UPC · Release
Early Music. La Musique Ancienne. De L`antiquite A La Renaissance
Various Artists
794881968527
211 tracksReleased 2010-01-01Harmonia Mundi s.a.
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794881968527 is the Universal Product Code (UPC barcode) for the release “Early Music. La Musique Ancienne. De L`antiquite A La Renaissance” by Various Artists, released 2010-01-01 on Harmonia Mundi s.a.. UPCs are unique numeric identifiers assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. This release contains 211 tracks, each with its own ISRC. Tracks include FRZ148914010, FRZ148914060, FRZ148914090.
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UPCEarly Music. La Musique Ancienne. De L`antiquite A La Renaissance
ISRC16 recordings
ISWC2 works
IPI4 songwriters
Track List (211)
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Akousate (Music of Ancient Greece) | — | ||
| 2 | Melomai (Music of Ancient Greece) | — | ||
| 3 | Eros (Music of Ancient Greece) | — | ||
| 4 | Nomos M (Music of Ancient Greece) | — | ||
| 5 | Daktylos amera (Music of Ancient Greece) | — | ||
| 6 | Makrotatos (Music of Ancient Greece) | — | ||
| 7 | Ekleipsis (Music of Ancient Greece) | — | ||
| 8 | Psaume 23 (The Music of the Bible) | — | ||
| 9 | Psaume 24 (The Music of the Bible) | — | ||
| 10 | Cantique des Cantiques I,1 (The Music of the Bible) | — | ||
| 11 | Lamentations I,1 (The Music of the Bible) | — | ||
| 12 | Psaume 150 'Alleluia' (The Music of the Bible) | — | ||
| 13 | Esther V,1 (The Music of the Bible) | — | ||
| 14 | Alleluia (3 fois) — Tropaire de la venue de l’Époux (Lundi Saint) “Ha‐Houwadha‐lAruç” (arabe) | [anonymous] | T-070.000.883-8 | |
| 18 | Kinonikon (chant de Communion) de la Liturgie de Jeudi Saint “Iqbaln‐l‐yawm” (arabe) | [anonymous] | — | |
| 19 | Extrait du Canon de Samedi Saint “Tagaridh…” (arabe‐grec) : Première stance | [anonymous] | — | |
| 20 | Extrait du Canon de Samedi Saint “Tagaridh…” (arabe‐grec) : Deuxième stance | [anonymous] | — | |
| 21 | Extrait du Canon de Samedi Saint “Tagaridh…” (arabe‐grec) : Troisième stance | [anonymous] | — | |
| 22 | Axion esti, Hymne à la Vierge | [anonymous] | — | |
| 23 | Ya walidata‐I‐ilah, Office de la Nativité de la Mère de Dieu | [anonymous] | — | |
| 24 | Alleluia Martinus (Alleluias and Offertories of the Gauls) | — | ||
| 25 | Offertoire Martinus igitur (Alleluias and Offertories of the Gauls) | — | ||
| 2-1 | Chant Ambrosien - Lucernarium - Paravi lucernam Christo meo | — | ||
| 2-2 | Chant Ambrosien - Ingressa - Lux fulgebit hodie super nos | — | ||
| 2-3 | Chant Ambrosien - Psalmellus - Tecum principium in die virtutis tue | — | ||
| 2-4 | Chant Vieux-Romain - Introït - Resurrexi | — | ||
| 2-5 | Chant Vieux-Romain - Offertoire - Terra tremuit | — | ||
| 2-6 | Chant Vieux-Romain - Alleluia | — | ||
| 2-7 | Chant Beneventain - Introït - Maria vidit angelum (tutti) | — | ||
| 2-8 | Chant Mozarabe - Invocation sacerdotale d'introduction : Per gloriam nominis tui | — | ||
| 2-9 | Chant Mozarabe - Gloria in excelsis Deo | — | ||
| 2-10 | Chant Mozarabe - Ad confractionem panis - Qui venit ad me non esuriet | — | ||
| 2-11 | Chant Mozarabe - Prêtre - Humiliate vos ad benedictionem! | — | ||
| 2-12 | Chant Mozarabe - Ad accedentes - Gustate et videte | — | ||
| 2-13 | Ad processionem Kyrie [6,5] | Ensemble Organum | — | |
| 2-14 | Alleluia, O Kyrios evasiliosen, Ke gar esteriosen | Ensemble Organum | — | |
| 3-1 | Universi qui te expectant (The Vast Corpus of Gregorian Chant) | — | ||
| 3-2 | Introit: Requiem Aeternam (The Vast Corpus of Gregorian Chant) | — | ||
| 3-3 | Kyrie eleison (The Vast Corpus of Gregorian Chant) | — | ||
| 3-4 | Graduel: Requiem aeternam (The Vast Corpus of Gregorian Chant) | — | ||
| 3-5 | Trait: Absolve, Domine (The Vast Corpus of Gregorian Chant) | — | ||
| 3-6 | Sequence: Dies irae (The Vast Corpus of Gregorian Chant) | — | ||
| 3-7 | Offertoire: Domine Jesu Christe (The Vast Corpus of Gregorian Chant) | — | ||
| 3-8 | Sanctus (The Vast Corpus of Gregorian Chant) | — | ||
| 3-9 | Agnus Dei (The Vast Corpus of Gregorian Chant) | — | ||
| 3-10 | Communion: Lux aeterna (The Vast Corpus of Gregorian Chant) | — | ||
| 3-11 | Repons: Libera me (The Vast Corpus of Gregorian Chant) | — | ||
| 3-12 | Antienne: In paradisum (The Vast Corpus of Gregorian Chant) | — | ||
| 3-13 | Agnus dei: Omnipotens eterne (Mass from the Year 1000 - excerpts) | — | ||
| 3-14 | Psallite Domino (Mass from the Year 1000 - excerpts) | — | ||
| 3-15 | Hymne: Cives clestis patrie (Mass from the Year 1000 - excerpts) | — | ||
| 3-16 | Invitatoire: Regem regum dominum (Codex Calixtinus. Plainchant for Santiago da Compostela) | — | ||
| 3-17 | Repons: Iacobe servorum (Codex Calixtinus. Plainchant for Santiago da Compostela) | — | ||
| 3-18 | Offertoire: Ascendens Ihesus in montem (Codex Calixtinus. Plainchant for Santiago da Compostela) | — | ||
| 3-19 | In timore De (Cistercian Chant. 12th century) | — | ||
| 3-20 | Testamentum eternum (Cistercian Chant. 12th century) | — | ||
| 3-21 | Dedit Dominus confessionem sancto suo (Cistercian Chant. 12th century) | — | ||
| 3-22 | Anonyme: Natus est rex (Magnus Liber Organi. 12 th century) | — | ||
| 3-23 | Adam de St. Victor: In natale (Magnus Liber Organi. 12 th century) | — | ||
| 4-1 | A l'entrada del temps clar | — | ||
| 4-2 | L'art des "troubadours": Vida | — | ||
| 4-3 | L'art des "troubadours": Sitot me soi | — | ||
| 4-4 | Volez vous que je vous chant | — | ||
| 4-5 | Efforcier m'estuet ma voiz | — | ||
| 4-6 | Conductus: Hyer matin a l'enjournee | — | ||
| 4-7 | Motet: Hyer matin / Benedicamus Domino | — | ||
| 4-8 | Ja pour yver | — | ||
| 4-9 | Deus est ensi conme li pellicanz | — | ||
| 4-10 | Entre Adan et Hanikel-Chies bien seans | — | ||
| 4-11 | Cantiga de Santa María 116: "Bailemos nós ja todas tres" (adaptation CSM 116) | — | ||
| 4-12 | Cantiga de Santa María 15: "Todo-los Santos que son no Ceo de servir muito an gran sabor" | — | ||
| 4-13 | Cantigas de amigo, song cycle for voice and accompaniment: V. Quantas sabedes amar | — | ||
| 4-14 | Les Minnesänger: "Sinc an, guldîn huon!" | — | ||
| 4-15 | Les Minnesänger: Ich lobe ein wip | — | ||
| 4-16 | Les Minnesänger: "Owê dirre nôt" | — | ||
| 4-17 | Carmina gulatorum et potatorum: Bacche, bene venies (CB 200) | — | ||
| 4-18 | Carmina Burana: "Deduc Syon, uberrimas", CB 34 | — | ||
| 5-1 | Domine labia mea aperies / Deus in adjutorium meum (chœur) | — | ||
| 5-2 | Versus: O primus homo coruit (à 2 voix) | — | ||
| 5-3 | Resonemus hoc natali | — | ||
| 5-4 | Messe du jour de Noël : Introït tropé "Puer natus est" | — | ||
| 5-5 | Messe du jour de Noël : Kyrie | — | ||
| 5-6 | Propter veritatem | — | ||
| 5-7 | Graduel "Viderunt omnes / Notum fecit Dominus" | — | ||
| 5-8 | Manuscrit de Bamberg : In seculum "Longum" | — | ||
| 5-9 | Manuscrit de Bamberg : In seculum "Viellatoris" | — | ||
| 5-10 | Manuscrit de Bamberg : In seculum "Breve" | — | ||
| 5-11 | Manuscrit de Bamberg : In seculum "D'Amiens longum" | — | ||
| 5-12 | Manuscrit de Montpellier : Puisque bele dame m'eime / flos Filius (Mo 231) | — | ||
| 5-13 | Manuscrit de Montpellier : Ne sai, que je die / Iohanne (Mo 185) | — | ||
| 5-14 | Manuscrit de Montpellier : Dame que je n'os noumer / Amis donc est / Lonc tans a (Mo 337) | — | ||
| 5-15 | Manuscrit de Montpellier : S'on me regarde / Prennés i garde / Hé, mi enfant (Mo 256) | — | ||
| 5-16 | Ave maria gratia plena | — | ||
| 5-17 | Pia mater gratie | — | ||
| 5-18 | Ave nobilis venerabilis | — | ||
| 5-19 | Graduel d'Aliénor de Bretagne : Kyrie : Orbis factor | — | ||
| 5-20 | Kyrie: Kyria christifera | — | ||
| 5-21 | Gloria | — | ||
| 5-22 | Sanctus - Benedictus | — | ||
| 5-23 | Agnus Dei: Virtute numinis | — | ||
| 6-1 | Le Roman de Fauvel, In mari miserie | — | ||
| 6-2 | Le Roman de Fauvel, Vers 149 à 168 | — | ||
| 6-3 | Le Roman de Fauvel, Ad solitum vomitum | — | ||
| 6-4 | Le Roman de Fauvel, J'ai fait nouveletement | — | ||
| 6-5 | Le Roman de Fauvel, Quoniam secta latronum | — | ||
| 6-6 | La Messe de Tournai: Kyrie | — | ||
| 6-7 | La Messe de Tournai: Préface (solo 4) - Sanctus | — | ||
| 6-8 | La Messe de Tournai: Agnus Dei | — | ||
| 6-9 | Messe de Nostre Dame: Gloria | Ensemble Organum, Marcel Pérès | — | |
| 6-10 | Messe de Nostre Dame: Sanctus | Ensemble Organum, Marcel Pérès | — | |
| 6-11 | Messe de Nostre Dame: Agnus Dei | Ensemble Organum, Marcel Pérès | — | |
| 6-12 | Le Chansons de l'Ars Nova française & de l'Ars Nova italienne: Guillaume de Machaut: De toutes flours | — | ||
| 6-13 | Le Chansons de l'Ars Nova française & de l'Ars Nova italienne: Guillaume de Machaut: Honte, paour, doubtance | — | ||
| 6-15 | J'ai grant désespoir de ma vie | — | ||
| 6-16 | Deduto sey | — | ||
| 6-17 | Aquila altera | — | ||
| 6-18 | Io mi son uno che per le frasche | — | ||
| 6-19 | Le Chansons de l'Ars Nova française & de l'Ars Nova italienne: L'Ars Nove en Italie: Che pena è quest'al cor | — | ||
| 6-20 | Echo la primavera | — | ||
| 6-21 | Non do la colp'a te | — | ||
| 6-22 | Un pellegrin uccel | — | ||
| 6-23 | Godi Firenze | — | ||
| 6-24 | Musique sacrée dans l'Angleterre du XIV siècle: Campanis cum cymbalis / Honoremus Dominam | — | ||
| 6-25 | Musique sacrée dans l'Angleterre du XIV siècle: Mater ora filium | — | ||
| 7-1 | De ma doulour | — | ||
| 7-2 | La fiamma del to amor, for 2 voices | — | ||
| 7-3 | Le ray au soley!, canon | — | ||
| 7-4 | La harpe de melodie | — | ||
| 7-5 | Dieux gart | — | ||
| 7-6 | Tout par compas suy composés, for 3 voices | — | ||
| 7-7 | Fumeux fume par fumée, rondeau for 3 voices | — | ||
| 7-8 | Salve scema sanctitatis, isorhythmic motet for 4 voices, MB 30 | — | ||
| 7-9 | Anna Mater Matris Christi | — | ||
| 7-10 | O gemma, lux et speculum, isorhythmic motet for 4 voices | — | ||
| 7-11 | Salve flos Tusce, isorhythmic motet for 4 voices | — | ||
| 7-12 | Requiem (Missa pro Defunctis), for 3-4 voices: Introït, "Requiem eternam dona eis Domine" | — | ||
| 7-13 | Requiem (Missa pro Defunctis), for 3-4 voices: Tractus, "Sicut servus desiderat ad fontes aquarum" | — | ||
| 7-14 | Guade coelestis domina, motet for 4 voices | — | ||
| 7-15 | Je ne vis oncques la pareille, rondeau for 3 voices, R. 57 | — | ||
| 8-1 | Missa Pange Lingua: Kyrie | — | ||
| 8-2 | Missa Pange Lingua: Gloria | — | ||
| 8-3 | Messe L'Homme armé: Kyrie | — | ||
| 8-4 | Messe L'Homme armé: Gloria | — | ||
| 8-5 | Messe "La Bataille": III. Credo | Ensemble Clément Janequin, Dominique Visse | T-011.560.128-9 | |
| 8-6 | Missa Viri Galilaei: Gloria | — | ||
| 8-7 | Missa Viri Galilaei: Agnus Dei I - II | — | ||
| 8-8 | Mass for 4 voices: Kyrie | — | ||
| 8-9 | Mass for 4 voices: Gloria | — | ||
| 8-10 | Messa a quattro voci da cappella: Sanctus | Ensemble vocal européen de la Chapelle royale, Philippe Herreweghe | — | |
| 8-11 | Messa a quattro voci da cappella: Benedictus | Ensemble vocal européen de la Chapelle royale, Philippe Herreweghe | — | |
| 8-12 | Salve Regina | — | ||
| 8-13 | Salvator mundi | — | ||
| 8-14 | Hieremiae prophetae lamentationes | — | ||
| 8-15 | Motet Viri Galilaei | — | ||
| 8-16 | Ave dulcissima Maria | — | ||
| 8-17 | Réveillez vous chacun fidèle | — | ||
| 8-18 | Quand mon mari s'en va dehors | — | ||
| 8-19 | Après avoir constamment attendu | — | ||
| 8-20 | Tant que vivray en aege florissant | — | ||
| 8-21 | Third Tune for Archbishop Parker's Psalter "Why fum'th in sight" | — | ||
| 8-22 | Eighth Tune for Archbishop Parker's Psalter "Tallis' Canon" | — | ||
| 9-1 | Faulte d'argent | — | ||
| 9-2 | Une puce | — | ||
| 9-3 | Autant en emporte le vent | — | ||
| 9-4 | Nous sommes de l'ordre de Saint-Babouyn | — | ||
| 9-5 | Le chant du rossignol | — | ||
| 9-6 | La Chasse | — | ||
| 9-7 | Du beau tétin | — | ||
| 9-8 | Du laid tétin | — | ||
| 9-9 | Tant que vivray | — | ||
| 9-10 | Il est bel et bon | — | ||
| 9-11 | La prise de Calais (Hardis Françoys) | — | ||
| 9-12 | La, la, la, je ne l'ose dire | — | ||
| 9-13 | Anchor che col partire, madrigal à 4 voix | — | ||
| 9-14 | Schiet's arbuscel, à 4 voix | — | ||
| 9-15 | Dissimulare etiam sperasti, à 5, 6 et 7 voix sur un texte de Virgile | — | ||
| 9-16 | Allala, pia Calia, morescha à 4 voix | — | ||
| 9-17 | Vezzosi augelli, madrigal à 4 voix (Livre I, 1585) | — | ||
| 9-18 | Crudele acerba, madrigal à 5 voix (Livre IX, 1599) | — | ||
| 9-19 | Madrigali livre V Nº 11: Mercè grido piangendo, W. 5 Nº 49 | Jean-Paul Fouchécourt, Michel Laplénie, Gérard Lesne, Nathalie Stutzmann, Monique Zanetti | — | |
| 9-20 | Constant Penelope, consort song | — | ||
| 9-21 | The noble famous Queen, consort song | — | ||
| 9-22 | Flow, my tears | — | ||
| 9-23 | Come away, come, sweet love | — | ||
| 10-2 | Questa dolce sirena, pour flûte seule (d'après Gastoldi) | — | ||
| 10-3 | Scaramella, pour luth en La | — | ||
| 10-4 | De tous bien plaine, quodlibet pour luth en La | — | ||
| 10-5 | La Battaglia (d'après Janequin) | — | ||
| 10-6 | Ricercar 33 | — | ||
| 10-7 | Contrapunto sobre el tenor del conde claros | — | ||
| 10-8 | Fantasia del primer tono, pour guitare | — | ||
| 10-9 | Fantasia 67 | — | ||
| 10-10 | Fantasia 30 | — | ||
| 10-11 | Fantasia | — | ||
| 10-12 | Saltarello | — | ||
| 10-13 | Fantasia XXII | — | ||
| 10-14 | L'Eccho (Gentian) | — | ||
| 10-15 | Greensleeves | — | ||
| 10-16 | Packington's Pound | — | ||
| 10-17 | Kemp's Jig | — | ||
| 10-18 | A Pavin | — | ||
| 10-19 | Toccata arpeggiata, pour chitarrone (1604) | — | ||
| 10-20 | Toccata I (1611), pour luth | — | ||
| 10-21 | L'Arboscello ballo furlano | — | ||
| 10-22 | Almande - Saltarello | — | ||
| 10-23 | Schiarazula Marazula | — | ||
| 10-24 | Première suytte de Bransles | — | ||
| 10-25 | Première suytte de Bransles d'Ecosse | — | ||
| 10-26 | Bransle gay | — | ||
| 10-27 | Pavane "Belle qui tient ma vie" - Gaillarde "La traditore my fa morire" - Gaillarde Anthoinette - Gaillarde "J'aymerois mieulx dormir seulette" - La volte | — | ||
| 10-28 | Joyssance vous donneray - Trois courantes françaises - Basse danse "La Roque" - Recercada segunda | — |
Akousate (Music of Ancient Greece)
—
Melomai (Music of Ancient Greece)
—
Eros (Music of Ancient Greece)
—
Nomos M (Music of Ancient Greece)
—
Daktylos amera (Music of Ancient Greece)
—
Makrotatos (Music of Ancient Greece)
—
Ekleipsis (Music of Ancient Greece)
—
Psaume 23 (The Music of the Bible)
—
Psaume 24 (The Music of the Bible)
—
Cantique des Cantiques I,1 (The Music of the Bible)
—
Lamentations I,1 (The Music of the Bible)
—
Psaume 150 'Alleluia' (The Music of the Bible)
—
Esther V,1 (The Music of the Bible)
—
[anonymous]
Kinonikon (chant de Communion) de la Liturgie de Jeudi Saint “Iqbaln‐l‐yawm” (arabe)
[anonymous]
—
Extrait du Canon de Samedi Saint “Tagaridh…” (arabe‐grec) : Première stance
[anonymous]
—
Extrait du Canon de Samedi Saint “Tagaridh…” (arabe‐grec) : Deuxième stance
[anonymous]
—
Extrait du Canon de Samedi Saint “Tagaridh…” (arabe‐grec) : Troisième stance
[anonymous]
—
Axion esti, Hymne à la Vierge
[anonymous]
—
Ya walidata‐I‐ilah, Office de la Nativité de la Mère de Dieu
[anonymous]
—
Alleluia Martinus (Alleluias and Offertories of the Gauls)
—
Offertoire Martinus igitur (Alleluias and Offertories of the Gauls)
—
Chant Ambrosien - Lucernarium - Paravi lucernam Christo meo
—
Chant Ambrosien - Ingressa - Lux fulgebit hodie super nos
—
Chant Ambrosien - Psalmellus - Tecum principium in die virtutis tue
—
Chant Vieux-Romain - Introït - Resurrexi
—
Chant Vieux-Romain - Offertoire - Terra tremuit
—
Chant Vieux-Romain - Alleluia
—
Chant Beneventain - Introït - Maria vidit angelum (tutti)
—
Chant Mozarabe - Invocation sacerdotale d'introduction : Per gloriam nominis tui
—
Chant Mozarabe - Gloria in excelsis Deo
—
Chant Mozarabe - Ad confractionem panis - Qui venit ad me non esuriet
—
Chant Mozarabe - Prêtre - Humiliate vos ad benedictionem!
—
Chant Mozarabe - Ad accedentes - Gustate et videte
—
Ad processionem Kyrie [6,5]
Ensemble Organum
—
Alleluia, O Kyrios evasiliosen, Ke gar esteriosen
Ensemble Organum
—
Universi qui te expectant (The Vast Corpus of Gregorian Chant)
—
Introit: Requiem Aeternam (The Vast Corpus of Gregorian Chant)
—
Kyrie eleison (The Vast Corpus of Gregorian Chant)
—
Graduel: Requiem aeternam (The Vast Corpus of Gregorian Chant)
—
Trait: Absolve, Domine (The Vast Corpus of Gregorian Chant)
—
Sequence: Dies irae (The Vast Corpus of Gregorian Chant)
—
Offertoire: Domine Jesu Christe (The Vast Corpus of Gregorian Chant)
—
Sanctus (The Vast Corpus of Gregorian Chant)
—
Agnus Dei (The Vast Corpus of Gregorian Chant)
—
Communion: Lux aeterna (The Vast Corpus of Gregorian Chant)
—
Repons: Libera me (The Vast Corpus of Gregorian Chant)
—
Antienne: In paradisum (The Vast Corpus of Gregorian Chant)
—
Agnus dei: Omnipotens eterne (Mass from the Year 1000 - excerpts)
—
Psallite Domino (Mass from the Year 1000 - excerpts)
—
Hymne: Cives clestis patrie (Mass from the Year 1000 - excerpts)
—
Invitatoire: Regem regum dominum (Codex Calixtinus. Plainchant for Santiago da Compostela)
—
Repons: Iacobe servorum (Codex Calixtinus. Plainchant for Santiago da Compostela)
—
Offertoire: Ascendens Ihesus in montem (Codex Calixtinus. Plainchant for Santiago da Compostela)
—
In timore De (Cistercian Chant. 12th century)
—
Testamentum eternum (Cistercian Chant. 12th century)
—
Dedit Dominus confessionem sancto suo (Cistercian Chant. 12th century)
—
Anonyme: Natus est rex (Magnus Liber Organi. 12 th century)
—
Adam de St. Victor: In natale (Magnus Liber Organi. 12 th century)
—
A l'entrada del temps clar
—
L'art des "troubadours": Vida
—
L'art des "troubadours": Sitot me soi
—
Volez vous que je vous chant
—
Efforcier m'estuet ma voiz
—
Conductus: Hyer matin a l'enjournee
—
Motet: Hyer matin / Benedicamus Domino
—
Ja pour yver
—
Deus est ensi conme li pellicanz
—
Entre Adan et Hanikel-Chies bien seans
—
Cantiga de Santa María 116: "Bailemos nós ja todas tres" (adaptation CSM 116)
—
Cantiga de Santa María 15: "Todo-los Santos que son no Ceo de servir muito an gran sabor"
—
Cantigas de amigo, song cycle for voice and accompaniment: V. Quantas sabedes amar
—
Les Minnesänger: "Sinc an, guldîn huon!"
—
Les Minnesänger: Ich lobe ein wip
—
Les Minnesänger: "Owê dirre nôt"
—
Carmina gulatorum et potatorum: Bacche, bene venies (CB 200)
—
Carmina Burana: "Deduc Syon, uberrimas", CB 34
—
Domine labia mea aperies / Deus in adjutorium meum (chœur)
—
Versus: O primus homo coruit (à 2 voix)
—
Resonemus hoc natali
—
Messe du jour de Noël : Introït tropé "Puer natus est"
—
Messe du jour de Noël : Kyrie
—
Propter veritatem
—
Graduel "Viderunt omnes / Notum fecit Dominus"
—
Manuscrit de Bamberg : In seculum "Longum"
—
Manuscrit de Bamberg : In seculum "Viellatoris"
—
Manuscrit de Bamberg : In seculum "Breve"
—
Manuscrit de Bamberg : In seculum "D'Amiens longum"
—
Manuscrit de Montpellier : Puisque bele dame m'eime / flos Filius (Mo 231)
—
Manuscrit de Montpellier : Ne sai, que je die / Iohanne (Mo 185)
—
Manuscrit de Montpellier : Dame que je n'os noumer / Amis donc est / Lonc tans a (Mo 337)
—
Manuscrit de Montpellier : S'on me regarde / Prennés i garde / Hé, mi enfant (Mo 256)
—
Ave maria gratia plena
—
Pia mater gratie
—
Ave nobilis venerabilis
—
Graduel d'Aliénor de Bretagne : Kyrie : Orbis factor
—
Kyrie: Kyria christifera
—
Gloria
—
Sanctus - Benedictus
—
Agnus Dei: Virtute numinis
—
Le Roman de Fauvel, In mari miserie
—
Le Roman de Fauvel, Vers 149 à 168
—
Le Roman de Fauvel, Ad solitum vomitum
—
Le Roman de Fauvel, J'ai fait nouveletement
—
Le Roman de Fauvel, Quoniam secta latronum
—
La Messe de Tournai: Kyrie
—
La Messe de Tournai: Préface (solo 4) - Sanctus
—
La Messe de Tournai: Agnus Dei
—
Messe de Nostre Dame: Gloria
Ensemble Organum, Marcel Pérès
—
Messe de Nostre Dame: Sanctus
Ensemble Organum, Marcel Pérès
—
Messe de Nostre Dame: Agnus Dei
Ensemble Organum, Marcel Pérès
—
Le Chansons de l'Ars Nova française & de l'Ars Nova italienne: Guillaume de Machaut: De toutes flours
—
Le Chansons de l'Ars Nova française & de l'Ars Nova italienne: Guillaume de Machaut: Honte, paour, doubtance
—
J'ai grant désespoir de ma vie
—
Deduto sey
—
Aquila altera
—
Io mi son uno che per le frasche
—
Le Chansons de l'Ars Nova française & de l'Ars Nova italienne: L'Ars Nove en Italie: Che pena è quest'al cor
—
Echo la primavera
—
Non do la colp'a te
—
Un pellegrin uccel
—
Godi Firenze
—
Musique sacrée dans l'Angleterre du XIV siècle: Campanis cum cymbalis / Honoremus Dominam
—
Musique sacrée dans l'Angleterre du XIV siècle: Mater ora filium
—
De ma doulour
—
La fiamma del to amor, for 2 voices
—
Le ray au soley!, canon
—
La harpe de melodie
—
Dieux gart
—
Tout par compas suy composés, for 3 voices
—
Fumeux fume par fumée, rondeau for 3 voices
—
Salve scema sanctitatis, isorhythmic motet for 4 voices, MB 30
—
Anna Mater Matris Christi
—
O gemma, lux et speculum, isorhythmic motet for 4 voices
—
Salve flos Tusce, isorhythmic motet for 4 voices
—
Requiem (Missa pro Defunctis), for 3-4 voices: Introït, "Requiem eternam dona eis Domine"
—
Requiem (Missa pro Defunctis), for 3-4 voices: Tractus, "Sicut servus desiderat ad fontes aquarum"
—
Guade coelestis domina, motet for 4 voices
—
Je ne vis oncques la pareille, rondeau for 3 voices, R. 57
—
Missa Pange Lingua: Kyrie
—
Missa Pange Lingua: Gloria
—
Messe L'Homme armé: Kyrie
—
Messe L'Homme armé: Gloria
—
Missa Viri Galilaei: Gloria
—
Missa Viri Galilaei: Agnus Dei I - II
—
Mass for 4 voices: Kyrie
—
Mass for 4 voices: Gloria
—
Messa a quattro voci da cappella: Sanctus
Ensemble vocal européen de la Chapelle royale, Philippe Herreweghe
—
Messa a quattro voci da cappella: Benedictus
Ensemble vocal européen de la Chapelle royale, Philippe Herreweghe
—
Salve Regina
—
Salvator mundi
—
Hieremiae prophetae lamentationes
—
Motet Viri Galilaei
—
Ave dulcissima Maria
—
Réveillez vous chacun fidèle
—
Quand mon mari s'en va dehors
—
Après avoir constamment attendu
—
Tant que vivray en aege florissant
—
Third Tune for Archbishop Parker's Psalter "Why fum'th in sight"
—
Eighth Tune for Archbishop Parker's Psalter "Tallis' Canon"
—
Faulte d'argent
—
Une puce
—
Autant en emporte le vent
—
Nous sommes de l'ordre de Saint-Babouyn
—
Le chant du rossignol
—
La Chasse
—
Du beau tétin
—
Du laid tétin
—
Tant que vivray
—
Il est bel et bon
—
La prise de Calais (Hardis Françoys)
—
La, la, la, je ne l'ose dire
—
Anchor che col partire, madrigal à 4 voix
—
Schiet's arbuscel, à 4 voix
—
Dissimulare etiam sperasti, à 5, 6 et 7 voix sur un texte de Virgile
—
Allala, pia Calia, morescha à 4 voix
—
Vezzosi augelli, madrigal à 4 voix (Livre I, 1585)
—
Crudele acerba, madrigal à 5 voix (Livre IX, 1599)
—
Madrigali livre V Nº 11: Mercè grido piangendo, W. 5 Nº 49
Jean-Paul Fouchécourt, Michel Laplénie, Gérard Lesne, Nathalie Stutzmann, Monique Zanetti
—
Constant Penelope, consort song
—
The noble famous Queen, consort song
—
Flow, my tears
—
Come away, come, sweet love
—
Questa dolce sirena, pour flûte seule (d'après Gastoldi)
—
Scaramella, pour luth en La
—
De tous bien plaine, quodlibet pour luth en La
—
La Battaglia (d'après Janequin)
—
Ricercar 33
—
Contrapunto sobre el tenor del conde claros
—
Fantasia del primer tono, pour guitare
—
Fantasia 67
—
Fantasia 30
—
Fantasia
—
Saltarello
—
Fantasia XXII
—
L'Eccho (Gentian)
—
Greensleeves
—
Packington's Pound
—
Kemp's Jig
—
A Pavin
—
Toccata arpeggiata, pour chitarrone (1604)
—
Toccata I (1611), pour luth
—
L'Arboscello ballo furlano
—
Almande - Saltarello
—
Schiarazula Marazula
—
Première suytte de Bransles
—
Première suytte de Bransles d'Ecosse
—
Bransle gay
—
Pavane "Belle qui tient ma vie" - Gaillarde "La traditore my fa morire" - Gaillarde Anthoinette - Gaillarde "J'aymerois mieulx dormir seulette" - La volte
—
Joyssance vous donneray - Trois courantes françaises - Basse danse "La Roque" - Recercada segunda
—
Additional database matches (3)
| Track Title | Artist(s) | ISWC |
|---|---|---|
| Exapostilarion de l’Office de Mardi Saint “Innani’Uchāchīdu khīdrākā…” : Version arabe | [anonymous] | — |
| Exapostilarion de l’Office de Mardi Saint “Innani’Uchāchīdu khīdrākā…” : Version grecque | [anonymous] | — |
| Exapostilarion de l’Office de Mardi Saint “Innani’Uchāchīdu khīdrākā…” : Version arabe | [anonymous] | — |
Exapostilarion de l’Office de Mardi Saint “Innani’Uchāchīdu khīdrākā…” : Version arabe
[anonymous]
—
Exapostilarion de l’Office de Mardi Saint “Innani’Uchāchīdu khīdrākā…” : Version grecque
[anonymous]
—
Exapostilarion de l’Office de Mardi Saint “Innani’Uchāchīdu khīdrākā…” : Version arabe
[anonymous]
—
What other identifiers does this connect to?
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Creative Contributors (ISNI)
0000000044866974000000005511832200000000551370640000000055145697000000005944054600000000783907080000000080028329000000008142037300000000815283330000000083714527
+40 more
0000000083983970000000008411830500000000919025870000000101665643000000010233799100000001065442500000000106697345000000010858118600000001086066460000000108694260000000010871676500000001090640330000000109286074000000010943529500000001094353320000000109442516000000010996186900000001099618770000000110135011000000011014267600000001101540950000000110292359000000011031553000000001105600180000000110844459000000011091056700000001147659340000000115070093000000011547527700000001158632960000000116384617000000011648953100000001176275450000000117736485000000011850786000000001188543360000000119408258000000012006062300000001202256270000000121421662
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What is UPC 794881968527?
794881968527 is a Universal Product Code (UPC) assigned to Early Music. La Musique Ancienne. De L`antiquite A La 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 211 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.
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