James I (Eng; VI of Scot) dies; succeeded by his son Charles I • Charles I marries Princess Flenrietta Maria of France • French priest St Vincent de Paul founds order of Sisters of Mercy in Paris • London plague forces parliament to move to Oxford • Francis Bacon (Eng): Essays (final form)
Thirty Years’ War continues: Holy Roman Emperor Ferdinand Its general Albrecht von Wallenstein defeats Protestant army under Ernst von Mansfeld at Bridge of Dessau • Dutch buy Manhattan Island from Amerindians and establish New Amsterdam (later New York) • Orazio Gentileschi – The Lute Player
Huguenots besieged at La Rochelle by armies of King Louis XIII • England goes to war with France; Duke of Buckingham fails to relieve La Rochelle • Holy Roman Emperor Ferdinand II’s armies conquer Schleswig and Holstein • Kepler (Ger) gives the positions of more than 1,000 stars in Rudolphine Tables • Francis Bacon (Eng): The New Atlantis
End of Huguenots as an important political force • English troops capture Quebec City from France • Duke of Buckingham (Eng) is assassinated • William Harvey (Eng) publishes his treaty on the circulation of the blood, Exercitatio Anatomica
Peace of Alais gives Huguenots freedom of worship • Holy Roman Emperor Ferdinand II and King Christian IV of Denmark sign Treaty of Lubeck: Christian abandons his allies and receives in return all land lost during Thirty Years’ War
Gerard van Honthorst - Portrait of King Charles I of England, Scotland and Ireland. 1628
Paul Peuerl brings out Gantz neue Padouanen
in Nuremberg. He becomes the first German to publish a work with the Italianate combination of two lead instruments with continuo.
Suite a minor - Paul Peuerl - Padouan - Dantz
Heinrich Schutz composes Cantiones sacrae, a collection of motets including both polyphonic and concertato settings.
Heinrich Schütz, Cantiones Sacrae I nr. 03 de 10
01. Schütz: Cantate Domino Canticum Novum 3:36
02. Schütz: Venti, Rogo, In Cor Meum 4:06
03. Schütz: Deus, Miseratur Nostri 2:17
04. Schütz: Verba Mea Auribus Percipe I 2:40
05. Schütz: Verba Mea Auribus Percipe II 2:44
06. Schütz: Ego Dormio, Et Cor Meum Vigilat I 4:15
07. Schütz: Ego Dormio, Et Cor Meum Vigilat II 4:22
08. Schütz: O Bone, O Dulcis, O Benigne Jesu I 3:02
09. Schütz: O Bone, O Dulcis, O Benigne Jesu II 2:13
10. Schütz: Quid Commisisti, O Dulcissime Puer I 3:37
11. Schütz: Quid Commisisti, O Dulcissime Puer II 3:39
12. Schütz: Quid Commisisti, O Dulcissime Puer III 5:10
13. Schütz: Quid Commisisti, O Dulcissime Puer IV 3:30
14. Schütz: Quid Commisisti, O Dulcissime Puer V 2:27
15. Schütz: Aspice, Pater, Piissimum Filium I 3:07
16. Schütz: Aspice, Pater, Piissimum Filium II 1:40
17. Schütz: Aspice, Pater, Piissimum Filium III 3:48
18. Schütz: Inter Brachia Salvatoris Mei 4:34
19. Schütz: Supereminet Omnem Scieentam I 4:26
20. Schütz: Supereminet Omnem Scieentam II 2:36
Heinrich Schütz, Cantiones Sacrae II 1625 n. 4 de 10
01. Schütz: Ecce Advocatus Meus 4:05
02. Schütz: Sicut Moses Serpentem In Deserto Exaltavit 3:04
03. Schütz: Spes, Mea, Christe Deus 3:06
04. Schütz: Turabor, Sed Non Perturbabor 2:31
05. Schütz: Ad Dominum Cum Tribularer I 2:49
06. Schütz: Ad Dominum Cum Tribularer II 2:35
07. Schütz: Heu Mihi, Domine 4:20
08. Schütz: Dulcissime Et Benignissime Christe 4:07
09. Schütz: In Te, Domine, Speravi 3:10
10. Schütz: Oculi Omnium In Te Sperant, Domine I 0:57
11. Schütz: Oculi Omnium In Te Sperant, Domine II 2:45
12. Schütz: Oculi Omnium In Te Sperant, Domine III 1:29
13. Schütz: Confitemini Domino I + II 1:44
14. Schütz: Confitemini Domino III 1:38
15. Schütz: Domine, Ne In Furore Tuo Arguas Me I 2:57
16. Schütz: Domine, Ne In Furore Tuo Arguas Me II 3:58
17. Schütz: Domine, Ne In Furore Tuo Arguas Me III 3:44
18. Schütz: Domine, Non Est Exaltatum Cor Meum I 2:58
19. Schütz: Domine, Non Est Exaltatum Cor Meum II 2:51
20. Schütz: Domine, Non Est Exaltatum Cor Meum III 1:33
Francesca Caccini has her opera La liberazione di Ruggiero presented in honour of the visiting Prince Wladislaw of Poland, in Florence. Francesca Caccini, daughter of Giulio Caccini (d. 1618), is the first female opera composer and currently the highest paid musician of the Medici court.
Francesca Caccini 1/2 'La liberazione di Ruggiero dall'isola d'Alcina'
02-Prologo (Nettuno, Vistola fiume, Coro di Numi dell'acque)
04-Cosě perfida Alcina (Melissa)
05-Qui si puň dire (Coro di Damigelle, Alcina, Ruggiero)
06-O quanto č dolce (Ruggiero, Pastore, Sirena)
07-Ecco l'ora (Melissa, Ruggiero)
08-Ruggier de danni asprissimi (Coro delle Piante incantate, Ruggiero, Melissa)
09-O bei pensieri volate (Coro di Damigelle)
10-Qui lasciai la mia vita (Alcina, Nunzia, Damigelle)
Suffering the vicissitudes of war, Heinrich Schutz and musicians of the Dresden court write a joint letter to Johann Georg I, complaining that they have not received salaries for nearly two years.
John George I, Elector of Saxony.
Anselm van Hulle.
Bénigne de Bacilly
Bertrand "Bénigne" de Bacilly (Normandy c. 1625 - Paris, 27 September 1690), was a French composer and music theorist, a reformer of the air de cour according to the theories of Pierre de Nyert.
Bénigne De Bacilly - Air 'Apprenez À Mon Cœur' For Voice And Continuo
Marco Giuseppe Peranda
Marco Giuseppe Peranda (Macerata, c. 1625 - 12 January 1675 in Dresden) was an Italian musician and composer active in Germany.
He was one of the most notable Italian musicians in Germany during the early Baroque alongside Vincenzo Albrici, Carlo Pallavicino and Giovanni Andrea Bontempi in Dresden. These four Italian Kapellmeisters were well rewarded - they earned yearly salaries of 1,200 Reichstalers while Heinrich Schütz, at this point semi-retired, earned 800 Reichstalers a year. A contemporary, Agostino Rossi, records him as being a native of Macerata but his musical style shows an education in Rome. From 1651 Perenda was an alto singer in the chapel of Johann Georg II of Saxony as he combined his own chapel choir with that of his father's. In 1661 Peranda became Vizekapellmeister and in 1663 Kapellmeister, as successor of Albrici.
His opera Dafne (composed in collaboration) was performed to open the Opernhaus am Taschenberg in Dresden. In 1670 he made a journey to Italy, from which two masses and a motet remain in the Kroměříž residence. In 1672 he was promoted again, to Hofkapellmeister, possibly since Christoph Bernhard had taken a better offer in Hamburg. In 1675 Peranda died, and since unlike some Italian musicians he had never converted to Lutheranism, was buried in Marienstern Abbey in Dresden.
Missa in A minor, by Marco Giuseppe Peranda
Giovanni Battista Buonamente has his Il quarto libro de varie sonate published in Venice. The composer-violinist is at this time musicista da camera to Emperor Ferdinand II in Vienna.
Giovanni Battista Buonamente, Sonata quarta (1626), from Il quarto libro de varie sonate
Domenico Mazzocchi’s opera La catena d ’Adone is premiered in Rome. It heralds the advent of a more lyrical style of opera, with the prominent use of the mezz’arie,
or arioso passages. Mazzocchi asserts that he desires to ‘break the tedium of recitative’.
Domenico Mazzocchi La Catena d'Adone, favola boschereccia
I. Prologo: Le saette sovr'i rei
II. Atto IV, scena 3: De la maga il grave accento
III. Atto V, scena 3: Si, si, cara mia speme (Venere, Amore, Adone)
IV. Atto V, scena 3: La selva con bei canti
V. Atto V, scena 3: Lieto dopo l'errore
Johann Hermann Schein publishes the second part of his Opella nova in Leipzig. Composed for voices, obbligato instruments and basso continuo, the collection incorporates colourful settings of biblical texts and Lutheran chorales.
Schein-Warum betrübst du dich, mein Herz
0:00 Warum betrübst du dich, mein Herz
3:28 Mach dich auf, werde Licht, Zion
9:07 Ich freue mich im Herren
In Paris Jean Titelouze publishes Le Magnificat, containing eight cycles of fugal versets for organ.
Jean Titelouze: Magnificat Quinti Toni (1626)
2. Quia respexit (at 1:49)
3. Et misericordia (at 3:35)
4. Deposuit potentis (at 5:17)
5. Deposuit potentis, alter versus (at 7:00)
6. Suscepit Israel (at 8:48)
7. Gloria Patri (at 10:56)
Louis Couperin, (born c. 1626, Chaumes-en-Brie, France—died Aug. 29, 1661, Paris), French composer, organist, and harpsichordist, the first major member of the Couperin dynasty of musicians of the 17th and 18th centuries.
Couperin’s father, a merchant and small landowner in Chaumes-en-Brie, France, was also the organist of the local abbey church, and Louis and his two younger brothers, François (c. 1631–1708/12) and Charles (1638–79), learned to play respectably on the violin, viol, harpsichord, and organ. Still, they might have remained provincial musicians but for Jacques Champion de Chambonnières, the best harpsichordist in France, who heard one of Louis’s compositions in 1650 and insisted that the young man go to Paris.In 1653 Louis became the first Couperin to occupy the post of organist at the Church of Saint-Gervais, situated across from Notre-Dame Cathedral. He also held a court appointment as a treble viol player, but it was for his performing ability as a harpsichordist that he was best known. Until about 1960, when a collection of 70 organ pieces was discovered, his known compositions had consisted of 123 pieces for harpsichord and a handful of works for viol and organ. This small surviving sample of his life’s work suggests that when he died in 1661, at only 35, the 17th century lost one of its greatest musical talents. He was a brilliant harpsichordist, and contemporary accounts suggest that his vigorous style of playing revealed the same qualities as his harpsichord compositions, which are distinguished by an almost aggressive use of dissonance and of Baroque ornamentation.
He had command of a sturdy contrapuntal technique that recalls the French organ school of the 16th century, but at times his tonal architecture, built on Italian models, and his bel canto melodies suggest those of George Frideric Handel.
The two younger brothers followed him to Paris and also became successful musicians. François was described as a “great musician and great drunk”; no compositions are known, but his line of the family carried the name of Couperin into the 19th century. Charles succeeded Louis at Saint-Gervais and, in 1668, produced an only child, François Couperin le Grand, who stands far above all the other Couperins with the exception of Louis.
Louis Couperin - The Complete Harpsichord Works
I. Suite in C major
ll. Suite in C major 17:07
lll. Suite in C major 36:42
IV. Suite in C minor 48:46
V. Suite in D major 1:01:57
Louis Couperin - Pieces de Clavecin en d
L'oeuvre d'orgue Louis Couperin - Complete organ works
Giovanni Legrenzi, (baptized Aug. 12, 1626, Clusone, near Bergamo, Republic of Venice [Italy]—died May 27, 1690, Venice), Italian composer, one of the greatest of the Venetian Baroque. His trio sonatas are among the best chamber music of the period before Arcangelo Corelli.
Little is known about Legrenzi’s early years. He studied with his father, a violinist and minor composer, and he was ordained as a priest in 1651. After serving as organist and chaplain at the Santa Maria Maggiore Church in Bergamo, he was maestro di cappella at the Academy of the Holy Spirit in Ferrara from 1656 to 1665. His first opera, Nino il giusto (1662; “Nino the Just”), dates from this period. In 1681 he obtained the post of second maestro di cappella at the San Marco Basilica in Venice, succeeding to maestro di cappella in 1685. He enlarged the orchestra at San Marco’s and completely reorganized the music.
During his lifetime Legrenzi composed some 19 operas, in addition to sonatas, masses, motets, oratorios, and other pieces. At the time of his death, he had attained an international reputation. Legrenzi’s music is characteristic of the final stage of the late Baroque style. He was equally adept at the composition of sacred music, opera, and chamber music. His compositions for the church attest to the advances he made in polyphonic writing.
His most forward-looking works, particularly in the handling of structure, are his instrumental sonatas; they exerted a strong influence on the works of Domenico Scarlatti, Antonio Vivaldi, and J.S. Bach. Themes from Legrenzi’s compositions were used by Bach in his Fugue in C Minor for organ and by G.F. Handel in a chorus from his oratorio Samson.
Giovanni Legrenzi - La morte del cor penitente, oratorio in 2 parti per soli e orchestra
Giovanni Legrenzi - Magnificat
Giovanni Legrenzi - Dies Irae
La vendita del core humano - Giovanni Legrenzi
Oratorio in due parti per quattro voci e basso continuo
Carlo Farina publishes his innovative Capriccio stravagante for violin and continuo. Effects such as tremolo, glissando, pizzicato, strumming, sid ponticello and even spiccato col legno (hitting the strings with the back of the bow) are employed to mimic the sounds of a dog, cat, hen, clarion, military drum and guitar. Superficial but entertaining episodes sit alongside sections of high musical substance.
Carlo Farina - Capriccio Stravagante
Heinrich Schutz's Dafne—possibly the first German opera— is staged at Torgau for the wedding celebrations of Princess Sophie of Saxony, eldest daughter of the composer’s employer. The music is now lost.
Schutz - Dafne - akt 3
Johann Hermann Schein edits the Cantional in Leipzig. He adds his own hymns to the collection, complete with figured-bass parts for continuo instruments.
Johann Hermann Schein - Cantional (1627) - Nun komm, der Heiden Heiland (à 5)
Girolamo Frescobaldi, Italy’s leading keyboard composer, brings out his second book of Toccate, this time with pieces for both harpsichord and organ. The collection also features liturgical plainchant variations and stylised dances, including the earliest keyboard chaconne.
Girolamo Frescobaldi - Il Secondo Libro di Toccate
Frescobaldi - Il Secondo Libro di Toccate, Part 2
Italians Filippo Piccinini and Bernardo Monanni introduce opera to the Spanish royal court, setting Lope de Vega's La selva sin amor (The Forest Without Love). No further operatic productions occur in Spain until the second half of the century.
Johann Caspar Kerll
Johann Caspar von Kerll, (born April 9, 1627, Adorf, Saxony—died Feb. 13, 1693, Munich), organist and leading master of the middle-Baroque generation of south-German Catholic composers.
In 1645 Kerll was sent by Ferdinand III to study in Rome with the prominent composers Giacomo Carissimi and Girolamo Frescobaldi; earlier he had studied in Vienna. His study in Italy had great influence on his composition, much of which is Italianate in style. From 1656 to 1673 Kerll was the court opera conductor in Munich, where several of his operas were produced. By 1675 he was in Vienna, and in 1677 he became organist of the imperial court. In 1684 he returned to Munich.
Kerll introduced operatic dramatic devices into his church music. He wrote masses, requiems and Magnificats, often in polychoral style (e.g., for two or three choruses), and made use of instrumental accompaniments in which instruments were pitted against voices for deliberate dramatic contrast—the so-called concertato style, which Kerll played an important role in establishing in Germany. His sacred play Pia et Fortis Mulier (1677; “Pious and Strong Woman”) was likewise composed throughout in operatic fashion.
Kerll was influential as a teacher, and his music was copied and studied by later composers, including Bach and Handel.
Johann Kaspar Kerll: Three Canzonas
00:00 Canzona terza in d
03:06 Canzona quinta in C
06:17 Canzona sesta in G
Heinrich Schutz embarks on another visit to Italy, where he learns more about recitative, possibly from Monteverdi. This year sees the publication of his partsong collection Der Psalter nach Cornelius Becker.
The Becker Psalter is a German metrical psalter published in two collections in 1628 and 1640 by the Leipzig theologian Cornelius Becker.
Psalm 23 by Heinrich Schütz from the Becker Psalter
Cornelius Becker (1561–1604) was an Orthodox Lutheran pastor in Leipzig. He prepared the Becker Psalter, some of which Heinrich Schütz set to music. Bach used his version of Psalm 23 for his cantata Du Hirte Israel, höre, BWV 104.
Marco da Gagliano's final opera, La Flora, is presented for the wedding celebrations of Margherita de’ Medici and Duke Odoardo Farnese. Jacopo Peri has assisted the composition and performs in a lead role.
La Flora, o vero Il natal de' fiori (Flora, or The Birth of Flowers) is an opera in a prologue and five acts composed by Marco da Gagliano and Jacopo Peri to a libretto by Andrea Salvadori. It was first performed on 14 October 1628 at the Teatro Mediceo in Florence to celebrate the marriage of Margherita de' Medici and Odoardo Farnese, Duke of Parma. Based on the story of Chloris and Zephyrus in Book V of Ovid's Fasti, Salvadori's libretto contains many allegorical references to the transfer of political power, the beauty of Tuscany, and the strength of the Medici dynasty.
Margherita de' Medici and Odoardo Farnese, Duke of Parma
Claudio Monteverdi writes to the diplomat and librettist Alessandro Striggio to gain his intervention on behalf of his son, Massimiliano, who has been arrested on the charge of possessing a book outlawed by the Church. Facing a prison term or the Inquisitor’s torture rack, Massimiliano is later acquitted.
Girolamo Frescobaldi becomes organist to the 18-year-old Ferdinando II de’ Medici, Grand Duke of Tuscany, in Florence. He dedicates to his new patron his Primo libro delle canzoni, a collection of 40 instrumental canzonas.
Girolamo Frescobaldi Il Primo Libro di Canzoni 1628
Robert Cambert, (born c. 1627 or 1628, Paris, France—died 1677, London, Eng.), the first French composer of opera, though the dramatic sense of the word cannot be applied to any of his works.
Cambert was a pupil of the harpsichord composer Jacques Chambonnières and in 1662 became superintendent of music to the dowager queen, Anne of Austria. In 1659 he collaborated with the poet Pierre Perrin in his first stage work, the Pastorale d’Issy. In 1669 Louis XIV granted Cambert and Perrin the exclusive right to produce operatic performances in France.
They founded the first Royal Academy of Music and opened it in 1671 with their masterpiece, the five-act pastoral opera Pomone.
In 1672, however, Jean-Baptiste Lully managed to gain the royal “opera privilege” from Cambert, and in consequence Cambert left France for England. Two of his operas were performed in London, and he founded a short-lived Royall Academy of Musick in Covent Garden. He died in London, supposedly poisoned by a servant.
Cambert - Que voyez-vous, mes yeux. Fragment de l'Opera Pomone
Biagio Marini publishes a large collection of ensemble pieces in his Op. 8, including trio sonatas and sonatas for solo violin and continuo. The pioneering Italian composer exploits the resources of the violin by using triple-stopping and scordatura (detuning).
Biagio Marini -Sonata Variata (op. 8, 1629)
Heinrich Schutz issues his first book of Symphoniae sacrae (Op. 6) in Venice during his second visit to the city. Influenced by Monteverdi, the collection features arias and modern madrigal forms, as well as polychoral and concertato styles. Pieces range from the dark sorrow of Fili mi, Absalon for bass voice, trombones and continuo to the beautiful and airy Exultavit cor meum in Domino (My heart rejoices in the Lord) for soprano, two violins (or cornets) and continuo.
Heinrich Schütz - Symphoniae sacrae I per soli, strumenti e basso continuo 257-276 (1629)
Giacomo Carissimi, aged 24, becomes maestro di capella at the Jesuit Collegio Germanico in Rome. He will hold the post for the rest of his life.
The Collegium Germanicum et Hungaricum or simply Collegium Germanicum is a German-speaking seminary for Roman Catholic priests in Rome, founded in 1552. Since 1580 its full name has been Pontificium Collegium Germanicum et Hungaricum de Urbe.
In 1574 Pope Gregory XIII assigned it the Palazzi di S. Apollinare (the current seats of the Domus Internationalis Paulus VI and the Pontifical University of the Holy Cross), and in 1575 gave it charge of the services in the adjoining church. The splendour and majesty of the functions as well as the music executed by the students under the Spaniard Tomás Luis de Victoria, and his successor Annibale Stabile and other celebrated masters (Annibale Orgas, Lorenzo Ratti, Giacomo Carissimi, Ottavio Pittoni, and others) constantly drew large crowds to the church. Too much attention indeed was given to music under P. Lauretano, so that regulations had to be made at various times to prevent the academic work of the students from suffering.
Jean-Henri d'Anglebert (baptized 1 April 1629 – 23 April 1691) was a French composer, harpsichordist and organist. He was one of the foremost keyboard composers of his day.
D'Anglebert's father Claude Henry known as Anglebert was an affluent shoemaker in Bar-le-Duc. Nothing is known about the composer's early years and musical education. Since he at one time composed a tombeau for Jacques Champion de Chambonnières, it is possible that Chambonnières was his teacher—or at any rate a friend for whom D'Anglebert had much respect. The earliest surviving manuscript with D'Anglebert's music dates from 1650–1659. It also contains music by Louis Couperin and Chambonnières, and possibly originated in their immediate circle; thus already by the mid-1650s D'Anglebert must have been closely associated with the most prominent French harpsichordists of the time. The earliest reference to D'Anglebert survives in his marriage contract from 11 October 1659. D'Anglebert married Magdelaine Champagne, sister-in-law of the organist François Roberday. In the contract, he is described as bourgeois de Paris, suggesting that by 1659 he was already well established in Paris. How he left Bar-le-Duc and settled in Paris remains unknown.
D'Anglebert's career in Paris must have begun at the Jacobins church in Rue St. Honoré, where he was still organist in January 1660. In August 1660 he succeeded Henri Dumont as harpsichordist to Philippe I, Duke of Orléans, the King's younger brother. He kept the position until at least 1668, but in the meantime, in 1662, he bought the reversion of the post of harpsichordist from Chambonnières, who had been recently disgraced at the court; Chambonnières kept the salary, but D'Anglebert assumed the duties. He served as royal harpsichordist until his son Jean-Baptiste-Henry became his reversioner in 1674. After 1679 D'Anglebert served Dauphine Duchess Maria Anna Victoria of Bavaria, who died in 1690. D'Anglebert died the following year, on 23 April. His only published work, Pièces de clavecin, appeared just two years before, in 1689. The rest of his music—mostly harpsichord works, but also five fugues and a quatuor for organ—survives in manuscripts.
Jean-Henry D'Anglebert - Pièces de clavecin (1/2)
Piezas en Sol mayor/G major/sol majeur/G-Dur:
01. Prélude - 02. Allemande - 03. Courante et double
04. 2ª Courante - 05. 3ª Courante - 06. Sarabande
07. Gigue - 08. 2ª Gigue - 09. Gaillarde
10. Chaconne Rondeau - 11. Gavotte - 12. Menuet
13. Ouverture de Cadmus
14. Ritournelle des Fées de Roland
15. Menuet "Dans nos Bois" - 16. Chaconne de Phaëton
Piezas en re menor/D minor/ré mineur/d-Moll:
17. Prélude - 18. Allemande - 19. Courante et double
20. 2ª Courante - 21. Sarabande grave
22. Sarabande - 23. Gigue - 24. Gaillarde
25. Gavotte - 26. Menuet - 27. Ouverture de Proserpine
28. "Folies d'Espagne"
Piezas en Do mayor/C major/ut majeur/C-Dur:
29. Prélude - 30. Allemande - 31. Gaillarde et double
Jean-Henry D'Anglebert - Pièces de clavecin (2/2)
Piezas en sol menor/G minor/sol mineur/g-Moll
01. Prélude - 02. Allemande - 03. Courante
04. 2ª Courante - 05. Courante de Lully et double
06. Sarabande - 07. Sarabande de Lully "Dieu des Enfers"
08. Gigue - 09. Gigue de Lully - 10. Gaillarde
11. Passacaille - 12. Menuet "La jeune Iris"
13. Gavotte "Où estes vous allé?"
14. Gavotte "Le beau berger Tircis"
15. "La Bergère Annette" - 16. Ouverture de la Mascarade
17. Les Sourdines d'Armide
18. Les Songes agréables d'Atys
19. Air d'Apollon du Triomphe de l'Amour
20. Menuet de Poitou - 21. Passacaille d'Armide
Piezas en Re mayor/D major/ré majeur/D-Dur
22. Allemande - 23. Courante - 24. 2ª Courante
25. Sarabande - 26. Gigue - 27. Chaconne de Galatée
28. Chaconne Rondeau
29. Tombeau de M. de Chambonnières
Piezas en la menor/A minor/la mineur/a-Moll
30. Gaillarde - 31. Courante - 32. Sarabande et double
Orazio Gentileschi – The Lute Player