I'm not sure that Susato published much else.  Many of the tunes in his "Danserye" are popular tunes of the day by other composers, of which Susato made dance-band arrangements.  For example, one of the Allemandes is in fact a song by Hayne van Ghizeghem, but doesn't have its original title, or a composer attribution in Susato's collection.  The dance collection was put out in a modern edition by Schott which was riddled with bizarre transcription errors and blunders - for example, all the Galliards have been mis-barred, so that they all appear to start with upbeats and then finish one crotchet short of a full bar,  and the downbeats lie on the wrong beat of the bar?  I can't understand how that was allowed to go to press - but it was    Yes, yes, I know Susato didn't have barlines - but if you're going to do a modern edition which includes them,  at least put them in the right places!

If you are looking for more material of a similar kind, then Michael Praetorius's extensive collections of Courtly Dances are worth looking at?  They've obviously been taken from Masque Entertainments of some kind, to guess from titles like "Dance of the Three Apprentice Weavers who must beg alms from the King" etc.

Another interesting book of the period is Thoinot Arbeau's "Dancing Master" (1580s, I think?), which is a kind of academic discourse (but in a somewhat witty style) about the social benefits of dancing  ("You may see, for example, if your beloved is in good health and capable of childbirth, by the vitality with which she dances").

Ah, I know Capriol.  Which movements are Arbeau's?

Morrisque was the piece I found really familiar. Actually it was in a Brass Ensemble Concert I heard it, so slightly different from the orchestration Susato would have known.  Funny how trumpets, horns and trombones with side drum are not so different from sackbuts tabors and er, trumpets - even after all these years...

Cheers
Tommo

Actually Susato's Danserye doesn't specify the instrumentation of any of the pieces.  With the exception of music that's idiomatically written for a solo lute or keyboard instrument, "specified instrumental line-ups" only really appeared in Monteverdi's time. Dance music up to even 1700 and beyond didn't specify the instruments to be used  (and in fact Cavalli's operas rarely specify what the line-up is - we can guess at it from the salary-books of the theatres of the period).  All of the instrumental line-ups on those David Munrow, Philip Pickett, Jean-Claude Malgoire recordings etc are entirely conjectural ;-)   Many of them are good conjectures, I agree!   It seems almost certain that the idea of a piece having a standard line-up was quite alien to this period...  musicians would take along viols, citterns and lutes to a gig for a nobleman's salon,  or shawms, sackbutts and cornetts if required to play for a theatre show (the public theatres of the era being open-air venues) - and then play the same music on them.

Which reminds me. When I was at university I played numerous spear-carrying roles in a student production of Romeo and Juliet, one of which comprised playing in a little onstage consort which played, among other things a Susato piece. I was playing a pair of small drums fastened to a belt around my waist, although in one performance, perhaps due to some overenthusiastic playing, the belt loosened unexpectedly and the drums ended up around my ankles. In other words

I played my nakers off.




I'll get my coat.

Were you drummed out of the production for that?   

(as opposed to hooning, about which of course they have no idea.)