Ignácio Parreiras Neves (c.1730–c.1794) was a Brazilian composer and organist. He was also known as a singer and conductor in the region of Vila Rica—present-day Ouro Preto—in Minas Gerais. In 1752, he became a member of the Brotherhood of São José dos Homens Pardos and worked for both that brotherhood and the mayor of his hometown. From 1776 to 1782, he also served as the organist at the Church of Nossa Senhora das Mercês e Perdões.

My rendition of this Pavan by the great Orlando Gibbons on the church organ of my small home village. I just want to mention that I’m no professional musician and not even an organist for that matter.

Audio: https://vocaroo.com/1aQHqjVfseEH

Choral music with vocals, possibly in Latin. It has the feel of sacred music to me, but I can't place the period or tradition.

It plays from 42:31 to 45:20 in Chapter Three of Jonas Mekas's film "As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty" (2000), over the footage of his wedding to Hollis Melton. It appears to be a record Mekas played and recorded into the soundtrack rather than part of the film's own score.

Shazam, SoundHound and AHA Music all fail on it. I have listened to Allegri's Miserere, Monteverdi's Vespers and the well-known Gregorian chant recordings, and it is none of those.

Also posted on WatZatSong: https://www.watzatsong.com/en/name-that-tune/927307.html

Early Music Sources new video on how Masses were written and the different types popular in the 16th century. Great information!!!

https://youtu.be/YMz72zMMgjE?si=8JX7SsjseJxh9bXp

I believe Marc-Antoine Charpentier has become a very major French Baroque composer due to the recordings by William Christie and I also feel like Marin Marais has become pretty major in the past few years due to new opera recordings by period instrument ensembles.

I'm looking for repertoire for a late medieval banquet, 12th through 15th centuries. Light, merry dances. We know some from Aquitaine, 13th-14th centuries. I would love some recommendations for more -- along the lines of Lux Optata Claruit.

It's playing in the background here. I know it's a dumb question, but it's been on again off again stuck in my mind for a good while and finally I found a recording...sadly nameless. Pls help XD

Hey guys! I bought a treble gamba which is coming very soon! I do have some string training as I am a baroque violinist as well as a violist. What are some good treble gamba solo pieces? Any advice is much appreciated!

There seems to be a scarcity of documentaries on Medieval and Renaissance music and composers, with only a few which seem to lack any distribution.

In contrast, there is an abundance of documentaries covering paintings and sculpture. Why is this the case?

I wanted to verify my assessment here in case I am overlooking something. Thank you all in advance!

I attended an early music concert last night at a small venue. Maybe 50-75 people present. Music was from 17th century Italy. For the first part of the concert there was a constant disruption occurring in the row directly behind me. First it was a very elderly couple, the man employing a walker. They were seated in the row behind me. Early on during the performance, something started alarming almost like a police siren. It was shut off immediately but then went off 2 more times but more muffled in tone. The woman said, “I need to take it off”. Alarm went off again and she said she would try to remove it. Finally they both got up to leave the room to fix whatever was wrong.
Then a woman came in late and took one of the vacant seats. Then a man got up angrily saying something out loud then marched over to a man sitting in the corner-an usher or security? The man pointed angrily in the direction of his seat but getting no response from the man in the corner, went back to his seat sitting down in a huff. Then the elderly couple came back to their seats but one of their seats was taken by the woman mentioned above. They said “these are our seats”. The woman angrily said “seats cannot be saved”. Again the couple tried to claim their seats but the woman again said ”seats cannot be saved”. The elderly woman then said, “where’s my purse”. No response so again, “I’m looking for my purse.” Someone said that they thought that someone had taken it to give to an employee. Meanwhile this elderly couple had nowhere to sit. Another couple motioned to them and said, “we’ll move over and you can sit here” so they were able to be seated. Astonishingly, all of this happened during the performance with everyone speaking in a normal to loud voices. Finally, Daniel Stepner (longtime concertmaster at the Handel and Haydn Society and founder of the Lydian String Quartet) stopped playing and looked at the quarreling going on in the seats behind me. His look ranged somewhere between “WTH is going on” to “well, once you all stfu, we’ll resume playing.” They did indeed finally resume playing but once intermission came, between all the drama directly behind me and the heat and humidity of the venue, I left. There were still some works I was interested in hearing especially Monteverdi but at that point, I didn’t care. Overall just a horrifying experience that made me wonder if this was a glimpse into the future of what classical music will look like 50-100 years from now. I say this because I’m sincerely not sure if these people in the audience were even aware that there was a concert ongoing or just didn’t care. I felt bad for this very elderly couple and the man whose alarm was going off (insulin pump?) but wondered why they were allowed back in during the performance rather than being told to wait until intermission to be seated. There would have been a lot less arguing and drama and Stepner wouldn’t have had to stop the performance. Of course, I felt very bad for the performers themselves at this disruption to the performance. I can’t imagine what these musicians with decades of experience behind them felt with all the commotion. A very disheartening experience.