdegno | — | ||
| 23-10 | Lagrime di San Pietro ... con un mottetto nel fine: X. Come falda di neve | — | ||
| 23-11 | Lagrime di San Pietro ... con un mottetto nel fine: XI. E non fu il pianto suo rico o torrente | — | ||
| 23-12 | Lagrime di San Pietro ... con un mottetto nel fine: XII. Quel volto, che era poco inanzi stato asperso tutto di color di morte | — | ||
| 23-13 | Lagrime di San Pietro ... con un mottetto nel fine: XIII. Veduto il miser quanto differente dal primo stato suo si ritrovava | — | ||
| 23-14 | Lagrime di San Pietro ... con un mottetto nel fine: XIV. E vago d'incontrar chi giusta pena desse al suo grave error | — | ||
| 23-15 | Lagrime di San Pietro ... con un mottetto nel fine: XV. Vattene, vita, va' (dicea piangendo) | — | ||
| 23-16 | Lagrime di San Pietro ... con un mottetto nel fine: XVI. O vita troppo rea, troppo fallace | — | ||
| 23-17 | Lagrime di San Pietro ... con un mottetto nel fine: XVII. Ah quanti già felici in giovinezza recò l'indugio tuo lunghi tormenti | — | ||
| 23-18 | Lagrime di San Pietro ... con un mottetto nel fine: XVIII. Non trovava mia fé si duro intoppo | — | ||
| 23-19 | Lagrime di San Pietro ... con un mottetto nel fine: XIX. Queste opre e più, che'l mondo ed io sapea | — | ||
| 23-20 | Lagrime di San Pietro ... con un mottetto nel fine: XX. Negando il mio Signor, negai quel che era | — | ||
| 23-21 | Lagrime di San Pietro ... con un mottetto nel fine: XXI. Vide homo, quae pro te partior | — | ||
| 23-22 | Le lagrime d'Erminia in stile recitativo, Op. 6: In solitario piano | — | ||
| 23-23 | Le lagrime d'Erminia in stile recitativo, Op. 6: Senza Tancredi viva | — | ||
| 23-24 | Le lagrime d'Erminia in stile recitativo, Op. 6: Cinque ode | — | ||
| 24-1 | Pavans and Galliards: XI. Pavan | — | ||
| 24-2 | Pavans and Galliards: XII. Galliard | — | ||
| 24-3 | Pavans and Galliards: XXXIII. Heres Paternus | — | ||
| 24-4 | Pavans and Galliards: XXXIV. Muy Linda | — | ||
| 24-5 | Pavans and Galliards: XXI. Infernum | — | ||
| 24-6 | Pavans and Galliards: XXII. Galliard | — | ||
| 24-7 | Pavans and Galliards: XVII. Paradizo | — | ||
| 24-8 | Pavans and Galliards: XVIII. The Sighes | — | ||
| 24-9 | Pavans and Galliards: XXVII. The Image of Melancholly | — | ||
| 24-10 | Pavans and Galliards: XXVIII. Ecce quam bonum | — | ||
| 24-11 | Pavans and Galliards: XLIX. Pavana Ploravit | — | ||
| 24-12 | Pavans and Galliards: L. Sic semper soleo | — | ||
| 24-13 | Pavans and Galliards: XXXI. The Funerals | — | ||
| 24-14 | Pavans and Galliards: XXXII. Galliard | — | ||
| 24-15 | Pavans and Galliards: LVI. Almayne | — | ||
| 24-16 | Pavans and Galliards: LX. The Honiesuckle | — | ||
| 24-17 | Pavans and Galliards: LXIV. As it fell on a holie eve (coranto) | — | ||
| 24-18 | Pavans and Galliards: LXV. Heigh ho holiday (coranto) | — | ||
| 25-1 | Fanfare (after "La Mourisque") | — | ||
| 25-2 | Passe et medio / Reprise “Le pingne” | — | ||
| 25-3 | Bergeret “Sans roch” / Reprise | — | ||
| 25-4 | Den I. Ronde “Pour quoy” | — | ||
| 25-5 | Den VII. Ronde “Il estoit une fillette” | — | ||
| 25-6 | Den III. Ronde | — | ||
| 25-7 | Den IV. Ronde | — | ||
| 25-8 | Den V. Ronde “Wo bistu” | — | ||
| 25-9 | Den VI. Ronde / Saltarelle | — | ||
| 25-10 | Den XI. Ronde / Aliud | — | ||
| 25-11 | Bergerette “Dont vient cela” / Reprise | — | ||
| 25-12 | Danse de Hercules oft maticine / De Matrigale | — | ||
| 25-13 | De Post | — | ||
| 25-14 | Le quatre Branles | — | ||
| 25-15 | Fagot | — | ||
| 25-16 | Den Hoboeckendans | — | ||
| 25-17 | Basse danse “Mon desir” / Reprise “Le cueur est bon” | — | ||
| 25-18 | Den I. Allemaingne/Recoupe | — | ||
| 25-19 | Den II. Allemaingne | — | ||
| 25-20 | Den III. Allemaingne | — | ||
| 25-21 | Den V. Allemaingne | — | ||
| 25-22 | Den VI. Allemaingne | — | ||
| 25-23 | Den VII. Allemaingne | — | ||
| 25-24 | Den VIII. Allemaingne / Recoupe / Recoupe “Aliud den Tenor voer den discant” | — | ||
| 25-25 | Bergerette “La Brosse” | — | ||
| 25-26 | Pavane “La Bataille” | — | ||
| 25-27 | Pavane “Mille Regretz” | — | ||
| 25-28 | Den II. Gaillarde | — | ||
| 25-29 | Den XI. Gaillarde | — | ||
| 25-30 | Den IX. Gaillarde | — | ||
| 25-31 | Den IV. Gaillarde | — | ||
| 25-32 | Den VII. Gaillarde | — | ||
| 25-33 | Den X. Gaillarde “Mille ducas” | — | ||
| 25-34 | Den III. Gaillarde | — | ||
| 25-35 | Den XV. Gaillarde “Le Tout” | — | ||
| 25-36 | Danse du Roy / Reprise | — | ||
| 25-37 | Entre du fol | — | ||
| 25-38 | La Mourisque | — | ||
| 26-1 | My heavy sprite, oppress'd with sorrow's might | — | ||
| 26-2 | Change thy mind since she doth change | — | ||
| 26-3 | O eyes, leave off your weeping | — | ||
| 26-4 | Go, my flock, go get you hence | — | ||
| 26-5 | O dear life, when shall it be? | — | ||
| 26-6 | To plead my faith | — | ||
| 26-7 | In a grove most rich of shade | — | ||
| 26-8 | Far from triumphing court | — | ||
| 26-9 | Lady, if you so spite me | — | ||
| 26-10 | In darkness let me dwell | — | ||
| 26-11 | Si le parler et la silence | — | ||
| 26-12 | Ce penser qui sans fin | — | ||
| 26-13 | Vous que le Bonheur rappelle | — | ||
| 26-14 | Passava Amor su arco desarmado | — | ||
| 26-15 | Sta notte mi sognava | — | ||
| 26-16 | Vuestros ojos tienen d'Amor | — | ||
| 26-17 | Se de farmi morire | — | ||
| 26-18 | Dovrò dunque morire? | — | ||
| 26-19 | Amarilli mia bella | — | ||
| 26-20 | O bella più che le stelle Diana | — | ||
| 27-1 | Quinto libro dei madrigali: I. Gioite voi col canto | — | ||
| 27-2 | Quinto libro dei madrigali: II. S'io non miro non moro | — | ||
| 27-3 | Quinto libro dei madrigali: III. Itene, o miei sospiri | — | ||
| 27-4 | Quinto libro dei madrigali: IV. Dolcissima mia vita | — | ||
| 27-5 | Quinto libro dei madrigali: V. O dolorosa gioia | — | ||
| 27-6 | Quinto libro dei madrigali: VI. Quai fora, donna | — | ||
| 27-7 | Quinto libro dei madrigali: VII. Felicissimo sonno | — | ||
| 27-8 | Quinto libro dei madrigali: VIII. Se vi duol il mio duolo | — | ||
| 27-9 | Quinto libro dei madrigali: IX. Occhi del mio cor vita | — | ||
| 27-10 | Quinto libro dei madrigali: X. Languisce al fin | — | ||
| 27-11 | Quinto libro dei madrigali: XI. Mercè grido piangendo | — | ||
| 27-12 | Quinto libro dei madrigali: XII. O voi, troppo felici | — | ||
| 27-13 | Quinto libro dei madrigali: XIII. Correte, amanti, a prova | — | ||
| 27-14 | Quinto libro dei madrigali: XIV. Asciugate i begli occhi | — | ||
| 27-15 | Quinto libro dei madrigali: XV. Tu m'uccidi, o crudele | — | ||
| 27-16 | Quinto libro dei madrigali: XVI. Deh, coprite il bel seno | — | ||
| 27-17 | Quinto libro dei madrigali: XVII. Poichè l'avida sete (prima parte) | — | ||
| 27-18 | Quinto libro dei madrigali: XVIII. Ma tu, cagion (seconda parte) | — | ||
| 27-19 | Quinto libro dei madrigali: XIX. O tenebroso giorno | — | ||
| 27-20 | Quinto libro dei madrigali: XX. Se tu fuggi, io non resto | — | ||
| 27-21 | Quinto libro dei madrigali: XXI. "T'amo, mia vita!" | — | ||
| 28-1 | Arise, awake, awake, you silly shepherds sleeping | — | ||
| 28-2 | Besides a fountain | — | ||
| 28-3 | No, no, no, no, Nigella | — | ||
| 28-4 | Singing alone sat my sweet Amarillis | — | ||
| 28-5 | With my love my life was nestled | — | ||
| 28-6 | Mistress mine, well may you fare | — | ||
| 28-7 | Stay heart, run not so fast | — | ||
| 28-8 | Fire and lightning from heaven | — | ||
| 28-9 | Phyllis, I fain would die now | — | ||
| 28-10 | Hard by a crystal fountain | — | ||
| 28-11 | In every place | — | ||
| 28-12 | O grief, e'en on the bud | — | ||
| 28-13 | Absence, hear thou my protestation | — | ||
| 28-14 | Deep lamenting | — | ||
| 28-15 | Sleep, slumb'ring eyes | — | ||
| 28-16 | Hark! Alleluia cheerly | — | ||
| 29-1 | The First Set of English Madrigals: IV. Weep, O mine eyes | — | ||
| 29-2 | The First Set of English Madrigals: X. Lady, when I behold | — | ||
| 29-3 | The First Set of English Madrigals: XI. Thus saith my Cloris bright | — | ||
| 29-4 | The First Set of English Madrigals: XII. Adieu sweet Amarillis | — | ||
| 29-5 | The First Set of English Madrigals: XIII. Die, hapless man | — | ||
| 29-6 | The First Set of English Madrigals: XVIII. Lady, your words do spite me | — | ||
| 29-7 | The First Set of English Madrigals: XIX. Alas, what a wretched life is this | — | ||
| 29-8 | The First Set of English Madrigals: XXIV. Lady, when I behold the Roses | — | ||
| 29-9 | The First Set of English Madrigals: XXV. When shall my wretched life give place to death? | — | ||
| 29-10 | The First Set of English Madrigals: XXVI. Of joys and pleasing pains I late went singing (the first part) | — | ||
| 29-11 | The First Set of English Madrigals: XXVII. My throat is sore my voice is hoarse with skriking (the second part) | — | ||
| 29-12 | The First Set of English Madrigals: XXVIII. Cruel, behold my heavy ending | — | ||
| 29-13 | The First Set of English Madrigals: XXIX. Thou art but young, thou sayest | — | ||
| 29-14 | The First Set of English Madrigals: XXX. Why dost thou shoot | — | ||
| 29-15 | The Second Set of Madrigals: XVII. Sweet honey-sucking Bees (the first part) | — | ||
| 29-16 | The Second Set of Madrigals: XVIII. Yet, sweet, take heed (the second part) | — | ||
| 29-17 | The Second Set of Madrigals: XXV. Ye that do live in pleasures | — | ||
| 29-18 | The Second Set of Madrigals: XXVII. O wretched man | — | ||
| 29-19 | The Second Set of Madrigals: XXX. Ah, cannot sighs, nor tears | — | ||
| 29-20 | The Second Set of Madrigals: XXXI. Draw on, sweet night | — | ||
| 29-21 | The Second Set of Madrigals: XXXII. Stay, Corydon, thou swain | — | ||
| 29-22 | The Second Set of Madrigals: XXXIII. Softly, o softly drop, mine eyes | — | ||
| 30-1 | Symphoniae Sacrae II, 1615: Magnificat a 14 | Emma Kirkby, Martyn Hill, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-2 | Symphoniae Sacrae II, 1615: Suscipe a 12 | Rogers Covey-Crump, Paul Elliott, Martyn Hill, Nigel Rogers, Brian Etheridge, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-3 | Symphoniae Sacrae II, 1615: Quem vidistis pastores a 14 | Kevin Smith, Paul Elliott, Martyn Hill, Nigel Rogers, William Mason, Geoffrey Shaw, David Thomas, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-4 | Symphoniae Sacrae II, 1615: Buccinate in neomenia a 19 | Timothy Penrose, Nigel Rogers, Brian Etheridge, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-5 | Symphoniae Sacrae II, 1615: In ecclesiis a 14 | Timothy Penrose, Paul Elliott, Martyn Hill, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-6 | Symphoniae Sacrae II, 1615: Jubilate Deo a 10 | Emma Kirkby, Timothy Penrose, Kevin Smith, Paul Elliott, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-7 | Symphoniae Sacrae II, 1615: Misericordia a 12 | Emma Kirkby, Rogers Covey-Crump, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-8 | Symphoniae Sacrae II, 1615: Surrexit Christus a 11 | Rogers Covey-Crump, Nigel Rogers, Brian Etheridge, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-9 | Symphoniae Sacrae II, 1615: Magnificat a 17 | Emma Kirkby, John Skinner, Martyn Hill, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 31-1 | Funeral Teares: Oft thou hast with greedy ear | — | ||
| 31-2 | Funeral Teares: O sweet flower | — | ||
| 31-3 | Funeral Teares: O th'unsure hopes of men! | — | ||
| 31-4 | Funeral Teares: In darkness let me dwell | — | ||
| 31-5 | Funeral Teares: My joy is dead | — | ||
| 31-6 | Funeral Teares: Deceitful fancy | — | ||
| 31-7 | Funeral Teares: Foe of mankind (A Dialogue) | — | ||
| 31-8 | Consort Music: Fantasia V - Almain - Galliard | — | ||
| 31-9 | Consort Music: Fantasia I - Fantasia (Ayre) No. 3 - Fantasia (Ayre) No. 2 | — | ||
| 31-10 | Consort Music: Fantasia VIII - Almain - Galliard | — | ||
| 32-1 | Madrigals & Motets 1612: I. The silver Swanne, who living had no note | — | ||
| 32-2 | Madrigals & Motets 1612: II. O that the learned poets of our time | — | ||
| 32-3 | Madrigals & Motets 1612: III. I waigh not Fortune's frowne nor smile (the first part) | — | ||
| 32-4 | Madrigals & Motets 1612: IV. I tremble not at noyse of warre (the second part) | — | ||
| 32-5 | Madrigals & Motets 1612: V. I see Ambition never pleasde (the third part) | — | ||
| 32-6 | Madrigals & Motets 1612: VI. I faine not friendship where I hate (the fourth part) | — | ||
| 32-7 | Madrigals & Motets 1612: VII. How art thou thral'd, O poore dispised creature? (the first part)? | — | ||
| 32-8 | Madrigals & Motets 1612: VIII. Farewell all Joyes (the second part) | — | ||
| 32-9 | Madrigals & Motets 1612: IX. Daintie fine Bird | — | ||
| 32-10 | Madrigals & Motets 1612: X. Faire Ladies that to Love captived are (the first part) | — | ||
| 32-11 | Madrigals & Motets 1612: XI. 'Mongst thousands good (the second part) | — | ||
| 32-12 | Madrigals & Motets 1612: XII. Now each flow'ry bancke of May | — | ||
| 32-13 | Madrigals & Motets 1612: XIII. Lais now old, that erst attemping Lasse | — | ||
| 32-14 | Madrigals & Motets 1612: XIV. What is our Life? | — | ||
| 32-15 | Madrigals & Motets 1612: XV. Ah deere Hart, why doe you rise? | — | ||
| 32-16 | Madrigals & Motets 1612: XVI. Faire is the Rose | — | ||
| 32-17 | Madrigals & Motets 1612: XVII. Nay, let mee weepe (the first part) | — | ||
| 32-18 | Madrigals & Motets 1612: XVIII. Nere let the Sunne with his deceiving light (the second part) | — | ||
| 32-19 | Madrigals & Motets 1612: XIX. Yet if that age had frosted ore his head (the third part) | — | ||
| 32-20 | Madrigals & Motets 1612: XX. Trust not too much faire youth unto thy feature | — | ||
| 33-1 | Heres Paternus (5 viols) | — | ||
| 33-2 | Psalmes, Sonets, & songs of sadnes and pietie, 1588: Though Amaryllis dance in green | — | ||
| 33-3 | The old spagnoletta (virginal) | — | ||
| 33-4 | Regina galliard (virginal) | — | ||
| 33-5 | I must depart all hapless | — | ||
| 33-6 | Ballets and Madrigals to Five Voyces, 1598: On the plaines, fairie traines | — | ||
| 33-7 | The flat pavan and galliard (2 lutes) | — | ||
| 33-8 | Ballets and Madrigals to Five Voyces, 1598: Sweet heart, arise | — | ||
| 33-9 | Ballets and Madrigals to Five Voyces, 1598: Welcome, sweet pleasure | — | ||
| 33-10 | Greensleeves (lute) | — | ||
| 33-11 | Deuteromelia, 1609: Tomorrow the fox will come to town | — | ||
| 33-12 | The Spanish pavan (virginal) | — | ||
| 33-13 | Coranto "Alarm" (virginal) | — | ||
| 33-14 | Coranto "Battle" (virginal) | — | ||
| 33-15 | Mylinda (5 viols) | — | ||
| 33-16 | Psalmes, Sonets, & songs of sadnes and pietie, 1588: I joy not in no earthly bliss | — | ||
| 33-17 | Gaillard (3 sackbuts, 2 cornetts) | — | ||
| 33-18 | The Night Watch (3 sackbuts, 2 cornetts) | — | ||
| 33-19 | Last Will and Testament (3 sackbuts, 2 cornetts) | — | ||
| 33-20 | Tinternell (lute) | — | ||
| 33-21 | Martyn said to his man | — | ||
| 33-22 | The Baffled Knight | — | ||
| 34-1 | Psalmes: I. O God give ear and do apply | — | ||
| 34-2 | Psalmes: V. O Lord, how long wilt thou forget | — | ||
| 34-3 | Sonets and Pastorales: XVII. If women could be fair | — | ||
| 34-4 | Sonets and Pastorales: XIX. What pleasure have great princes | — | ||
| 34-5 | Sonets and Pastorales: XXII. In fields abroad | — | ||
| 34-6 | Sonets and Pastorales: XXVI. The match that's made | — | ||
| 34-7 | Songs of sadnes and pietie: XXVIII. All as a sea | — | ||
| 34-8 | Songs of sadnes and pietie: XXIX. Susanna fair | — | ||
| 34-9 | Songs of sadnes and pietie: XXXI. Care for thy soul | — | ||
| 34-10 | Songs of sadnes and pietie: XXXII. Lullaby | — | ||
| 34-11 | The funerall songs of that honourable gentleman, Sir Philip Sidney, knight: XXXIV. Come to me, grief, for ever | — | ||
| 34-12 | The funerall songs of that honourable gentleman, Sir Philip Sidney, knight: XXXV. O that most rare breast | — | ||
| 35-1 | Prelude and Ground) à 5 | — | ||
| 35-2 | In nomine à 5 (No. 4) | — | ||
| 35-3 | Fantasia à 4 (No. 1) | — | ||
| 35-4 | Browning à 5 | — | ||
| 35-5 | Fantasia à 4 (No. 2) | — | ||
| 35-6 | In nomine à 5 (No. 2) | — | ||
| 35-7 | Fantasia à 6 (No. 3) | — | ||
| 35-8 | Pavan & Galliard à 6 | — | ||
| 35-9 | Fantasia à 3 (No. 2) | — | ||
| 35-10 | Fantasia à 5 | — | ||
| 35-11 | In nomine à 4 (No. 1); In nomine à 4 (No. 2) | — | ||
| 35-12 | Christe redemptor à 4 | — | ||
| 35-13 | Fantasia à 6 (No. 2) | — | ||
| 36-1 | My Ladye Nevells Booke: XVI. The Fourth Pavian (chamber organ) | — | ||
| 36-2 | My Ladye Nevells Booke: XVII. The Galliarde to the Fourth Pavian (chamber organ) | — | ||
| 36-3 | My Ladye Nevells Booke: II. Qui Passe: for my ladye nevell (virignal) | — | ||
| 36-4 | My Ladye Nevells Booke: IV. The Battell (virginal) | — | ||
| 36-5 | My Ladye Nevells Booke: XXXVII. Sellingers Rownde (virginal) | — | ||
| 36-6 | My Ladye Nevells Booke: XXXVIII. Munsers Almaine (Italian harpsichord) | — | ||
| 36-7 | My Ladye Nevells Booke: XXXV. Hugh Ashtons Grownde (Italian harpsichord) | — | ||
| 36-8 | My Ladye Nevells Booke: VII. A Galliards Gygge (Italian harpsichord) | — | ||
| 36-9 | My Ladye Nevells Booke: XXX. The Second Grownde (Flemish harpsichord) | — | ||
| 36-10 | My Ladye Nevells Booke: XVIII. The Fifte Pavian | — | ||
| 36-11 | My Ladye Nevells Booke: XIX. The Galliarde to the Fifte Pavian (Flemish harpsichord) | — | ||
| 36-12 | My Ladye Nevells Booke: XXXIV. The Carmans Whistle (Flemish harpsichord) | — | ||
| 36-13 | My Ladye Nevells Booke: XLII. A Voluntarie (chamber organ) | — | ||
| 36-14 | My Ladye Nevells Booke: I. My Lady Nevells Grownde (virginal) | — | ||
| 36-15 | My Ladye Nevells Booke: XXVI. A Voluntarie: for my ladye nevell (Flemish harpsichord) | — | ||
| 36-16 | My Ladye Nevells Booke: XXVII. Will Yow Walke the Woods Soe Wylde (virginal) | — | ||
| 36-17 | My Ladye Nevells Booke: XXXI. Have With Yow to Walsinghame (Flemish harpsichord) | — | ||
| 37-1 | Mall Symms | — | ||
| 37-2 | The Spanish Pavan | — | ||
| 37-3 | John Come Kiss Me Now | — | ||
| 37-4 | Fancy | — | ||
| 37-5 | Lachrimae Pavan | — | ||
| 37-6 | The Frogg Galliard | — | ||
| 37-7 | Pavan and Galliard | — | ||
| 37-8 | Preludium VI | — | ||
| 37-9 | Fantasia | — | ||
| 37-10 | Exercitium | — | ||
| 37-11 | Mistress Anne Grene her leaves bee greene | — | ||
| 37-12 | Pavan | — | ||
| 37-13 | Two Galliards | — | ||
| 37-14 | John Bluedeville's Last Farewell | — | ||
| 38-1 | Fantasia | — | ||
| 38-2 | The Flatt Pavan (Giles Farnaby) - Can shee (Anon.) | — | ||
| 38-3 | Alman (Anon.) - The Irishe Dumpe (Anon.) - Watkins Ale (Anon.) - A Gigg (William Byrd) | — | ||
| 38-4 | The Leaves bee greene | — | ||
| 38-5 | Amarilli di Julio Romano | — | ||
| 38-6 | Galiarda Passamezzo | — | ||
| 38-7 | Alman - The Primerose - The Fall of the Leafe | — | ||
| 38-8 | Tower Hill - A Masque - A Toye | — | ||
| 38-9 | Pavana | — | ||
| 38-10 | Galliardo | — | ||
| 38-11 | Robin | — | ||
| 38-12 | Nowels's Galliard | — | ||
| 38-13 | Giles Farnaby's Dreame - His Rest - Farnabye's Conceit - His Humour | — | ||
| 39-1 | John come kisse me now | — | ||
| 39-2 | The Queenes Alman | — | ||
| 39-3 | In nomine | — | ||
| 39-4 | Fantasia | — | ||
| 39-5 | Pavana "Pagget" and Galliarda | — | ||
| 39-6 | Pavana "Delight" and Galliarda | — | ||
| 39-7 | La Volta - Alman - Wolseys Wilde - Callino Casturame - La Volta | — | ||
| 39-8 | Pavan "Clement Cotton" | — | ||
| 39-9 | Loth to Depart | — | ||
| 40-1 | Toccata VII | — | ||
| 40-2 | Balletto I, Corrente e Passacagli | — | ||
| 40-3 | Partite sopra Follia | — | ||
| 40-4 | Balletto Il e Corrente | — | ||
| 40-5 | Cento Partite sopra Passacagli | — | ||
| 40-6 | Capriccio sopra la Battaglia | — | ||
| 40-7 | Toccata I | — | ||
| 40-8 | Balletto III, Corrente e Passacagli | — | ||
| 40-9 | Corrente I-IV, Balletto e Ciaccona | — | ||
| 40-10 | Partite sopra Ruggiero | — | ||
| 41-1 | Toccata I | — | ||
| 41-2 | Canzona I | — | ||
| 41-3 | Canzona VI | — | ||
| 41-4 | Aria detta Balletto | — | ||
| 41-5 | Toccata II | — | ||
| 41-6 | Toccata VII | — | ||
| 41-7 | Toccata VIII | — | ||
| 41-8 | Canzona IV | — | ||
| 41-9 | Gagliarde I-V | — | ||
| 41-10 | Aria detta la Frescobalda | — | ||
| 42-1 | Quarto libro de madrigali: I. Ah dolente partita | — | ||
| 42-2 | Quarto libro de madrigali: II. Cor mio, mentre vi miro | — | ||
| 42-3 | Quarto libro de madrigali: III. Cor mio, non mori? | — | ||
| 42-4 | Quarto libro de madrigali: IV. Sfogava con le stelle | — | ||
| 42-5 | Quarto libro de madrigali: V. Volgea l'anima mia | — | ||
| 42-6 | Quarto libro de madrigali: VI. Anima mia perdona (Prima parte) | — | ||
| 42-7 | Quarto libro de madrigali: VII. Che se tu se'il cor mio (Seconda parte) | — | ||
| 42-8 | Quarto libro de madrigali: VIII. Luci serene e chiare | — | ||
| 42-9 | Quarto libro de madrigali: IX. La piaga c'ho nel core | — | ||
| 42-10 | Quarto libro de madrigali: X. Voi pur da me partite, anima dura | — | ||
| 42-11 | Quarto libro de madrigali: XI. A un giro sol de' begl'occhi lucenti | — | ||
| 42-12 | Quarto libro de madrigali: XII. Ohimè, se tanto amate | — | ||
| 42-13 | Quarto libro de madrigali: XIII. Io me son giovinetta | — | ||
| 42-14 | Quarto libro de madrigali: XIV. Quel augellin che canta | — | ||
| 42-15 | Quarto libro de madrigali: XV. Non più guerra, pietate | — | ||
| 42-16 | Quarto libro de madrigali: XVI. Si ch'io vorrei morire | — | ||
| 42-17 | Quarto libro de madrigali: XVII. Anima dolorosa | — | ||
| 42-18 | Quarto libro de madrigali: XVIII. Anima del cor mio | — | ||
| 42-19 | Quarto libro de madrigali: XIX. Longe da te, cor mio | — | ||
| 42-20 | Quarto libro de madrigali: XX. Piagn' e sospira | — | ||
| 43-1 | Whither runneth my sweetheart | — | ||
| 43-2 | Fayre cruell Nimph (A Dialogue betweene a Shepheard and a Nimph) | — | ||
| 43-3 | Tell me, O love (A Dialogue betweene a Shepheard and a Nimph) | — | ||
| 43-4 | Who is it that this dark night under my window playneth? | — | ||
| 43-5 | Shut not sweet breast | — | ||
| 43-6 | A Dialogue on a Kisse (Among thy[e] Fancies) | — | ||
| 43-7 | A Dialogue betwixt Time and a Pilgrime (Aged man that mo[w]es these Fields) | — | ||
| 43-8 | Bel pastor, dal cui bel guardo | — | ||
| 43-9 | Da l'onde del mio pianto | — | ||
| 43-10 | Dialogo a due, Fileno e Lidia (Amar io ti consiglio) | — | ||
| 43-11 | Amanti, io vi so dire | — | ||
| 43-12 | Dio ti salvi, pastor | — | ||
| 43-13 | Bel pastor, dal cui bel guardo | — | ||
| 44-1 | Sett No. 3 in A minor: Fantazia [144] | — | ||
| 44-2 | Sett No. 3 in A minor: Aire (Alman) [145] | — | ||
| 44-3 | Sett No. 3 in A minor: Aire (Galliard) [146] | — | ||
| 44-4 | Sett No. 8 in D major: Fantazia [135] | — | ||
| 44-5 | Sett No. 8 in D major: Aire (Alman) [136] | — | ||
| 44-6 | Sett No. 8 in D major: Aire (Galliard) [137] | — | ||
| 44-7 | Sett No. 2 in G major: Fantazia [141] | — | ||
| 44-8 | Sett No. 2 in G major: Aire (Alman) [142] | — | ||
| 44-9 | Sett No. 2 in G major: Aire (Galliard) [143] | — | ||
| 44-10 | Sett No. 3 in A minor: Fantazia [144] | — | ||
| 44-11 | Sett No. 3 in A minor: Aire (Alman) [145] | — | ||
| 44-12 | Sett No. 3 in A minor: Aire (Galliard) [146] | — | ||
| 44-13 | Sett No. 1 in G minor: Paven [101] | — | ||
| 44-14 | Sett No. 1 in G minor: Aire [102] | — | ||
| 44-15 | Sett No. 1 in G minor: Aire [103] | — | ||
| 44-16 | Sett No. 8 in D major: Fantazia [159] | — | ||
| 44-17 | Sett No. 8 in D major: Aire (Alman) [160] | — | ||
| 44-18 | Sett No. 8 in D major: Aire (Galliard) [161] | — | ||
| 45-1 | The XII Wonders of the World, 1611: I. The Courtier | — | ||
| 45-2 | The XII Wonders of the World, 1611: II. The Divine | — | ||
| 45-3 | The XII Wonders of the World, 1611: III. The Souldiour | — | ||
| 45-4 | The XII Wonders of the World, 1611: IV. The Lawyer | — | ||
| 45-5 | The XII Wonders of the World, 1611: V. The Physition | — | ||
| 45-6 | The XII Wonders of the World, 1611: VI. The Marchant | — | ||
| 45-7 | The XII Wonders of the World, 1611: VII. The Country Gentleman | — | ||
| 45-8 | The XII Wonders of the World, 1611: VIII. The Batchelar | — | ||
| 45-9 | The XII Wonders of the World, 1611: IX. The Marryed man | — | ||
| 45-10 | The XII Wonders of the World, 1611: X. The Wife | — | ||
| 45-11 | The XII Wonders of the World, 1611: XI. The Widow | — | ||
| 45-12 | The XII Wonders of the World, 1611: XII. The Maide | — | ||
| 45-13 | Character Songs: Jacke and Jone they think no ill | — | ||
| 45-14 | Character Songs: Tobacco, tobacco | — | ||
| 45-15 | Character Songs: A poor soul sat sighing | — | ||
| 45-16 | Character Songs: The Dark is my delight | — | ||
| 45-17 | Character Songs: O let us howle | — | ||
| 45-18 | Character Songs: Yonder comes a courteous knight | — | ||
| 45-19 | Character Songs: Come live with me and be my love | — | ||
| 45-20 | Character Songs: What is't ye lack? | — | ||
| 45-21 | Character Songs: Joan quoth John | — | ||
| 46-1 | First Booke of Songs 1597: I. Unquiet thoughts | Anthony Rooley, The Consort of Musicke | — | |
| 46-2 | First Booke of Songs 1597: II. Whoever thinks or hopes | Anthony Rooley, The Consort of Musicke | — | |
| 46-3 | First Booke of Songs 1597: III. My thoughts are wing'd with hopes | Anthony Rooley, The Consort of Musicke | — | |
| 46-4 | First Booke of Songs 1597: IV. If my complaints could passions move | Anthony Rooley, The Consort of Musicke | — | |
| 46-5 | First Booke of Songs 1597: V. Can she excuse my wrongs | Anthony Rooley, The Consort of Musicke | — | |
| 46-6 | First Booke of Songs 1597: VI. Now, O now I needs must part | Anthony Rooley, The Consort of Musicke | — | |
| 46-7 | First Booke of Songs 1597: VII. Dear, if you change | Anthony Rooley, The Consort of Musicke | — | |
| 46-8 | First Booke of Songs 1597: VIII. Burst forth my tears | Anthony Rooley, The Consort of Musicke | — | |
| 46-9 | First Booke of Songs 1597: IX. Go crystal tears | Anthony Rooley, The Consort of Musicke | — | |
| 46-10 | First Booke of Songs 1597: X. Think'st thou then | Anthony Rooley, The Consort of Musicke | — | |
| 46-11 | First Booke of Songs 1597: XI. Come away, come sweet love | Anthony Rooley, The Consort of Musicke | — | |
| 46-12 | First Booke of Songs 1597: XII. Rest awhile you cruel cares | Anthony Rooley, The Consort of Musicke | — | |
| 46-13 | First Booke of Songs 1597: XIII. Sleep wayward thoughts | Anthony Rooley, The Consort of Musicke | — | |
| 46-14 | First Booke of Songs 1597: XIV. All ye whom love or fortune | Anthony Rooley, The Consort of Musicke | — | |
| 46-15 | First Booke of Songs 1597: XV. Wilt thou unkind | Anthony Rooley, The Consort of Musicke | — | |
| 46-16 | First Booke of Songs 1597: XVI. Would my conceit | Anthony Rooley, The Consort of Musicke | — | |
| 46-17 | First Booke of Songs 1597: XVII. Come again: sweet love doth now invite | Anthony Rooley, The Consort of Musicke | — | |
| 46-18 | First Booke of Songs 1597: XVIII. His golden locks | Anthony Rooley, The Consort of Musicke | — | |
| 46-19 | First Booke of Songs 1597: XIX. Awake, sweet love | Anthony Rooley, The Consort of Musicke | — | |
| 46-20 | First Booke of Songs 1597: XX. Come heavy sleep | Anthony Rooley, The Consort of Musicke | — | |
| 46-21 | First Booke of Songs 1597: XXI. Away with these self-loving lads | Anthony Rooley, The Consort of Musicke | — | |
| 47-1 | Lachrimae 1604: Lachrimae Antiquae | The Consort of Musicke, Anthony Rooley | — | |
| 47-2 | Lachrimae 1604: Lachrimae Antiquae Novae | The Consort of Musicke, Anthony Rooley | — | |
| 47-3 | Lachrimae 1604: Lachrimae Gementes | The Consort of Musicke, Anthony Rooley | T-801.456.074-9 | |
| 47-4 | Lachrimae 1604: Lachrimae Tristes | The Consort of Musicke, Anthony Rooley | — | |
| 47-5 | Lachrimae 1604: Lachrimae Coactae | The Consort of Musicke, Anthony Rooley | — | |
| 47-6 | Lachrimae 1604: Lachrimae Amantis | The Consort of Musicke, Anthony Rooley | T-900.091.088-3 | |
| 47-7 | Lachrimae 1604: Lachrimae Verae | The Consort of Musicke, Anthony Rooley | T-900.091.075-8 | |
| 47-8 | Lachrimae 1604: M. John Langton's Pavan | The Consort of Musicke, Anthony Rooley | — | |
| 47-9 | Lachrimae 1604: M. Nicolas Gryffith his Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-10 | Lachrimae 1604: Sir John Souch, his Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-11 | Lachrimae 1604: Semper Dowland semper dolens | The Consort of Musicke, Anthony Rooley | — | |
| 47-12 | Lachrimae 1604: M. Giles Hobies Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-13 | Lachrimae 1604: The King of Denmark's Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-14 | Lachrimae 1604: Sir Henry Upton's Funeral | The Consort of Musicke, Anthony Rooley | — | |
| 47-15 | Lachrimae 1604: M. Henry Noel his Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-16 | Lachrimae 1604: The Earl of Essex Galiard | The Consort of Musicke, Anthony Rooley | T-932.506.793-4 | |
| 47-17 | Lachrimae 1604: M. Buctons Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-18 | Lachrimae 1604: M. George Whithead his Almand | The Consort of Musicke, Anthony Rooley | — | |
| 47-19 | Lachrimae 1604: Captaine Digorie Piper his Galiard | The Consort of Musicke, Anthony Rooley | T-910.760.588-9 | |
| 47-20 | Lachrimae 1604: M. Thomas Collier his Galiard | The Consort of Musicke, Anthony Rooley | T-902.685.972-3 | |
| 47-21 | Lachrimae 1604: Mrs. Nichols Almand | The Consort of Musicke, Anthony Rooley | T-902.686.097-9 | |
| 48-1 | Terpsichore, No. 286: Passameze à 6 / No. 287: Gaillarde à 5 | New London Consort, Philip Pickett | — | |
| 48-2 | Terpsichore, No. 32: La Bouree à 4 | New London Consort, Philip Pickett | — | |
| 48-3 | Terpsichore, No. 15: Bransle de la Torche à 5 | New London Consort, Philip Pickett | — | |
| 48-4 | Terpsichore, No. 4: Bransles simples / Bransles gays / Bransles doubles à 5 | New London Consort, Philip Pickett | T-070.881.410-1 | |
| 48-5 | Terpsichore, No. 14: Bransles de Villages à 5 | New London Consort, Philip Pickett | — | |
| 48-6 | Terpsichore, No. 22: Philou à 4 | New London Consort, Philip Pickett | — | |
| 48-7 | Terpsichore, No. 262: Ballet des sorciers à 4 / No. 277: Ballet des Princesses à 4 / No. 268: Ballet à 4 / No. 277: Ballet des Princesses à 4 | New London Consort, Philip Pickett | — | |
| 48-8 | Terpsichore, No. 274: Ballet à 4 / No. 278: Ballet des Baccanales à 4 / No. 280: Ballet des Matelotz à 4 / No. 254: Ballet des coqs à 4 | New London Consort, Philip Pickett | — | |
| 48-9 | Terpsichore, No. 15: Bransle de la Torche à 5 (arr. Pickett) | New London Consort, Philip Pickett | — | |
| 48-10 | Terpsichore, No. 30: Pavane de Spaigne à 4 / No. 28: Spagnoletta à 4 | New London Consort, Philip Pickett | — | |
| 48-11 | Terpsichore, No. 288: Passameze pour les cornetz à 6 | New London Consort, Philip Pickett | — | |
| 48-12 | Terpsichore, No. 150: Courante M. M. Wüstrow à 4 / No. 179: Courante à 4 / No. 48: Courrant de Bataglia à 5 | New London Consort, Philip Pickett | — | |
| 48-13 | Terpsichore, No. 33: La sarabande à 5 | New London Consort, Philip Pickett | — | |
| 48-14 | Terpsichore, No. 199: Volte du tambour à 5 / No. 243: Volte à 4 / No. 242: Volte à 4 / No. 223: Volte à 5 | New London Consort, Philip Pickett | — | |
| 48-15 | Terpsichore, No. 210: Volte à 5 / No. 211: Volte à 5 / No. 236: Volte à 4 / No. 201: Volte à 5 | New London Consort, Philip Pickett | — | |
| 49-1 | Sinfonia antica | — | ||
| 49-2 | Canzonetta delle Ninfe e il Pastore | — | ||
| 49-3 | Spagnoletta | — | ||
| 49-4 | Canto di Fortuna, Tempo, Fama e Invidia | — | ||
| 49-5 | Gagliarda | — | ||
| 49-6 | Canto delle Sirene | — | ||
| 49-7 | Gagliarda | — | ||
| 49-8 | Ballo de Selvaggi e delle Simie | — | ||
| 49-9 | La scesa de Pastori dal Monte | — | ||
| 49-10 | Canto di Venere | — | ||
| 49-11 | Fanfare | — | ||
| 49-12 | Ballo de Cigni | — | ||
| 49-13 | Canto del Dio Pane e i suoi Silvani | — | ||
| 49-14 | Ballo de Selvaggi e del Simie | — | ||
| 49-15 | Gagliarda falsa | — | ||
| 49-16 | Canto d Amore | — | ||
| 49-17 | Le tre arie del Ballo Cavalieri | — | ||
| 50-1 | Fantasia-suite (No. 1) in G minor: Fantasia - Almain - Corant | — | ||
| 50-2 | Fantasia (No. 6) in F major | — | ||
| 50-3 | Fantasia-suite (No. 17) in E minor: Fantasia - Almain - Ayre | — | ||
| 50-4 | Fantasia (No. 8) in A minor | — | ||
| 50-5 | Newark Siege (No. 23), Galliard (No. 24) in D major | — | ||
| 50-6 | Pavan (No. 51), Ayre (No. 31), Corant (No. 44), Saraband (No. 52) | — | ||
| 50-7 | Fancy-Air set (No. 4) in C major: | — | ||
| 50-8 | Pavan (No. 2) in G minor | — | ||
| 50-9 | Fantasy (No. 3) in G minor | — | ||
| 50-10 | Fantasia (No. 12) in D major | — | ||
| 50-11 | In Nomine (No. 1) in G minor | — |
Identifier Graph
028947881049 is a Universal Product Code (UPC) assigned to L'Oiseau-Lyre: Medieval and Renaissance by Various Artists. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 832 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
The UPC for “L'Oiseau-Lyre: Medieval and Renaissance” by Various Artists is 028947881049. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2016-01-01. Label: L'Oiseau-Lyre. This release contains 832 tracks, each with its own ISRC. Tracks include GBF078640601, GBF078640602, GBF078640603.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Hymn: Vexilla Regis | — | ||
| 2 | Maundy Thursday: Introit and Kyrie | — | ||
| 3 | Maundy Thursday: Gradual | — | ||
| 4 | Maundy Thursday: Offertory | — | ||
| 5 | Maundy Thursday: Sanctus | — | ||
| 6 | Maundy Thursday: Communion | — | ||
| 7 | Good Friday: First Responsory | — | ||
| 8 | Good Friday: Second Responsory | — | ||
| 9 | Good Friday: Improperia | — | ||
| 10 | Antiphon: Ecce Lignum Crucis | — | ||
| 11 | Antiphon: Crucem Tuam | — | ||
| 12 | Antiphon: Cum Fabricator Mundi | — | ||
| 13 | Responsorial Hymn: Crux Fidelis / Pange Lingua | — | ||
| 2-1 | Prophilias, un des nobles de Roume | — | ||
| 2-2 | À l'arbre sec puis estre comparé | — | ||
| 2-3 | Pictagoras, Jabol et Orpheüs | — | ||
| 2-4 | Je me merveil / J'ay pluseurs fois | — | ||
| 2-5 | En ce gracieux tamps joli | — | ||
| 2-6 | Fuions de ci, fuions, povre compaingne | — | ||
| 2-7 | Dieux gart qui bien le chantera | — | ||
| 2-8 | Or voit tout en aventure | — | ||
| 2-9 | La Harpe de melodie | — | ||
| 2-10 | En attendant esperance conforte | — | ||
| 2-11 | Tel me voit et me regarde | — | ||
| 2-12 | Si con cy gist mon cuer en grief martire | — | ||
| 2-13 | Le Sault perilleux a l'aventure prins | — | ||
| 2-14 | En atendant d'avoir la douce vie | — | ||
| 2-15 | En Albion de fluns environee | — | ||
| 2-16 | Se j'ay perdu toute ma part | — | ||
| 3-1 | In Gedeonis area (CB 37) | Tessa Bonner, Catherine Bott, Sally Dunkley, Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | — | |
| 3-2 | Homo, quo vigeas vide! (CB 22) | Michael George, Simon Grant, Andrew King, Philip Pickett, New London Consort | — | |
| 3-3 | Ecce torpet probitas (CB 3) | Catherine Bott, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-4 | Nomen a solemnibus (CB 52) | Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-5 | Planctus ante nescia (CB 14) | Catherine Bott, Philip Pickett, New London Consort | — | |
| 3-6 | Michi confer, venditor (CB 16) | Catherine Bott, Michael George, Philip Pickett, New London Consort | — | |
| 3-7 | Olim sudor Herculis (CB 63) | Tessa Bonner, Catherine Bott, Sally Dunkley, Michael George, Simon Grant, Philip Pickett, New London Consort | — | |
| 3-8 | Procurans odium (CB 12) | Michael George, Simon Grant, Andrew King, Philip Pickett, New London Consort | T-001.141.411-1 | |
| 3-9 | Dulce solum (CB 119) | Michael George, Philip Pickett, New London Consort | — | |
| 3-10 | Axe Phebus aureo (CB 71) | Catherine Bott, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-11 | Alte clamat Epicurus (CB 211) | Michael George, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-12 | Exiit diluculo (CB 90) | Tessa Bonner, Catherine Bott, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-13 | Hiemali tempore (CB 203) | Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | T-800.639.771-4 | |
| 3-14 | Tempus est iocundum (CB 179) | Tessa Bonner, Catherine Bott, Sally Dunkley, Michael George, Simon Grant, Andrew King, Allan Parkes, Philip Pickett, New London Consort | T-915.096.150-5 | |
| 4-1 | O Virgo splendens | — | ||
| 4-2 | Stella splendens | — | ||
| 4-3 | Laudemus Virginem | — | ||
| 4-4 | Mariam Matrem Virginem | — | ||
| 4-5 | Polorum regina | — | ||
| 4-6 | Cuncti simus concanentes | — | ||
| 4-7 | Splendens ceptigera | — | ||
| 4-8 | Los set goyts | — | ||
| 4-9 | Imperayritz de la ciutat joyosa | — | ||
| 4-10 | Ad mortem festinamus | — | ||
| 5-1 | First Vespers: Lux Hodie | — | ||
| 5-2 | First Vespers: Orientis partibus | — | ||
| 5-3 | First Vespers: Veni doctor previe | — | ||
| 5-4 | First Vespers: Hec est clara dies | — | ||
| 5-5 | Music from the Office: Festa Januaria | — | ||
| 5-6 | Music from the Office: Verbum patris humanatur | — | ||
| 5-7 | Music from the Office: Salvatoris hodie | — | ||
| 5-8 | The Drinking Bout in the Cathedral Porch: Kalendas Ianuaris | — | ||
| 5-9 | Mass of the Asses, Drunkards and Gamblers: Dies festa colitur | — | ||
| 5-10 | Mass of the Asses, Drunkards and Gamblers: Kyrie asini | — | ||
| 5-11 | Mass of the Asses, Drunkards and Gamblers: Lux optata claruit | — | ||
| 5-12 | Mass of the Asses, Drunkards and Gamblers: Gambler's prayer/malediction | — | ||
| 5-13 | Mass of the Asses, Drunkards and Gamblers: Orientis partibus (Conductus Subdiaconi ad Epistolum) | — | ||
| 5-14 | Mass of the Asses, Drunkards and Gamblers: Gradual Bachi | — | ||
| 5-15 | Mass of the Asses, Drunkards and Gamblers: Sequentia: Vinum bonum | — | ||
| 5-16 | Mass of the Asses, Drunkards and Gamblers: Quantas Bachi | — | ||
| 5-17 | Mass of the Asses, Drunkards and Gamblers: Hunc diem/Ite missa est/Deo gratias | — | ||
| 5-18 | Mass of the Asses, Drunkards and Gamblers: Tityri tu patule | — | ||
| 5-19 | Music from the Office: Hac in die salutari | — | ||
| 5-20 | Music from the Office: Procedenti puero | — | ||
| 5-21 | Music from the Office: Notem fecit Dominus | — | ||
| 5-22 | Music from the Office: Verbum patris hodie | — | ||
| 5-23 | Second Vespers - The Ceremony of the Baculus: Deus in adjutorum | — | ||
| 5-24 | Second Vespers - The Ceremony of the Baculus: Magnificat | — | ||
| 5-25 | Second Vespers - The Ceremony of the Baculus: Anni novi novitas | — | ||
| 5-26 | Second Vespers - The Ceremony of the Baculus: Baculi sollempnia | — | ||
| 5-27 | Second Vespers - The Ceremony of the Baculus: Gregis pastor Tityrus | — | ||
| 5-28 | Second Vespers - The Ceremony of the Baculus: Tityri tu patule (Conductus ad Poculum) | — | ||
| 5-29 | The Banquet: Novus annus dies magnus | — | ||
| 5-30 | The Banquet: Hac in anni janua | — | ||
| 5-31 | Processional: Verbum Caro | — | ||
| 6-1 | Cantigas de Santa Maria: Quen a Virgen ben servira | Alfonso El Sabio | — | |
| 6-2 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Belial Vocatur | [anonymous] | — | |
| 6-3 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Surrexit de tumulo | [anonymous] | — | |
| 6-4 | Cantigas de Santa Maria: Non e gran causa | Alfonso El Sabio | — | |
| 6-5 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Ex illustri | [anonymous] | — | |
| 6-6 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Alpha bovi et leoni/Domino | [anonymous] | — | |
| 6-7 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: 4 Planctus | [anonymous] | — | |
| 6-8 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Verbum bonum et suavi | [anonymous] | — | |
| 6-9 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Agnus Dei/Regula moris | [anonymous] | — | |
| 6-10 | Burgos Codex de Las Huelgas 12/13th Century Iberian Manuscript: Fa fa mi fa/Ut re mi ut | [anonymous] | — | |
| 6-11 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Dum pater familias | [anonymous] | T-010.280.113-7 | |
| 7-1 | Cantigas de Santa Maria: De grad'a Santa Maria | New London Consort, Philip Pickett | — | |
| 7-2 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Annua Gaudia | New London Consort, Philip Pickett | — | |
| 7-3 | Cantigas de Santa Maria: Ben com'aos | New London Consort, Philip Pickett | — | |
| 7-4 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Regi perennis | New London Consort, Philip Pickett | — | |
| 7-5 | Cantigas de Santa Maria: Non sofre Santa Maria - Por dereito ten a Virgen | New London Consort, Philip Pickett | — | |
| 7-6 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Nostra phalanx | New London Consort, Philip Pickett | — | |
| 7-7 | Cantigas de Santa Maria: A madre de Deus | New London Consort, Philip Pickett | — | |
| 7-8 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Congaudeant catholici | New London Consort, Philip Pickett | — | |
| 7-9 | Martim Codax: 7 Cantigas d'amigo | New London Consort, Philip Pickett | — | |
| 7-10 | Codex Calixtinus (Jacobus) Polyphony, plainchant and instrumental collection. (12/13th c): Dum pater familias | New London Consort, Philip Pickett | — | |
| 8-1 | Lay de la fonteinne: I. Je ne cesse de prier | — | ||
| 8-2 | Lay de la fonteinne: II. Et ou porroit on querir | — | ||
| 8-3 | Lay de la fonteinne: III. C'est celle qui par ordonnance | — | ||
| 8-4 | Lay de la fonteinne: IV. Ces trois un a po de peinne | — | ||
| 8-5 | Lay de la fonteinne: V. Et qui de ceste eaue prendroit | — | ||
| 8-6 | Lay de la fonteinne: VI. Mais ceste trinite | — | ||
| 8-7 | Lay de la fonteinne: VII. De la duis le Pere nomme | — | ||
| 8-8 | Lay de la fonteinne: VIII. Et pour ce di que cil troy | — | ||
| 8-9 | Lay de la fonteinne: IX. Pour ce te pri | — | ||
| 8-10 | Lay de la fonteinne: X. Mais de tel confort | — | ||
| 8-11 | Lay de la fonteinne: XI. He! fonteinne de concorde | — | ||
| 8-12 | Lay de la fonteinne: XII. Pour laver et nettoier | — | ||
| 8-13 | Lay de consolation: I. Pour ce que plus proprement | — | ||
| 8-14 | Lay de consolation: II. Je fui ma dame de pris | — | ||
| 8-15 | Lay de consolation: III. Et quant je me senti a ce mene | — | ||
| 8-16 | Lay de consolation: IV. Et vous ma dame honnoree | — | ||
| 8-17 | Lay de consolation: V. Ainsi departant | — | ||
| 8-18 | Lay de consolation: VI. Et ce m'a tenu en joie | — | ||
| 8-19 | Lay de consolation: VII. Helas! celle douce vie | — | ||
| 8-20 | Lay de consolation: VIII. Quar ce que j'ay plus doubte que mourir | — | ||
| 8-21 | Lay de consolation: IX. Et elle est a dire voir | — | ||
| 8-22 | Lay de consolation: X. Je ne scay | — | ||
| 8-23 | Lay de consolation: XI. Ma tres doulce dame excellente | — | ||
| 8-24 | Lay de consolation: XII. Amis tieng certainnement | — | ||
| 9-1 | Aim guet geporen edelman (monophonic) | — | ||
| 9-2 | Aim guet geporen edelman (polyphonic) | — | ||
| 9-3 | Der oben swebt | — | ||
| 9-4 | Frölich, zärtlich, lieplich | — | ||
| 9-5 | Der mai mit lieber zal | — | ||
| 9-6 | Der mai mit lieber zal (organ solo) | — | ||
| 9-7 | Wolauff, gesell | — | ||
| 9-8 | Du aesserweltes schöns mein herz | — | ||
| 9-9 | Frölich geschrai so well wir machen | — | ||
| 9-10 | Ach senliches leiden | — | ||
| 9-11 | Stand auff, Maredel | — | ||
| 9-12 | Grasselick lif | — | ||
| 9-13 | Wach auff, mein hort! | — | ||
| 9-14 | Wach auff, mein hort! (organ solo) | — | ||
| 9-15 | "Nu huss" sprach der Michel von Wolkenstein | — | ||
| 9-16 | Durch Barbarei, Arabia | — | ||
| 10-1 | Ma bouche rit et ma pensee pleure | — | ||
| 10-2 | La despourveue et la bannye | — | ||
| 10-3 | D'un autre amer mon cueur s'abesseroit | — | ||
| 10-4 | Quant ce viendra au droit destraindre | — | ||
| 10-5 | Il ne m'en chault plus de nul ame | — | ||
| 10-6 | Presque transi ung peu moins qu'estre mort | — | ||
| 10-7 | Ma maistresse et ma plus grant amye | — | ||
| 10-8 | Les desleaux ont la saison | — | ||
| 10-9 | Mort tu as navré de ton dart | — | ||
| 10-10 | Quant de vous seul je pers la veue | — | ||
| 10-11 | Au travail suis que peu de gens croiroient | — | ||
| 10-12 | Prenez sur moi vostre exemple amoureux | — | ||
| 11-1 | Fors seulement l'actente que je meure | — | ||
| 11-2 | L'autre d'antan l'autrier passa | — | ||
| 11-3 | S'elle m'amera je ne scay | — | ||
| 11-4 | O rosa bella o dolce anima mia` | — | ||
| 11-5 | Tant fuz gentement resjouy | — | ||
| 11-6 | Je n'ay dueil que je ne suis morte | — | ||
| 11-7 | Malheur me bat | — | ||
| 11-8 | Se vostre cuer | — | ||
| 11-9 | Qu'es mi vida preguntays (original three-part version) | — | ||
| 11-10 | Qu'es mi vida preguntays | — | ||
| 11-11 | Je n'ay dueil | — | ||
| 11-12 | Ce n'est pas jeu desloigner ce qu'on ame | — | ||
| 11-13 | Resjois toy terre de France | — | ||
| 11-14 | Departez vous | — | ||
| 11-15 | Ung autre l'a n'en queres plus | — | ||
| 11-16 | Autre Venus estes sans faille | — | ||
| 11-17 | Baissiez moi dont fort | — | ||
| 11-18 | Fors seulment contre ce qu'ay promis | — | ||
| 12-1 | Sera quel zorno mai | — | ||
| 12-2 | Dame que j'aym | — | ||
| 12-3 | Pre du soloil | — | ||
| 12-4 | Dame d'honour | — | ||
| 12-5 | Dame souvrayne | — | ||
| 12-6 | Trouver ne puis aucunement confort | — | ||
| 12-7 | Pour bel accueil | — | ||
| 12-8 | Ne me chant | — | ||
| 12-9 | Se je me plaing | — | ||
| 12-10 | Bell sans per | — | ||
| 12-11 | Helas merci | — | ||
| 12-12 | Gia da rete d'amor | — | ||
| 13-1 | Reis glorios, verais lums e clartatz | Catherine Bott | — | |
| 13-2 | Trop est mes maris jalos | Catherine Bott | — | |
| 13-3 | Lanquan li jorn son lonc en may | Catherine Bott | — | |
| 13-4 | Desconfortez, plains d’ire et de pesance | Catherine Bott | — | |
| 13-5 | Fine amours en esperance | Catherine Bott | — | |
| 13-6 | Can vei la lauzeta mover | Catherine Bott | — | |
| 13-7 | Bele Yolanz en ses chambres seoit | Catherine Bott | — | |
| 13-8 | A chantar m’er de so qu’ieu non volria | Catherine Bott | — | |
| 13-9 | Deus est ausi comme li pellicans | Catherine Bott | — | |
| 13-10 | Onques n’amai tant que jou fui amee | Catherine Bott | — | |
| 13-11 | S’ie·us quer conselh, bell’ami’ Alamanda | Catherine Bott | — | |
| 13-12 | Fortz chausa es que tot lo major dan | Catherine Bott | — | |
| 14-1 | Complete Secular Music Group 2a: Ce moys de may soyons lies et joyeux | — | ||
| 14-2 | Complete Secular Music Group 7: Je n'ai doubté fors que des envieux | — | ||
| 14-3 | Complete Secular Music Group 7: Se la face ay pale | — | ||
| 14-4 | Complete Secular Music Group 2a: J'ay grant (doulour) | — | ||
| 14-5 | Complete Secular Music Group 7: Par le regart de vos beaux yeux | — | ||
| 14-6 | Complete Secular Music Group 1: Resvelons nous, resvelons, amoureux | — | ||
| 14-7 | Complete Secular Music Group 2a: Ma belle dame souveraine | — | ||
| 14-8 | Complete Secular Music Group 7: Trop lonc temps ai esté en desplaisir | — | ||
| 14-9 | Complete Secular Music Group 2b: Dona i ardenti ray | — | ||
| 14-10 | Complete Secular Music Group 1: Helas, et quant vous veray? | — | ||
| 14-11 | Complete Secular Music Group 1: J'ay mis mon cueur et ma pensée | — | ||
| 14-12 | Complete Secular Music Groups 8 & 8a: Lamentatio sanctae matris ecclesiae | — | ||
| 14-13 | Complete Secular Music Group 2b: He, compaignons, resvelons nous | — | ||
| 14-14 | Complete Secular Music Group 7: Puisque celle qui me tient en prison | — | ||
| 14-15 | Complete Secular Music Group 1: Entre vous, gentils amoureux | — | ||
| 14-16 | Complete Secular Music Group 7: Mille bonjours je vous presente | — | ||
| 14-17 | Complete Secular Music Group 2a: Je me complains piteusement | — | ||
| 14-18 | Complete Secular Music Group 7: Entre les plus plaines danoy | — | ||
| 14-19 | Complete Secular Music Groups 8 & 8a: Je vous pri, mon tres doulx ami | — | ||
| 14-20 | Complete Secular Music Group 2a: La belle se siet au piet de la tour | — | ||
| 14-21 | Complete Secular Music Group 2b: Portugaler | — | ||
| 14-22 | Complete Secular Music Group 2a: J'atendray tant qu'il vous playra | — | ||
| 14-23 | Complete Secular Music Group 2b: Adieu ces bon vins de Lannoys | — | ||
| 14-24 | Complete Secular Music Group 9: Les doulers, dont me sens tel somme | — | ||
| 14-25 | Complete Secular Music Group 4: Belle, vueillies vostre mercy donner | — | ||
| 14-26 | Complete Secular Music Group 4: C'est bien raison de devoir essacier | — | ||
| 15-1 | Missa di dadi: Kyrie | — | ||
| 15-2 | Missa di dadi: Gloria | — | ||
| 15-3 | Missa di dadi: Credo | — | ||
| 15-4 | Missa di dadi: Sanctus - Benedictus | — | ||
| 15-5 | Missa di dadi: Agnus Dei | — | ||
| 15-6 | Missa "Faisant regretz": Kyrie | — | ||
| 15-7 | Missa "Faisant regretz": Gloria | — | ||
| 15-8 | Missa "Faisant regretz": Credo | — | ||
| 15-9 | Missa "Faisant regretz": Sanctus - Benedictus | — | ||
| 15-10 | Missa "Faisant regretz": Agnus Dei | — | ||
| 16-1 | Mon mari m'a diffamée | — | ||
| 16-2 | Ce pauvre mendiant pour Dieu / Pauper sum ego | — | ||
| 16-3 | De tous beins plaine | — | ||
| 16-4 | Fortuna d'un gran tempo | — | ||
| 16-5 | La belle se siet | — | ||
| 16-6 | Je me... | — | ||
| 16-7 | Que vous ma dame / In pace in idipsum | — | ||
| 16-8 | Cela sans plus | — | ||
| 16-9 | Je n'ose plus... | — | ||
| 16-10 | Si j'eusse Marion, hélas | — | ||
| 16-11 | En l'ombre d'ung buissonnet, au matinet | — | ||
| 16-12 | Quant je vous voye | — | ||
| 16-13 | A la mort on prioit / Monstra te esse matrem | — | ||
| 16-14 | La Bernadina | — | ||
| 16-15 | Fortuna desperata | — | ||
| 16-16 | Si j'ay perdu mon amy | — | ||
| 16-17 | Hélas madame... | — | ||
| 16-18 | La plus des plus | — | ||
| 16-19 | Madame, hélas | — | ||
| 16-20 | Ile fantazies de Joskin | — | ||
| 16-21 | Entré je suis en grant pensée | — | ||
| 16-22 | En l'ombre d'ung buissonet tou au loing... | — | ||
| 17-1 | Fille, vous avez mal garde | — | ||
| 17-2 | Par ung jour de matinee | — | ||
| 17-3 | Et qui le dira dira | — | ||
| 17-4 | Helas que devra | — | ||
| 17-5 | Maudit soit | — | ||
| 17-6 | J'ay pris amours | — | ||
| 17-7 | Je ne puis vivre | — | ||
| 17-8 | Le serviteur | — | ||
| 17-9 | Mon pere m'a donne mari | — | ||
| 17-10 | Et je boi d'autant | — | ||
| 17-11 | Donna, di dentro | — | ||
| 17-12 | Fortuna desperata | — | ||
| 17-13 | Nè più bella di queste | — | ||
| 17-14 | Hora è di maggio | — | ||
| 17-15 | La Martinella | — | ||
| 17-16 | Un di lieto giammai | — | ||
| 17-17 | La Morra | — | ||
| 17-18 | Es het ein Baur ein Töchterlein | — | ||
| 17-19 | O Venus bant | — | ||
| 17-20 | Innsbruck, ich muss dich lassen | — | ||
| 17-21 | Ain frewlich Wesen | — | ||
| 17-22 | Mich wundert hart | — | ||
| 17-23 | Zwischen Berg und tieffe Tal | — | ||
| 17-24 | Wann ich des Morgens | — | ||
| 17-25 | Der Hund | — | ||
| 17-26 | Greiner, zancker | — | ||
| 18-1 | Ave Maria, gratia plena | — | ||
| 18-2 | Se ben hor non scopra il foco | — | ||
| 18-3 | Che debb'io far? Cher me consigli, Amore? | — | ||
| 18-4 | Non val aqua al mio gran foco | — | ||
| 18-5 | Ite in pace suspir fieri | — | ||
| 18-6 | A la guerra | — | ||
| 18-7 | Si è debile il filo | — | ||
| 18-8 | O sacrum convivium | — | ||
| 18-9 | Ave Maria, regina in cielo | — | ||
| 18-10 | De[h] si, deh no | — | ||
| 18-11 | Bench'el ciel me t'habbi tolto | — | ||
| 18-12 | Ostinato vo seguire | — | ||
| 18-13 | Hor che'l ciel et la terra | — | ||
| 18-14 | Stavasi Amor dormendo | — | ||
| 18-15 | Vale, diva, vale in pace | — | ||
| 18-16 | Vergine bella che del sol vestita | — | ||
| 19-1 | La Chansonnier Cordiforme: I. Hora gridar "oimè" | — | ||
| 19-2 | La Chansonnier Cordiforme: II. Ben lo sa Dio | — | ||
| 19-3 | La Chansonnier Cordiforme: III. Dona gentile (rondeau) | — | ||
| 19-4 | La Chansonnier Cordiforme: IV. Zentil madona | — | ||
| 19-5 | La Chansonnier Cordiforme: V. Chiara fontana | — | ||
| 19-6 | La Chansonnier Cordiforme: VI. O pelegrina luce (first setting) | — | ||
| 19-7 | La Chansonnier Cordiforme: VII. O rosa bella | — | ||
| 19-8 | La Chansonnier Cordiforme: VIII. La gracia de voi | — | ||
| 19-9 | La Chansonnier Cordiforme: IX. Perla mia cara | — | ||
| 19-10 | La Chansonnier Cordiforme: X. Mort mercè | — | ||
| 19-11 | La Chansonnier Cordiforme: XI. Finir voglio la mia vita | — | ||
| 19-12 | La Chansonnier Cordiforme: XII. O pelegrina luce (second setting) | — | ||
| 19-13 | La Chansonnier Cordiforme: XIII. O meschin' inamorati | — | ||
| 20-1 | La Chansonnier Cordiforme: XIV. Comme ung homme desconforté | — | ||
| 20-2 | La Chansonnier Cordiforme: XV. S'il vous plaist que vostre je soye | — | ||
| 20-3 | La Chansonnier Cordiforme: XVI. L'aultre jour par ung matin | — | ||
| 20-4 | La Chansonnier Cordiforme: XVII. J'ay pris amours | — | ||
| 20-5 | La Chansonnier Cordiforme: XVIII. L'autre d'antan l'autrier passa | — | ||
| 20-6 | La Chansonnier Cordiforme: XIX. De tous biens plaine (rondeau) | — | ||
| 20-7 | La Chansonnier Cordiforme: XX. J'ay moins de bien | — | ||
| 20-8 | La Chansonnier Cordiforme: XXI. Vostre bruit et vostre grant fame | — | ||
| 20-9 | La Chansonnier Cordiforme: XXII. Cent mille escus | — | ||
| 20-10 | La Chansonnier Cordiforme: XXIII. Le souvenir de vous me tue | — | ||
| 20-11 | La Chansonnier Cordiforme: XXIV. L'omme bany de sa plaisance (rondeau) | — | ||
| 20-12 | La Chansonnier Cordiforme: XXV. N'aray je jamais mieulx | — | ||
| 20-13 | La Chansonnier Cordiforme: XXVI. Le serviteur hault guerdonné | — | ||
| 20-14 | La Chansonnier Cordiforme: XXVII. Fortune, par ta cruaulté | — | ||
| 20-15 | La Chansonnier Cordiforme: XXVIII. Est il mercy du quoy l'on peust finer | — | ||
| 21-1 | La Chansonnier Cordiforme: XXIX. Comme femme desconfortee | — | ||
| 21-2 | La Chansonnier Cordiforme: XXX. Tout a par moy | — | ||
| 21-3 | La Chansonnier Cordiforme: XXXI. Ma bouche rit | — | ||
| 21-4 | La Chansonnier Cordiforme: XXXII. Mon seul plaisir, ma doulce joye | — | ||
| 21-5 | La Chansonnier Cordiforme: XXXIII. Ma bouche plaint | — | ||
| 21-6 | La Chansonnier Cordiforme: XXXIV. Vray dieu d'amours | — | ||
| 21-7 | La Chansonnier Cordiforme: XXXV. Helas! Je n'ay pas osé dire | — | ||
| 21-8 | La Chansonnier Cordiforme: XXXVI. Or ay je perdu | — | ||
| 21-9 | La Chansonnier Cordiforme: XXXVII. Adieu vous dy | — | ||
| 21-10 | La Chansonnier Cordiforme: XXXVIII. Terriblement suis fortunee | — | ||
| 21-11 | La Chansonnier Cordiforme: XXXIX. De mon pouvoir vous veul complaire | — | ||
| 21-12 | La Chansonnier Cordiforme: XL. Helas! n'aray je jamais mieulx | — | ||
| 21-13 | La Chansonnier Cordiforme: XLI. Quant du dire adieu | — | ||
| 21-14 | La Chansonnier Cordiforme: XLII. Je ne veis onques la pareille | — | ||
| 21-15 | La Chansonnier Cordiforme: XLIII. Faites moy sçavoir de la belle | — | ||
| 22-1 | Mi verry joy | The Medieval Ensemble of London | — | |
| 22-2 | O rosa bella | — | ||
| 22-3 | Le serviteur | The Medieval Ensemble of London | — | |
| 22-4 | Myn hertis lust | The Medieval Ensemble of London | — | |
| 22-5 | Durer ne puis | The Medieval Ensemble of London | — | |
| 22-6 | Fortune alas | The Medieval Ensemble of London | — | |
| 22-7 | Se bylle to hir | The Medieval Ensemble of London | — | |
| 22-8 | Puisque m'amour | The Medieval Ensemble of London | — | |
| 22-9 | Je languis | The Medieval Ensemble of London | — | |
| 22-10 | I pray you alle | The Medieval Ensemble of London | — | |
| 22-11 | O rosa bella | The Medieval Ensemble of London | — | |
| 22-12 | Alas, alas, alas | The Medieval Ensemble of London | — | |
| 22-13 | "Watlin frew" | The Medieval Ensemble of London | — | |
| 22-14 | So ys emprentid | The Medieval Ensemble of London | — | |
| 22-15 | Tout a par moy | The Medieval Ensemble of London | — | |
| 23-1 | Lagrime di San Pietro ... con un mottetto nel fine: I. Il magnanimo Pietro | — | ||
| 23-2 | Lagrime di San Pietro ... con un mottetto nel fine: II. Ma gli archi, che nel petto gli avventaro | — | ||
| 23-3 | Lagrime di San Pietro ... con un mottetto nel fine: III. Tre volte haveva a l'importuna e audace ancella | — | ||
| 23-4 | Lagrime di San Pietro ... con un mottetto nel fine: IV. Qual' à l'incontro di quegli occhi santi | — | ||
| 23-5 | Lagrime di San Pietro ... con un mottetto nel fine: V. Giovane donna il suo bel volto in specchio non vide mai | — | ||
| 23-6 | Lagrime di San Pietro ... con un mottetto nel fine: VI. Così tal'hor (benchè profane cose...) | — | ||
| 23-7 | Lagrime di San Pietro ... con un mottetto nel fine: VII. Ogni occhio del Signor lingua veloce parea | — | ||
| 23-8 | Lagrime di San Pietro ... con un mottetto nel fine: VIII. Nessun fedel trovai, nessun cortese | — | ||
| 23-9 | Lagrime di San Pietro ... con un mottetto nel fine: IX. Chi ad una ad una raccontar potesse le parole di sdegno | — | ||
| 23-10 | Lagrime di San Pietro ... con un mottetto nel fine: X. Come falda di neve | — | ||
| 23-11 | Lagrime di San Pietro ... con un mottetto nel fine: XI. E non fu il pianto suo rico o torrente | — | ||
| 23-12 | Lagrime di San Pietro ... con un mottetto nel fine: XII. Quel volto, che era poco inanzi stato asperso tutto di color di morte | — | ||
| 23-13 | Lagrime di San Pietro ... con un mottetto nel fine: XIII. Veduto il miser quanto differente dal primo stato suo si ritrovava | — | ||
| 23-14 | Lagrime di San Pietro ... con un mottetto nel fine: XIV. E vago d'incontrar chi giusta pena desse al suo grave error | — | ||
| 23-15 | Lagrime di San Pietro ... con un mottetto nel fine: XV. Vattene, vita, va' (dicea piangendo) | — | ||
| 23-16 | Lagrime di San Pietro ... con un mottetto nel fine: XVI. O vita troppo rea, troppo fallace | — | ||
| 23-17 | Lagrime di San Pietro ... con un mottetto nel fine: XVII. Ah quanti già felici in giovinezza recò l'indugio tuo lunghi tormenti | — | ||
| 23-18 | Lagrime di San Pietro ... con un mottetto nel fine: XVIII. Non trovava mia fé si duro intoppo | — | ||
| 23-19 | Lagrime di San Pietro ... con un mottetto nel fine: XIX. Queste opre e più, che'l mondo ed io sapea | — | ||
| 23-20 | Lagrime di San Pietro ... con un mottetto nel fine: XX. Negando il mio Signor, negai quel che era | — | ||
| 23-21 | Lagrime di San Pietro ... con un mottetto nel fine: XXI. Vide homo, quae pro te partior | — | ||
| 23-22 | Le lagrime d'Erminia in stile recitativo, Op. 6: In solitario piano | — | ||
| 23-23 | Le lagrime d'Erminia in stile recitativo, Op. 6: Senza Tancredi viva | — | ||
| 23-24 | Le lagrime d'Erminia in stile recitativo, Op. 6: Cinque ode | — | ||
| 24-1 | Pavans and Galliards: XI. Pavan | — | ||
| 24-2 | Pavans and Galliards: XII. Galliard | — | ||
| 24-3 | Pavans and Galliards: XXXIII. Heres Paternus | — | ||
| 24-4 | Pavans and Galliards: XXXIV. Muy Linda | — | ||
| 24-5 | Pavans and Galliards: XXI. Infernum | — | ||
| 24-6 | Pavans and Galliards: XXII. Galliard | — | ||
| 24-7 | Pavans and Galliards: XVII. Paradizo | — | ||
| 24-8 | Pavans and Galliards: XVIII. The Sighes | — | ||
| 24-9 | Pavans and Galliards: XXVII. The Image of Melancholly | — | ||
| 24-10 | Pavans and Galliards: XXVIII. Ecce quam bonum | — | ||
| 24-11 | Pavans and Galliards: XLIX. Pavana Ploravit | — | ||
| 24-12 | Pavans and Galliards: L. Sic semper soleo | — | ||
| 24-13 | Pavans and Galliards: XXXI. The Funerals | — | ||
| 24-14 | Pavans and Galliards: XXXII. Galliard | — | ||
| 24-15 | Pavans and Galliards: LVI. Almayne | — | ||
| 24-16 | Pavans and Galliards: LX. The Honiesuckle | — | ||
| 24-17 | Pavans and Galliards: LXIV. As it fell on a holie eve (coranto) | — | ||
| 24-18 | Pavans and Galliards: LXV. Heigh ho holiday (coranto) | — | ||
| 25-1 | Fanfare (after "La Mourisque") | — | ||
| 25-2 | Passe et medio / Reprise “Le pingne” | — | ||
| 25-3 | Bergeret “Sans roch” / Reprise | — | ||
| 25-4 | Den I. Ronde “Pour quoy” | — | ||
| 25-5 | Den VII. Ronde “Il estoit une fillette” | — | ||
| 25-6 | Den III. Ronde | — | ||
| 25-7 | Den IV. Ronde | — | ||
| 25-8 | Den V. Ronde “Wo bistu” | — | ||
| 25-9 | Den VI. Ronde / Saltarelle | — | ||
| 25-10 | Den XI. Ronde / Aliud | — | ||
| 25-11 | Bergerette “Dont vient cela” / Reprise | — | ||
| 25-12 | Danse de Hercules oft maticine / De Matrigale | — | ||
| 25-13 | De Post | — | ||
| 25-14 | Le quatre Branles | — | ||
| 25-15 | Fagot | — | ||
| 25-16 | Den Hoboeckendans | — | ||
| 25-17 | Basse danse “Mon desir” / Reprise “Le cueur est bon” | — | ||
| 25-18 | Den I. Allemaingne/Recoupe | — | ||
| 25-19 | Den II. Allemaingne | — | ||
| 25-20 | Den III. Allemaingne | — | ||
| 25-21 | Den V. Allemaingne | — | ||
| 25-22 | Den VI. Allemaingne | — | ||
| 25-23 | Den VII. Allemaingne | — | ||
| 25-24 | Den VIII. Allemaingne / Recoupe / Recoupe “Aliud den Tenor voer den discant” | — | ||
| 25-25 | Bergerette “La Brosse” | — | ||
| 25-26 | Pavane “La Bataille” | — | ||
| 25-27 | Pavane “Mille Regretz” | — | ||
| 25-28 | Den II. Gaillarde | — | ||
| 25-29 | Den XI. Gaillarde | — | ||
| 25-30 | Den IX. Gaillarde | — | ||
| 25-31 | Den IV. Gaillarde | — | ||
| 25-32 | Den VII. Gaillarde | — | ||
| 25-33 | Den X. Gaillarde “Mille ducas” | — | ||
| 25-34 | Den III. Gaillarde | — | ||
| 25-35 | Den XV. Gaillarde “Le Tout” | — | ||
| 25-36 | Danse du Roy / Reprise | — | ||
| 25-37 | Entre du fol | — | ||
| 25-38 | La Mourisque | — | ||
| 26-1 | My heavy sprite, oppress'd with sorrow's might | — | ||
| 26-2 | Change thy mind since she doth change | — | ||
| 26-3 | O eyes, leave off your weeping | — | ||
| 26-4 | Go, my flock, go get you hence | — | ||
| 26-5 | O dear life, when shall it be? | — | ||
| 26-6 | To plead my faith | — | ||
| 26-7 | In a grove most rich of shade | — | ||
| 26-8 | Far from triumphing court | — | ||
| 26-9 | Lady, if you so spite me | — | ||
| 26-10 | In darkness let me dwell | — | ||
| 26-11 | Si le parler et la silence | — | ||
| 26-12 | Ce penser qui sans fin | — | ||
| 26-13 | Vous que le Bonheur rappelle | — | ||
| 26-14 | Passava Amor su arco desarmado | — | ||
| 26-15 | Sta notte mi sognava | — | ||
| 26-16 | Vuestros ojos tienen d'Amor | — | ||
| 26-17 | Se de farmi morire | — | ||
| 26-18 | Dovrò dunque morire? | — | ||
| 26-19 | Amarilli mia bella | — | ||
| 26-20 | O bella più che le stelle Diana | — | ||
| 27-1 | Quinto libro dei madrigali: I. Gioite voi col canto | — | ||
| 27-2 | Quinto libro dei madrigali: II. S'io non miro non moro | — | ||
| 27-3 | Quinto libro dei madrigali: III. Itene, o miei sospiri | — | ||
| 27-4 | Quinto libro dei madrigali: IV. Dolcissima mia vita | — | ||
| 27-5 | Quinto libro dei madrigali: V. O dolorosa gioia | — | ||
| 27-6 | Quinto libro dei madrigali: VI. Quai fora, donna | — | ||
| 27-7 | Quinto libro dei madrigali: VII. Felicissimo sonno | — | ||
| 27-8 | Quinto libro dei madrigali: VIII. Se vi duol il mio duolo | — | ||
| 27-9 | Quinto libro dei madrigali: IX. Occhi del mio cor vita | — | ||
| 27-10 | Quinto libro dei madrigali: X. Languisce al fin | — | ||
| 27-11 | Quinto libro dei madrigali: XI. Mercè grido piangendo | — | ||
| 27-12 | Quinto libro dei madrigali: XII. O voi, troppo felici | — | ||
| 27-13 | Quinto libro dei madrigali: XIII. Correte, amanti, a prova | — | ||
| 27-14 | Quinto libro dei madrigali: XIV. Asciugate i begli occhi | — | ||
| 27-15 | Quinto libro dei madrigali: XV. Tu m'uccidi, o crudele | — | ||
| 27-16 | Quinto libro dei madrigali: XVI. Deh, coprite il bel seno | — | ||
| 27-17 | Quinto libro dei madrigali: XVII. Poichè l'avida sete (prima parte) | — | ||
| 27-18 | Quinto libro dei madrigali: XVIII. Ma tu, cagion (seconda parte) | — | ||
| 27-19 | Quinto libro dei madrigali: XIX. O tenebroso giorno | — | ||
| 27-20 | Quinto libro dei madrigali: XX. Se tu fuggi, io non resto | — | ||
| 27-21 | Quinto libro dei madrigali: XXI. "T'amo, mia vita!" | — | ||
| 28-1 | Arise, awake, awake, you silly shepherds sleeping | — | ||
| 28-2 | Besides a fountain | — | ||
| 28-3 | No, no, no, no, Nigella | — | ||
| 28-4 | Singing alone sat my sweet Amarillis | — | ||
| 28-5 | With my love my life was nestled | — | ||
| 28-6 | Mistress mine, well may you fare | — | ||
| 28-7 | Stay heart, run not so fast | — | ||
| 28-8 | Fire and lightning from heaven | — | ||
| 28-9 | Phyllis, I fain would die now | — | ||
| 28-10 | Hard by a crystal fountain | — | ||
| 28-11 | In every place | — | ||
| 28-12 | O grief, e'en on the bud | — | ||
| 28-13 | Absence, hear thou my protestation | — | ||
| 28-14 | Deep lamenting | — | ||
| 28-15 | Sleep, slumb'ring eyes | — | ||
| 28-16 | Hark! Alleluia cheerly | — | ||
| 29-1 | The First Set of English Madrigals: IV. Weep, O mine eyes | — | ||
| 29-2 | The First Set of English Madrigals: X. Lady, when I behold | — | ||
| 29-3 | The First Set of English Madrigals: XI. Thus saith my Cloris bright | — | ||
| 29-4 | The First Set of English Madrigals: XII. Adieu sweet Amarillis | — | ||
| 29-5 | The First Set of English Madrigals: XIII. Die, hapless man | — | ||
| 29-6 | The First Set of English Madrigals: XVIII. Lady, your words do spite me | — | ||
| 29-7 | The First Set of English Madrigals: XIX. Alas, what a wretched life is this | — | ||
| 29-8 | The First Set of English Madrigals: XXIV. Lady, when I behold the Roses | — | ||
| 29-9 | The First Set of English Madrigals: XXV. When shall my wretched life give place to death? | — | ||
| 29-10 | The First Set of English Madrigals: XXVI. Of joys and pleasing pains I late went singing (the first part) | — | ||
| 29-11 | The First Set of English Madrigals: XXVII. My throat is sore my voice is hoarse with skriking (the second part) | — | ||
| 29-12 | The First Set of English Madrigals: XXVIII. Cruel, behold my heavy ending | — | ||
| 29-13 | The First Set of English Madrigals: XXIX. Thou art but young, thou sayest | — | ||
| 29-14 | The First Set of English Madrigals: XXX. Why dost thou shoot | — | ||
| 29-15 | The Second Set of Madrigals: XVII. Sweet honey-sucking Bees (the first part) | — | ||
| 29-16 | The Second Set of Madrigals: XVIII. Yet, sweet, take heed (the second part) | — | ||
| 29-17 | The Second Set of Madrigals: XXV. Ye that do live in pleasures | — | ||
| 29-18 | The Second Set of Madrigals: XXVII. O wretched man | — | ||
| 29-19 | The Second Set of Madrigals: XXX. Ah, cannot sighs, nor tears | — | ||
| 29-20 | The Second Set of Madrigals: XXXI. Draw on, sweet night | — | ||
| 29-21 | The Second Set of Madrigals: XXXII. Stay, Corydon, thou swain | — | ||
| 29-22 | The Second Set of Madrigals: XXXIII. Softly, o softly drop, mine eyes | — | ||
| 30-1 | Symphoniae Sacrae II, 1615: Magnificat a 14 | Emma Kirkby, Martyn Hill, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-2 | Symphoniae Sacrae II, 1615: Suscipe a 12 | Rogers Covey-Crump, Paul Elliott, Martyn Hill, Nigel Rogers, Brian Etheridge, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-3 | Symphoniae Sacrae II, 1615: Quem vidistis pastores a 14 | Kevin Smith, Paul Elliott, Martyn Hill, Nigel Rogers, William Mason, Geoffrey Shaw, David Thomas, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-4 | Symphoniae Sacrae II, 1615: Buccinate in neomenia a 19 | Timothy Penrose, Nigel Rogers, Brian Etheridge, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-5 | Symphoniae Sacrae II, 1615: In ecclesiis a 14 | Timothy Penrose, Paul Elliott, Martyn Hill, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-6 | Symphoniae Sacrae II, 1615: Jubilate Deo a 10 | Emma Kirkby, Timothy Penrose, Kevin Smith, Paul Elliott, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-7 | Symphoniae Sacrae II, 1615: Misericordia a 12 | Emma Kirkby, Rogers Covey-Crump, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-8 | Symphoniae Sacrae II, 1615: Surrexit Christus a 11 | Rogers Covey-Crump, Nigel Rogers, Brian Etheridge, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 30-9 | Symphoniae Sacrae II, 1615: Magnificat a 17 | Emma Kirkby, John Skinner, Martyn Hill, Nigel Rogers, Taverner Choir, London Cornett and Sackbut Ensemble, Andrew Parrott | — | |
| 31-1 | Funeral Teares: Oft thou hast with greedy ear | — | ||
| 31-2 | Funeral Teares: O sweet flower | — | ||
| 31-3 | Funeral Teares: O th'unsure hopes of men! | — | ||
| 31-4 | Funeral Teares: In darkness let me dwell | — | ||
| 31-5 | Funeral Teares: My joy is dead | — | ||
| 31-6 | Funeral Teares: Deceitful fancy | — | ||
| 31-7 | Funeral Teares: Foe of mankind (A Dialogue) | — | ||
| 31-8 | Consort Music: Fantasia V - Almain - Galliard | — | ||
| 31-9 | Consort Music: Fantasia I - Fantasia (Ayre) No. 3 - Fantasia (Ayre) No. 2 | — | ||
| 31-10 | Consort Music: Fantasia VIII - Almain - Galliard | — | ||
| 32-1 | Madrigals & Motets 1612: I. The silver Swanne, who living had no note | — | ||
| 32-2 | Madrigals & Motets 1612: II. O that the learned poets of our time | — | ||
| 32-3 | Madrigals & Motets 1612: III. I waigh not Fortune's frowne nor smile (the first part) | — | ||
| 32-4 | Madrigals & Motets 1612: IV. I tremble not at noyse of warre (the second part) | — | ||
| 32-5 | Madrigals & Motets 1612: V. I see Ambition never pleasde (the third part) | — | ||
| 32-6 | Madrigals & Motets 1612: VI. I faine not friendship where I hate (the fourth part) | — | ||
| 32-7 | Madrigals & Motets 1612: VII. How art thou thral'd, O poore dispised creature? (the first part)? | — | ||
| 32-8 | Madrigals & Motets 1612: VIII. Farewell all Joyes (the second part) | — | ||
| 32-9 | Madrigals & Motets 1612: IX. Daintie fine Bird | — | ||
| 32-10 | Madrigals & Motets 1612: X. Faire Ladies that to Love captived are (the first part) | — | ||
| 32-11 | Madrigals & Motets 1612: XI. 'Mongst thousands good (the second part) | — | ||
| 32-12 | Madrigals & Motets 1612: XII. Now each flow'ry bancke of May | — | ||
| 32-13 | Madrigals & Motets 1612: XIII. Lais now old, that erst attemping Lasse | — | ||
| 32-14 | Madrigals & Motets 1612: XIV. What is our Life? | — | ||
| 32-15 | Madrigals & Motets 1612: XV. Ah deere Hart, why doe you rise? | — | ||
| 32-16 | Madrigals & Motets 1612: XVI. Faire is the Rose | — | ||
| 32-17 | Madrigals & Motets 1612: XVII. Nay, let mee weepe (the first part) | — | ||
| 32-18 | Madrigals & Motets 1612: XVIII. Nere let the Sunne with his deceiving light (the second part) | — | ||
| 32-19 | Madrigals & Motets 1612: XIX. Yet if that age had frosted ore his head (the third part) | — | ||
| 32-20 | Madrigals & Motets 1612: XX. Trust not too much faire youth unto thy feature | — | ||
| 33-1 | Heres Paternus (5 viols) | — | ||
| 33-2 | Psalmes, Sonets, & songs of sadnes and pietie, 1588: Though Amaryllis dance in green | — | ||
| 33-3 | The old spagnoletta (virginal) | — | ||
| 33-4 | Regina galliard (virginal) | — | ||
| 33-5 | I must depart all hapless | — | ||
| 33-6 | Ballets and Madrigals to Five Voyces, 1598: On the plaines, fairie traines | — | ||
| 33-7 | The flat pavan and galliard (2 lutes) | — | ||
| 33-8 | Ballets and Madrigals to Five Voyces, 1598: Sweet heart, arise | — | ||
| 33-9 | Ballets and Madrigals to Five Voyces, 1598: Welcome, sweet pleasure | — | ||
| 33-10 | Greensleeves (lute) | — | ||
| 33-11 | Deuteromelia, 1609: Tomorrow the fox will come to town | — | ||
| 33-12 | The Spanish pavan (virginal) | — | ||
| 33-13 | Coranto "Alarm" (virginal) | — | ||
| 33-14 | Coranto "Battle" (virginal) | — | ||
| 33-15 | Mylinda (5 viols) | — | ||
| 33-16 | Psalmes, Sonets, & songs of sadnes and pietie, 1588: I joy not in no earthly bliss | — | ||
| 33-17 | Gaillard (3 sackbuts, 2 cornetts) | — | ||
| 33-18 | The Night Watch (3 sackbuts, 2 cornetts) | — | ||
| 33-19 | Last Will and Testament (3 sackbuts, 2 cornetts) | — | ||
| 33-20 | Tinternell (lute) | — | ||
| 33-21 | Martyn said to his man | — | ||
| 33-22 | The Baffled Knight | — | ||
| 34-1 | Psalmes: I. O God give ear and do apply | — | ||
| 34-2 | Psalmes: V. O Lord, how long wilt thou forget | — | ||
| 34-3 | Sonets and Pastorales: XVII. If women could be fair | — | ||
| 34-4 | Sonets and Pastorales: XIX. What pleasure have great princes | — | ||
| 34-5 | Sonets and Pastorales: XXII. In fields abroad | — | ||
| 34-6 | Sonets and Pastorales: XXVI. The match that's made | — | ||
| 34-7 | Songs of sadnes and pietie: XXVIII. All as a sea | — | ||
| 34-8 | Songs of sadnes and pietie: XXIX. Susanna fair | — | ||
| 34-9 | Songs of sadnes and pietie: XXXI. Care for thy soul | — | ||
| 34-10 | Songs of sadnes and pietie: XXXII. Lullaby | — | ||
| 34-11 | The funerall songs of that honourable gentleman, Sir Philip Sidney, knight: XXXIV. Come to me, grief, for ever | — | ||
| 34-12 | The funerall songs of that honourable gentleman, Sir Philip Sidney, knight: XXXV. O that most rare breast | — | ||
| 35-1 | Prelude and Ground) à 5 | — | ||
| 35-2 | In nomine à 5 (No. 4) | — | ||
| 35-3 | Fantasia à 4 (No. 1) | — | ||
| 35-4 | Browning à 5 | — | ||
| 35-5 | Fantasia à 4 (No. 2) | — | ||
| 35-6 | In nomine à 5 (No. 2) | — | ||
| 35-7 | Fantasia à 6 (No. 3) | — | ||
| 35-8 | Pavan & Galliard à 6 | — | ||
| 35-9 | Fantasia à 3 (No. 2) | — | ||
| 35-10 | Fantasia à 5 | — | ||
| 35-11 | In nomine à 4 (No. 1); In nomine à 4 (No. 2) | — | ||
| 35-12 | Christe redemptor à 4 | — | ||
| 35-13 | Fantasia à 6 (No. 2) | — | ||
| 36-1 | My Ladye Nevells Booke: XVI. The Fourth Pavian (chamber organ) | — | ||
| 36-2 | My Ladye Nevells Booke: XVII. The Galliarde to the Fourth Pavian (chamber organ) | — | ||
| 36-3 | My Ladye Nevells Booke: II. Qui Passe: for my ladye nevell (virignal) | — | ||
| 36-4 | My Ladye Nevells Booke: IV. The Battell (virginal) | — | ||
| 36-5 | My Ladye Nevells Booke: XXXVII. Sellingers Rownde (virginal) | — | ||
| 36-6 | My Ladye Nevells Booke: XXXVIII. Munsers Almaine (Italian harpsichord) | — | ||
| 36-7 | My Ladye Nevells Booke: XXXV. Hugh Ashtons Grownde (Italian harpsichord) | — | ||
| 36-8 | My Ladye Nevells Booke: VII. A Galliards Gygge (Italian harpsichord) | — | ||
| 36-9 | My Ladye Nevells Booke: XXX. The Second Grownde (Flemish harpsichord) | — | ||
| 36-10 | My Ladye Nevells Booke: XVIII. The Fifte Pavian | — | ||
| 36-11 | My Ladye Nevells Booke: XIX. The Galliarde to the Fifte Pavian (Flemish harpsichord) | — | ||
| 36-12 | My Ladye Nevells Booke: XXXIV. The Carmans Whistle (Flemish harpsichord) | — | ||
| 36-13 | My Ladye Nevells Booke: XLII. A Voluntarie (chamber organ) | — | ||
| 36-14 | My Ladye Nevells Booke: I. My Lady Nevells Grownde (virginal) | — | ||
| 36-15 | My Ladye Nevells Booke: XXVI. A Voluntarie: for my ladye nevell (Flemish harpsichord) | — | ||
| 36-16 | My Ladye Nevells Booke: XXVII. Will Yow Walke the Woods Soe Wylde (virginal) | — | ||
| 36-17 | My Ladye Nevells Booke: XXXI. Have With Yow to Walsinghame (Flemish harpsichord) | — | ||
| 37-1 | Mall Symms | — | ||
| 37-2 | The Spanish Pavan | — | ||
| 37-3 | John Come Kiss Me Now | — | ||
| 37-4 | Fancy | — | ||
| 37-5 | Lachrimae Pavan | — | ||
| 37-6 | The Frogg Galliard | — | ||
| 37-7 | Pavan and Galliard | — | ||
| 37-8 | Preludium VI | — | ||
| 37-9 | Fantasia | — | ||
| 37-10 | Exercitium | — | ||
| 37-11 | Mistress Anne Grene her leaves bee greene | — | ||
| 37-12 | Pavan | — | ||
| 37-13 | Two Galliards | — | ||
| 37-14 | John Bluedeville's Last Farewell | — | ||
| 38-1 | Fantasia | — | ||
| 38-2 | The Flatt Pavan (Giles Farnaby) - Can shee (Anon.) | — | ||
| 38-3 | Alman (Anon.) - The Irishe Dumpe (Anon.) - Watkins Ale (Anon.) - A Gigg (William Byrd) | — | ||
| 38-4 | The Leaves bee greene | — | ||
| 38-5 | Amarilli di Julio Romano | — | ||
| 38-6 | Galiarda Passamezzo | — | ||
| 38-7 | Alman - The Primerose - The Fall of the Leafe | — | ||
| 38-8 | Tower Hill - A Masque - A Toye | — | ||
| 38-9 | Pavana | — | ||
| 38-10 | Galliardo | — | ||
| 38-11 | Robin | — | ||
| 38-12 | Nowels's Galliard | — | ||
| 38-13 | Giles Farnaby's Dreame - His Rest - Farnabye's Conceit - His Humour | — | ||
| 39-1 | John come kisse me now | — | ||
| 39-2 | The Queenes Alman | — | ||
| 39-3 | In nomine | — | ||
| 39-4 | Fantasia | — | ||
| 39-5 | Pavana "Pagget" and Galliarda | — | ||
| 39-6 | Pavana "Delight" and Galliarda | — | ||
| 39-7 | La Volta - Alman - Wolseys Wilde - Callino Casturame - La Volta | — | ||
| 39-8 | Pavan "Clement Cotton" | — | ||
| 39-9 | Loth to Depart | — | ||
| 40-1 | Toccata VII | — | ||
| 40-2 | Balletto I, Corrente e Passacagli | — | ||
| 40-3 | Partite sopra Follia | — | ||
| 40-4 | Balletto Il e Corrente | — | ||
| 40-5 | Cento Partite sopra Passacagli | — | ||
| 40-6 | Capriccio sopra la Battaglia | — | ||
| 40-7 | Toccata I | — | ||
| 40-8 | Balletto III, Corrente e Passacagli | — | ||
| 40-9 | Corrente I-IV, Balletto e Ciaccona | — | ||
| 40-10 | Partite sopra Ruggiero | — | ||
| 41-1 | Toccata I | — | ||
| 41-2 | Canzona I | — | ||
| 41-3 | Canzona VI | — | ||
| 41-4 | Aria detta Balletto | — | ||
| 41-5 | Toccata II | — | ||
| 41-6 | Toccata VII | — | ||
| 41-7 | Toccata VIII | — | ||
| 41-8 | Canzona IV | — | ||
| 41-9 | Gagliarde I-V | — | ||
| 41-10 | Aria detta la Frescobalda | — | ||
| 42-1 | Quarto libro de madrigali: I. Ah dolente partita | — | ||
| 42-2 | Quarto libro de madrigali: II. Cor mio, mentre vi miro | — | ||
| 42-3 | Quarto libro de madrigali: III. Cor mio, non mori? | — | ||
| 42-4 | Quarto libro de madrigali: IV. Sfogava con le stelle | — | ||
| 42-5 | Quarto libro de madrigali: V. Volgea l'anima mia | — | ||
| 42-6 | Quarto libro de madrigali: VI. Anima mia perdona (Prima parte) | — | ||
| 42-7 | Quarto libro de madrigali: VII. Che se tu se'il cor mio (Seconda parte) | — | ||
| 42-8 | Quarto libro de madrigali: VIII. Luci serene e chiare | — | ||
| 42-9 | Quarto libro de madrigali: IX. La piaga c'ho nel core | — | ||
| 42-10 | Quarto libro de madrigali: X. Voi pur da me partite, anima dura | — | ||
| 42-11 | Quarto libro de madrigali: XI. A un giro sol de' begl'occhi lucenti | — | ||
| 42-12 | Quarto libro de madrigali: XII. Ohimè, se tanto amate | — | ||
| 42-13 | Quarto libro de madrigali: XIII. Io me son giovinetta | — | ||
| 42-14 | Quarto libro de madrigali: XIV. Quel augellin che canta | — | ||
| 42-15 | Quarto libro de madrigali: XV. Non più guerra, pietate | — | ||
| 42-16 | Quarto libro de madrigali: XVI. Si ch'io vorrei morire | — | ||
| 42-17 | Quarto libro de madrigali: XVII. Anima dolorosa | — | ||
| 42-18 | Quarto libro de madrigali: XVIII. Anima del cor mio | — | ||
| 42-19 | Quarto libro de madrigali: XIX. Longe da te, cor mio | — | ||
| 42-20 | Quarto libro de madrigali: XX. Piagn' e sospira | — | ||
| 43-1 | Whither runneth my sweetheart | — | ||
| 43-2 | Fayre cruell Nimph (A Dialogue betweene a Shepheard and a Nimph) | — | ||
| 43-3 | Tell me, O love (A Dialogue betweene a Shepheard and a Nimph) | — | ||
| 43-4 | Who is it that this dark night under my window playneth? | — | ||
| 43-5 | Shut not sweet breast | — | ||
| 43-6 | A Dialogue on a Kisse (Among thy[e] Fancies) | — | ||
| 43-7 | A Dialogue betwixt Time and a Pilgrime (Aged man that mo[w]es these Fields) | — | ||
| 43-8 | Bel pastor, dal cui bel guardo | — | ||
| 43-9 | Da l'onde del mio pianto | — | ||
| 43-10 | Dialogo a due, Fileno e Lidia (Amar io ti consiglio) | — | ||
| 43-11 | Amanti, io vi so dire | — | ||
| 43-12 | Dio ti salvi, pastor | — | ||
| 43-13 | Bel pastor, dal cui bel guardo | — | ||
| 44-1 | Sett No. 3 in A minor: Fantazia [144] | — | ||
| 44-2 | Sett No. 3 in A minor: Aire (Alman) [145] | — | ||
| 44-3 | Sett No. 3 in A minor: Aire (Galliard) [146] | — | ||
| 44-4 | Sett No. 8 in D major: Fantazia [135] | — | ||
| 44-5 | Sett No. 8 in D major: Aire (Alman) [136] | — | ||
| 44-6 | Sett No. 8 in D major: Aire (Galliard) [137] | — | ||
| 44-7 | Sett No. 2 in G major: Fantazia [141] | — | ||
| 44-8 | Sett No. 2 in G major: Aire (Alman) [142] | — | ||
| 44-9 | Sett No. 2 in G major: Aire (Galliard) [143] | — | ||
| 44-10 | Sett No. 3 in A minor: Fantazia [144] | — | ||
| 44-11 | Sett No. 3 in A minor: Aire (Alman) [145] | — | ||
| 44-12 | Sett No. 3 in A minor: Aire (Galliard) [146] | — | ||
| 44-13 | Sett No. 1 in G minor: Paven [101] | — | ||
| 44-14 | Sett No. 1 in G minor: Aire [102] | — | ||
| 44-15 | Sett No. 1 in G minor: Aire [103] | — | ||
| 44-16 | Sett No. 8 in D major: Fantazia [159] | — | ||
| 44-17 | Sett No. 8 in D major: Aire (Alman) [160] | — | ||
| 44-18 | Sett No. 8 in D major: Aire (Galliard) [161] | — | ||
| 45-1 | The XII Wonders of the World, 1611: I. The Courtier | — | ||
| 45-2 | The XII Wonders of the World, 1611: II. The Divine | — | ||
| 45-3 | The XII Wonders of the World, 1611: III. The Souldiour | — | ||
| 45-4 | The XII Wonders of the World, 1611: IV. The Lawyer | — | ||
| 45-5 | The XII Wonders of the World, 1611: V. The Physition | — | ||
| 45-6 | The XII Wonders of the World, 1611: VI. The Marchant | — | ||
| 45-7 | The XII Wonders of the World, 1611: VII. The Country Gentleman | — | ||
| 45-8 | The XII Wonders of the World, 1611: VIII. The Batchelar | — | ||
| 45-9 | The XII Wonders of the World, 1611: IX. The Marryed man | — | ||
| 45-10 | The XII Wonders of the World, 1611: X. The Wife | — | ||
| 45-11 | The XII Wonders of the World, 1611: XI. The Widow | — | ||
| 45-12 | The XII Wonders of the World, 1611: XII. The Maide | — | ||
| 45-13 | Character Songs: Jacke and Jone they think no ill | — | ||
| 45-14 | Character Songs: Tobacco, tobacco | — | ||
| 45-15 | Character Songs: A poor soul sat sighing | — | ||
| 45-16 | Character Songs: The Dark is my delight | — | ||
| 45-17 | Character Songs: O let us howle | — | ||
| 45-18 | Character Songs: Yonder comes a courteous knight | — | ||
| 45-19 | Character Songs: Come live with me and be my love | — | ||
| 45-20 | Character Songs: What is't ye lack? | — | ||
| 45-21 | Character Songs: Joan quoth John | — | ||
| 46-1 | First Booke of Songs 1597: I. Unquiet thoughts | Anthony Rooley, The Consort of Musicke | — | |
| 46-2 | First Booke of Songs 1597: II. Whoever thinks or hopes | Anthony Rooley, The Consort of Musicke | — | |
| 46-3 | First Booke of Songs 1597: III. My thoughts are wing'd with hopes | Anthony Rooley, The Consort of Musicke | — | |
| 46-4 | First Booke of Songs 1597: IV. If my complaints could passions move | Anthony Rooley, The Consort of Musicke | — | |
| 46-5 | First Booke of Songs 1597: V. Can she excuse my wrongs | Anthony Rooley, The Consort of Musicke | — | |
| 46-6 | First Booke of Songs 1597: VI. Now, O now I needs must part | Anthony Rooley, The Consort of Musicke | — | |
| 46-7 | First Booke of Songs 1597: VII. Dear, if you change | Anthony Rooley, The Consort of Musicke | — | |
| 46-8 | First Booke of Songs 1597: VIII. Burst forth my tears | Anthony Rooley, The Consort of Musicke | — | |
| 46-9 | First Booke of Songs 1597: IX. Go crystal tears | Anthony Rooley, The Consort of Musicke | — | |
| 46-10 | First Booke of Songs 1597: X. Think'st thou then | Anthony Rooley, The Consort of Musicke | — | |
| 46-11 | First Booke of Songs 1597: XI. Come away, come sweet love | Anthony Rooley, The Consort of Musicke | — | |
| 46-12 | First Booke of Songs 1597: XII. Rest awhile you cruel cares | Anthony Rooley, The Consort of Musicke | — | |
| 46-13 | First Booke of Songs 1597: XIII. Sleep wayward thoughts | Anthony Rooley, The Consort of Musicke | — | |
| 46-14 | First Booke of Songs 1597: XIV. All ye whom love or fortune | Anthony Rooley, The Consort of Musicke | — | |
| 46-15 | First Booke of Songs 1597: XV. Wilt thou unkind | Anthony Rooley, The Consort of Musicke | — | |
| 46-16 | First Booke of Songs 1597: XVI. Would my conceit | Anthony Rooley, The Consort of Musicke | — | |
| 46-17 | First Booke of Songs 1597: XVII. Come again: sweet love doth now invite | Anthony Rooley, The Consort of Musicke | — | |
| 46-18 | First Booke of Songs 1597: XVIII. His golden locks | Anthony Rooley, The Consort of Musicke | — | |
| 46-19 | First Booke of Songs 1597: XIX. Awake, sweet love | Anthony Rooley, The Consort of Musicke | — | |
| 46-20 | First Booke of Songs 1597: XX. Come heavy sleep | Anthony Rooley, The Consort of Musicke | — | |
| 46-21 | First Booke of Songs 1597: XXI. Away with these self-loving lads | Anthony Rooley, The Consort of Musicke | — | |
| 47-1 | Lachrimae 1604: Lachrimae Antiquae | The Consort of Musicke, Anthony Rooley | — | |
| 47-2 | Lachrimae 1604: Lachrimae Antiquae Novae | The Consort of Musicke, Anthony Rooley | — | |
| 47-3 | Lachrimae 1604: Lachrimae Gementes | The Consort of Musicke, Anthony Rooley | T-801.456.074-9 | |
| 47-4 | Lachrimae 1604: Lachrimae Tristes | The Consort of Musicke, Anthony Rooley | — | |
| 47-5 | Lachrimae 1604: Lachrimae Coactae | The Consort of Musicke, Anthony Rooley | — | |
| 47-6 | Lachrimae 1604: Lachrimae Amantis | The Consort of Musicke, Anthony Rooley | T-900.091.088-3 | |
| 47-7 | Lachrimae 1604: Lachrimae Verae | The Consort of Musicke, Anthony Rooley | T-900.091.075-8 | |
| 47-8 | Lachrimae 1604: M. John Langton's Pavan | The Consort of Musicke, Anthony Rooley | — | |
| 47-9 | Lachrimae 1604: M. Nicolas Gryffith his Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-10 | Lachrimae 1604: Sir John Souch, his Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-11 | Lachrimae 1604: Semper Dowland semper dolens | The Consort of Musicke, Anthony Rooley | — | |
| 47-12 | Lachrimae 1604: M. Giles Hobies Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-13 | Lachrimae 1604: The King of Denmark's Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-14 | Lachrimae 1604: Sir Henry Upton's Funeral | The Consort of Musicke, Anthony Rooley | — | |
| 47-15 | Lachrimae 1604: M. Henry Noel his Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-16 | Lachrimae 1604: The Earl of Essex Galiard | The Consort of Musicke, Anthony Rooley | T-932.506.793-4 | |
| 47-17 | Lachrimae 1604: M. Buctons Galiard | The Consort of Musicke, Anthony Rooley | — | |
| 47-18 | Lachrimae 1604: M. George Whithead his Almand | The Consort of Musicke, Anthony Rooley | — | |
| 47-19 | Lachrimae 1604: Captaine Digorie Piper his Galiard | The Consort of Musicke, Anthony Rooley | T-910.760.588-9 | |
| 47-20 | Lachrimae 1604: M. Thomas Collier his Galiard | The Consort of Musicke, Anthony Rooley | T-902.685.972-3 | |
| 47-21 | Lachrimae 1604: Mrs. Nichols Almand | The Consort of Musicke, Anthony Rooley | T-902.686.097-9 | |
| 48-1 | Terpsichore, No. 286: Passameze à 6 / No. 287: Gaillarde à 5 | New London Consort, Philip Pickett | — | |
| 48-2 | Terpsichore, No. 32: La Bouree à 4 | New London Consort, Philip Pickett | — | |
| 48-3 | Terpsichore, No. 15: Bransle de la Torche à 5 | New London Consort, Philip Pickett | — | |
| 48-4 | Terpsichore, No. 4: Bransles simples / Bransles gays / Bransles doubles à 5 | New London Consort, Philip Pickett | T-070.881.410-1 | |
| 48-5 | Terpsichore, No. 14: Bransles de Villages à 5 | New London Consort, Philip Pickett | — | |
| 48-6 | Terpsichore, No. 22: Philou à 4 | New London Consort, Philip Pickett | — | |
| 48-7 | Terpsichore, No. 262: Ballet des sorciers à 4 / No. 277: Ballet des Princesses à 4 / No. 268: Ballet à 4 / No. 277: Ballet des Princesses à 4 | New London Consort, Philip Pickett | — | |
| 48-8 | Terpsichore, No. 274: Ballet à 4 / No. 278: Ballet des Baccanales à 4 / No. 280: Ballet des Matelotz à 4 / No. 254: Ballet des coqs à 4 | New London Consort, Philip Pickett | — | |
| 48-9 | Terpsichore, No. 15: Bransle de la Torche à 5 (arr. Pickett) | New London Consort, Philip Pickett | — | |
| 48-10 | Terpsichore, No. 30: Pavane de Spaigne à 4 / No. 28: Spagnoletta à 4 | New London Consort, Philip Pickett | — | |
| 48-11 | Terpsichore, No. 288: Passameze pour les cornetz à 6 | New London Consort, Philip Pickett | — | |
| 48-12 | Terpsichore, No. 150: Courante M. M. Wüstrow à 4 / No. 179: Courante à 4 / No. 48: Courrant de Bataglia à 5 | New London Consort, Philip Pickett | — | |
| 48-13 | Terpsichore, No. 33: La sarabande à 5 | New London Consort, Philip Pickett | — | |
| 48-14 | Terpsichore, No. 199: Volte du tambour à 5 / No. 243: Volte à 4 / No. 242: Volte à 4 / No. 223: Volte à 5 | New London Consort, Philip Pickett | — | |
| 48-15 | Terpsichore, No. 210: Volte à 5 / No. 211: Volte à 5 / No. 236: Volte à 4 / No. 201: Volte à 5 | New London Consort, Philip Pickett | — | |
| 49-1 | Sinfonia antica | — | ||
| 49-2 | Canzonetta delle Ninfe e il Pastore | — | ||
| 49-3 | Spagnoletta | — | ||
| 49-4 | Canto di Fortuna, Tempo, Fama e Invidia | — | ||
| 49-5 | Gagliarda | — | ||
| 49-6 | Canto delle Sirene | — | ||
| 49-7 | Gagliarda | — | ||
| 49-8 | Ballo de Selvaggi e delle Simie | — | ||
| 49-9 | La scesa de Pastori dal Monte | — | ||
| 49-10 | Canto di Venere | — | ||
| 49-11 | Fanfare | — | ||
| 49-12 | Ballo de Cigni | — | ||
| 49-13 | Canto del Dio Pane e i suoi Silvani | — | ||
| 49-14 | Ballo de Selvaggi e del Simie | — | ||
| 49-15 | Gagliarda falsa | — | ||
| 49-16 | Canto d Amore | — | ||
| 49-17 | Le tre arie del Ballo Cavalieri | — | ||
| 50-1 | Fantasia-suite (No. 1) in G minor: Fantasia - Almain - Corant | — | ||
| 50-2 | Fantasia (No. 6) in F major | — | ||
| 50-3 | Fantasia-suite (No. 17) in E minor: Fantasia - Almain - Ayre | — | ||
| 50-4 | Fantasia (No. 8) in A minor | — | ||
| 50-5 | Newark Siege (No. 23), Galliard (No. 24) in D major | — | ||
| 50-6 | Pavan (No. 51), Ayre (No. 31), Corant (No. 44), Saraband (No. 52) | — | ||
| 50-7 | Fancy-Air set (No. 4) in C major: | — | ||
| 50-8 | Pavan (No. 2) in G minor | — | ||
| 50-9 | Fantasy (No. 3) in G minor | — | ||
| 50-10 | Fantasia (No. 12) in D major | — | ||
| 50-11 | In Nomine (No. 1) in G minor | — |
