The 'Tablature of Jan of Lublin', as this significant collection is commonly known, belonged to the monastery of Canons Regular in the Polish city of Kraśnik near Lublin, and was bound in 1540. The owner and primary scribe was this Jan, or Johannes, of whom very little is known or can be surmised, but the contents of his book are a treasure trove of compositions and musical instruction illustrating what keyboardists of the region in the 16th century would have learned and played, including counterpoint, composition, organ-tuning, liturgical music and – perhaps richest of all – intabulations (arrangements) for keyboard of polyphonic vocal music from across Europe and original compositions for keyboard including 'preambula' (improvisatory preludes) and dances under the generic title 'corea' or with more specific names, several of them Polish. These latter Polish dances give the very international Jan of Lublin collection strong ties to its Polish origins, shedding light on the local musical tradition and its vigorous artistic interaction with Greater Europe.

Internationally acclaimed harpsichord and recorder virtuoso Corina Marti has grouped selections from the Tablature into a recital programme in five sections, reflecting both the great variety and juxtaposition of various types of music in the volume, and the richness offered by this place and moment in music history. Marti's ongoing research into aspects of the repertoire and the reconstruction of late-medieval and early-renaissance keyboard instruments and recorders has contributed substantially to the present-day revival of these instruments.

Contents:
Preambula; Coreæ and other dances; intabulations after Antoine Brumel, Jhan Gero, Josquin des Prez, Jacotin Le Bel, Antonio de Ribera, Pierre Sandrin, Ludwig Senfl, Claudin de Sermisy, Johann Walter et al. of sacred and secular songs and motets from the Polish, German, Italian and French traditions