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Anonymous
Dall' Abaco
Ahle
Albrechtsberger
Albrici
Altnikol
Ariosti
Georg Arnold
C. P. E. Bach
Heinrich Bach
J. S. Bach
Badia
Becker
Franz Benda
Bernabei
Bertali
Biber
Bodinus
Bononcini
Boxberg
Burney
Buxtehude
Francesca Caccini
Caldara
Capricornus
Cavalli
Charpentier
Clemens
Corrette
Croft
Dittersdorf
Donati
Du Mont
Endler
Erlebach
Fasch
Ferrandini
Finger
Foerster
Fux
Galuppi
Gassmann
Geist
Gentili
Gletle
Goldberg
Gombert
Grandi
J. G. Graun
K. H. Graun
Graupner
Graziani
Handel
Michael Haydn
Heinichen
J. W. Hertel
Hoeckh
Hoffner
Josquin
Keiser
Kraus
Lassus
Legrenzi
Leonarda
Leopold I
Lully
Manfredini
Biagio Marini
Rupert Ignaz Mayr
Virgilio Mazzochi
Meck
Meder
Merula
Monteverdi
Muffat
Naumann
Nichelmann
Oliver y Astorga
d'Ordonez
Andreas Oswald
Pachelbel
Pepusch
Peranda
Pfleger
Pohle
D. Purcell
Rameau
Ranisius
T. Richter
Rigatti
Ristori
Roellig
Rogers
Rosenmüller
Luigi Rossi
Rovetta
de la Rue
Sances
A. Scarlatti
Schelle
Schmelzer
Sebastian
Smieton
Somis
Steffani
Stölzel
B. Strozzi
Luigi Taglietti
Tartini
Taverner
Telemann
Tunder
Vaet
Vanhal
Veracini
Wagenseil
S. Wesley
Wetzke
Zelenka
Kaspar Förster
Credo quod Redemptor meus vivit
This motet is for the slightly unusual combination of Alto, Tenor, two violins and continuo. Setting a text that will be familiar to anyone who knows Handel's Messiah, "I know that my Redeemer liveth", it retains a slightly dark colouring (C minor is the home key), but gives both singers a chance to take centre stage.

Click here to see the opening.

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Sonata a7
This sonata is scored for two groups: two cornetti and bassoon in one, two violins, viola and cello in the other. It is a typical mid-17th-century tapestry construction, basically in C major.

Click here to see the opening.

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