Tous les regres (La Rue, Pierre de)

Contents

Performances

Naxos

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Synthesized/MIDI

MID file (audio/video)
wrshannon (2012/5/17)

MID file (audio/video)
wrshannon (2012/5/17)

Performers Albert den Teuling
Publisher Info. Albert den Teuling
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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Sheet Music

Scores and Parts

PDF typeset by Arnold den Teul...
Editor (2011/10/12)

4 more: Superius • Altus • Tenor • Bassus

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Editor (2011/10/12)

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Editor (2011/10/12)

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PDF typeset by Arnold den Teul...
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Editor Arnold den Teuling
Publisher. Info. Arnold den Teuling
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection, and are also included in the Mondrup Recorder Collection.
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Agarvin (2016/2/14)

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Agarvin (2016/2/14)

Editor Allen Garvin
Publisher. Info. Dallas: Hawthorne Early Music, 2016.
Copyright
Misc. Notes Set from Canti B from the Petrucci press, textless except for short incipits.
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Agarvin (2018/12/2)

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Agarvin (2018/12/2)

Editor Allen Garvin (b. 1969)
Publisher. Info. Hawthorne Early Music, 2018.
Copyright
Misc. Notes This texted version is set from B-Br 228, the famous chansonnier of Marguerite d'Austria.
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Arrangements and Transcriptions

For Keyboard or Harp (Teuling)

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Arranger (2011/10/12)

Arranger Arnold den Teuling
Publisher. Info. Arnold den Teuling
Copyright
Misc. Notes These file(s) are part of the Werner Icking Music Collection.
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General Information

Work Title Tous les regres
Alternative. Title All feelings of remorse ; Touss les regres ; Tous les regrets qui les coeurs tormentés
Composer La Rue, Pierre de
I-Catalogue NumberI-Cat. No. IPR 15
Key D Dorian mode
Movements/SectionsMov'ts/Sec's 1 chanson
First Publication. 1502 in Canti B (Petrucci press, Venice)
Librettist Henri Baude (1415-1490)
Language French, with translations in English and Dutch
Composer Time PeriodComp. Period Renaissance
Piece Style Renaissance
Instrumentation 4 voices SATB
External Links DIAMM

Misc. Comments

Voices, not "voices or instruments"- no reason to suppose that La Rue or his contemporaries regarded the sound of the human voice to be optional.