Maurizio Bianchi - The Valley Of Deep Shadow

What Bianchi calls a "sacral sonorization for electro-spiritual keyboards, induced and regulated in the present theocratic year". While this high flown excess of verbiage could easily be interpreted as an industrial music cliché, there is without doubt an effect to Bianchi's music that is far, far more than its (often very simple) parts. It is a rare thing to find a man with such masterful control of sound and meaning in tandem. He has been active since the very genesis of industrial music in the late seventies, and still continues to shroud himself in a wonderful, much deserved mystique. This later release on his own label is a shadowy, ominous crawl through a sonic netherworld. The sound is comforting, mesmerising, hypnotising at the same time (just as the track titles display spiritual hope). A highly intriguing release from a true veteran.

1. The Shepherd
2. Resting Places
3. My Refreshed Soul
4. The Valley Of Deep Shadow
5. I Fear Nothing Bad
6. In Front Of The Hostility
7. Goodness And Loving Kindness
8. To The Length Of Days

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Girolamo Frescobaldi - Keyboard Music: Fantasie Book I; Ricercari; Canzoni Francesi

"As is apparent from their dates, the Fantasie and Ricercari come at the beginning of Frescobaldi's creative career. The Fantasie were published in Milan after his return from a stay in Flanders in the entourage of Cardinal Bentivoglio. From the dedication, dated Ferrara, 8th November 1608, to Francesco Borghese, Duke of Regnano and General of the Holy Church, they seem to be the prime fatiche (first efforts) that Frescobaldi had accomplished in Rome for the entertainment of the dedicatee. In fact the Ricercari too are described as primo e picciolo patio dell'ingegno mio (the first little part of my creative talent) in the dedication to Cardinal Aldobrandini, who, although he was responsible for the destruction of Ferrara and its refined civilisation, had also been the recipient of the dedication of the Madrigali a 1, 2 e 3 soprani, the masterpiece of Frescobaldi's teacher, Luzzaschi.

"In the Fantasie the apparent choice of,instrument and the aim of relieving Borghese, whose ears had often deigned to honour the composer (orecchi si sono degnati di far pill voile [onore alla mono di Frescobaldi]) of his heavy cares, would seem to indicate a non-liturgical chamber work, better suited to the harpsichord than the organ. The cultivated taste of the second part of the sixteenth century and the first part of the seventeenth was inclined towards music for entertainment based on counterpoint rather than the lighter form of dance music. Pietro della Valle, in a letter to Lelio Guidiccioni (1640) clearly states that the first style of Frescobaldi, probably referring to the Fantasie, the Ricercari and the Toccatas of Book 1 of 1615, were much more pleasing to Guidiccioni himself than the more modem galanterie alla moderna that did not please him so much (a VS. non place tanto), developed by the composer in the appendix to the first Libro di Toccate of 1637, because, through experience he had learned that to give pleasure to everyone, this manner is more fashionable, although less scientific. [...]
 
" The use of the harpsichord could be inferred also from the regular absence of ties, always missing in themes with long note values. In any case the harpsichord is to be preferred when performing Frescobaldi, in spite of his title of Vatican organist [...]. In the records of the time the continual presence of Cardinals, principally Well Monte and Montalto, at secular gatherings, sheds some light on the apparent contrast between the position of Vatican organist and the chamber music of Frescobaldi, who indicates specifically where the organ is to be used. The liturgical part of the second Libro di Toccate reveals a probable request for this on the part of the hierarchy that would lead to the single volume clearly intended for the organ, the Piari Musicali of 1635, in the Preface of which Frescobaldi, in apparent opposition to his other publications (Stampe d'intavolatura, ed in Partitura), declared explicitly that the principal aim was to give pleasure to organists (principal fine è di giovare alli Organisti). This naturally does not prevent the use of the organ but it is important to confirm that, contrary to common belief, the organ was not the principal instrument intended by Frescobaldi, including for the Fantasias." (Sergio Vartolo, tr. Keith Anderson. From the liner notes.)

Performer: Sergio Vartolo

1.1. Fantasie Book I: I. Prima Sopra Un Soggietto
1.2. Fantasie Book I: II. Seconda Sopra Un Soggietto Solo
1.3. Fantasie Book I: III. Terza Sopra Un Soggietto Solo
1.4. Fantasie Book I: IV. Quarta Sopra Doi Soggietti
1.5. Fantasie Book I: V. Quinta Sopra Doi Soggietti
1.6. Fantasie Book I: VI. Sesta Sopra Doi Soggietti
1.7. Fantasie Book I: VII. Settima Sopra Trè Soggietti
1.8. Fantasie Book I: VIII. Ottava Sopra Trè Soggietti
1.9. Fantasie Book I: IX. Nona Sopra Trè Soggietti
1.10. Fantasie Book I: X. Decima Sopra Quattro Soggietti
1.11. Fantasie Book I: XI. Undecima Sopra Quattro Soggietti
1.12. Fantasie Book I: XII. Duodecima Sopra Quattro Soggietti

2.1. Ricercari: I. Ricercar Primo
2.2. Ricercari: II. Ricercar Secondo
2.3. Ricercari: III. Ricercar Terzo
2.4. Ricercari: IV. Ricercar Quarto Obligo Mi, Re, Fa, Mi
2.5. Ricercari: V. Ricercar Quinto
2.6. Ricercari: VI. Ricercar Sesto, Obligo Fa, Fa, Sol, La, Fa
2.7. Ricercari: VII. Ricercar Settimo Obligo Sol, Mi Fa, La, Sol
2.8. Ricercari: VIII. Ricercar Ottavo Obligo Di Non Uscir Mai Di Grado
2.9. Ricercari: IX. Ricercar Nono Obligo Di Quattro Soggetti
2.10. Ricercari: X. Ricercar Decimo Obligo, La, Fa, Sol, La, Re
2.11. Canzoni Francesi: I. Canzone I
2.12. Canzoni Francesi: II. Canzone II
2.13. Canzoni Francesi: III. Canzone III
2.14. Canzoni Francesi: IV. Canzone IV
2.15. Canzoni Francesi: V. Canzone V

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Giovanni Pierluigi da Palestrina - Lamentations

"Palestrina published just one set [of Lamentations], printed in Rome in 1588 and again in Venice the following year. This is known as his Book One in modern editions. Thirty years earlier Palestrina had been choirmaster at the Roman Basilica of St John Lateran, and there we find two remarkable manuscripts, Codices 58 and 59. They were rediscovered by Girolamo Chiti in the mid-1700s. Codex 58 includes the only surviving examples of the composer’s own musical script in some of his Holy Week pieces. The same codex also contains a magnificent setting of the final Lesson for Holy Saturday (Jeremiah’s Oratio). Lateran Codex 59 is the primary source for the complete set of what is now called Book Two, the Lamentations presented on this album. They were brought to light in the 1800s by Pietro Alfieri. Of the modern editions, Book Three originates in the codex Capp. Giulia XV 21 in the Julian Chapel of St Peter’s Basilica. This was copied by Giuseppe Antonelli some six years after Palestrina’s death, but was certainly composed in 1574. What is now called Book Four was rediscovered by Alfieri in the Vatican archives (ms. Ottoboniano 3387), and included in the great series of Opera Omnia edited by F. X. Haberl and his colleagues. A fifth set, attributed to Palestrina, was found at Spoleto Cathedral by Knud Jeppesen well into the twentieth century. However, some doubt exists because the identical music is to be found in Lateran Codex 87, attributed to Giovanni Andrea Dragoni, a pupil of Palestrina.

"[...] When all is written and heard of Palestrina and his music, this great composer stands for an ars perfecta, one fully recognized in his own time and ever since for its incomparable technique, its equipoise of lines and harmony, and its incomparable appropriateness to the Latin texts of the Roman liturgy." (Bruno Turner. From the liner notes.)

1. Lamentations For Maundy Thursday 'In Coena Domini', Lectio I: Incipit Lamentatio Jeremiae Prophetae
2. Lamentations For Maundy Thursday 'In Coena Domini', Lectio I: Aleph
3. Lamentations For Maundy Thursday 'In Coena Domini', Lectio I: Quomodo Sedet Sola Civitas
4. Lamentations For Maundy Thursday 'In Coena Domini', Lectio I: Beth
5. Lamentations For Maundy Thursday 'In Coena Domini', Lectio I: Plorans Ploravit In Nocte
6. Lamentations For Maundy Thursday 'In Coena Domini', Lectio I: Jerusalem, Jerusalem
7. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Vau
8. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Et Egressus Est A Filia Sion
9. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Zain
10. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Recordata Est Jerusalem
11. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Viderunt Eam Hostes
12. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Heth
13. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Peccatum Peccavit Jerusalem
14. Lamentations For Maundy Thursday 'In Coena Domini', Lectio II: Jerusalem, Jerusalem
15. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: Jod
16. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: Manum Suam Misit Hostis
17. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: Caph
18. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: Omnis Populus Eius Gemens
19. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: Vide, Domine, Et Considera
20. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: Lamed
21. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: O Vos Omnes
22. Lamentations For Maundy Thursday 'In Coena Domini', Lectio III: Jerusalem, Jerusalem
23. Lamentations For Good Friday 'In Parasceve', Lectio I: De Lamentatione Jeremiae Prophetae
24. Lamentations For Good Friday 'In Parasceve', Lectio I: Heth
25. Lamentations For Good Friday 'In Parasceve', Lectio I: Cogitavit Dominus Dissipare Murum Filiae Sion
26. Lamentations For Good Friday 'In Parasceve', Lectio I: Luxitque Antemurale
27. Lamentations For Good Friday 'In Parasceve', Lectio I: Teth
28. Lamentations For Good Friday 'In Parasceve', Lectio I: Defixae Sunt In Terra Portae Eius
29. Lamentations For Good Friday 'In Parasceve', Lectio I: Jod
30. Lamentations For Good Friday 'In Parasceve', Lectio I: Sederunt In Terra
31. Lamentations For Good Friday 'In Parasceve', Lectio I: Abiecerunt In Terram
32. Lamentations For Good Friday 'In Parasceve', Lectio I: Jerusalem, Jerusalem
33. Lamentations For Good Friday 'In Parasceve', Lectio II: Lamed
34. Lamentations For Good Friday 'In Parasceve', Lectio II: Matribus Suis Dixerunt
35. Lamentations For Good Friday 'In Parasceve', Lectio II: Mem
36. Lamentations For Good Friday 'In Parasceve', Lectio II: Cui Comparabo Te?
37. Lamentations For Good Friday 'In Parasceve', Lectio II: Magna Est Enim Velut Mare Contritio Tua
38. Lamentations For Good Friday 'In Parasceve', Lectio II: Nun
39. Lamentations For Good Friday 'In Parasceve', Lectio II: Prophetae Tui Viderunt Tibi Falsa Et Stulta
40. Lamentations For Good Friday 'In Parasceve', Lectio II: Jerusalem, Jerusalem
41. Lamentations For Good Friday 'In Parasceve', Lectio III: Aleph
42. Lamentations For Good Friday 'In Parasceve', Lectio III: Ego Vir Videns Paupertatem Meam
43. Lamentations For Good Friday 'In Parasceve', Lectio III: Aleph
44. Lamentations For Good Friday 'In Parasceve', Lectio III: Me Minavit, Et Adduxit
45. Lamentations For Good Friday 'In Parasceve', Lectio III: Aleph
46. Lamentations For Good Friday 'In Parasceve', Lectio III: Tantum In Me Vertit
47. Lamentations For Good Friday 'In Parasceve', Lectio III: Beth
48. Lamentations For Good Friday 'In Parasceve', Lectio III: Vetustam Fecit Pellem Meam
49. Lamentations For Good Friday 'In Parasceve', Lectio III: Jerusalem, Jerusalem
50. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: De Lamentatione Jeremiae Prophetae
51. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: Heth
52. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: Misericordiae Domini
53. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: Heth
54. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: Novi Diluculo, Multa Est Fides Tua
55. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: Heth
56. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: Pars Mea Dominus
57. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio I: Jerusalem, Jerusalem
58. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Aleph
59. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Quomodo Obscuratum Est Aurum
60. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Beth
61. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Filii Sion Inclyti
62. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Ghimel
63. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Sed Et Lamiae Nudaverunt Mammam
64. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Filia Populi Mei
65. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio II: Jerusalem, Jerusalem
66. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Incipit Oratio Jeremiae Prophetae
67. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Recordare, Domine, Quid Acciderit Nobis
68. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Haereditas Nostra Versa Est Ad Alienos
69. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Pupilli Facti Sumus Absque Patre
70. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Aquam Nostram Pecunia Bibimus
71. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Patres Nostri Peccaverunt Et Non Sunt\
72. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Servi Dominati Sunt Nostri
73. Lamentations For Holy Saturday 'Sabbato Sancto', Lectio III: Jerusalem, Jerusalem

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Jan Ladislav Dussek - Duos for Harp & Piano Forte

"Dussek was a compositional pioneer, but also (like all the great composers) was willing and able to cater for all audiences and provide brilliant lighter music when necessary. His music for Harp and Piano reflects this extremely clearly. On this CD we have 4 works by Dussek: 2 larger scale works (Op. 72 Duo in E-flat, and Op. 73 Duo Concertant in F) clearly written to be played during his last years in France with his great harpist colleague François Naderman (who also published the music), an earlier F major Duo Op. 26 from 1794 'As Performed at Mr. Salomon's Concert in Hanover Square' in London, and a lovely 2-movement Duettino in C clearly written with the amateur market in mind. All of this music is superbly crafted. His understanding of the relationship between these two instruments gained through his immense experience is perfect. 

"It must be said here that the incredible sound mix between the harp and piano in this musk can only be truly appreciated by its delivery on excellent instruments from Dussek's time. The qualities of both the Broadwood piano and the Naderman harp are unbelievably complimentary and stunningly attuned to each other. It is sometimes difficult to determine who is playing what. The Broadwood piano in particular has the ability to play with a gossamer-light sound which allows the harp through without a fight. It can however thunder when needed, a characteristic of these new and exciting pianos from England which appealed so strongly to Haydn and Beethoven.

"The musical scores are full of expression marks. Rinforzando, smorzando, calando, espressivo, mezza/sottovoce, ppp and ff markings are plastered throughout Dussek's music - and not just the later works. Scores from the late 1780s and 90s also show a huge variety of performance directions. This demands that the players provide a great deal of flexibility and attention to sound, rhythm and tempo modification, and also encourages great openness of expression. The music is throbbing with emotion, sometimes extravagantly so. Perhaps this partially explains why this music is so 'out-of-fashion' these days.

"So gentle reader - A personal plea - Open your-self to this music. Dussek is truly important to the piano world, both as a composer-performer and a historical figure. I for one intend to use this year as a platform to refashion a place for Dussek and his music. The piano sonatas, violin sonatas and masses of other chamber music deserve to be heard much more often. With over 250 compositions to explore we have a real cause for a Dussek revival. I hope this small taste of what Dussek can create and a glimpse into his world will inspire you to join us in this crusade against the Creatures of Fashion in all their hideous forms."  (Richard Egarr. From the liner notes.)

Performers: Masumi Nagasawa, Richard Egarr

1. Duo Concertant In F Major, Op. 73: I. Allegro Moderato
2. Duo Concertant In F Major, Op. 73: II. Larghetto Espressivo
3. Duo Concertant In F Major, Op. 73: III. Rondo. Allegretto Ma Moderato
4. Duettino In C Major, C. 189: I. Allegretto Moderato
5. Duettino In C Major, C. 189: II. Rondo. Allegretto
6. Duetto In F Major, Op. 26: I. Allegro
7. Duetto In F Major, Op. 26: II. Larghetto
8. Duetto In F Major, Op. 26: III. Rondo. Allegretto
9. Duo Concertant In E-Flat Major, Op. 72: I. Allegro Maestoso
10. Duo Concertant In E-Flat Major, Op. 72: II. Les Souvenirs. Larghetto Affettuoso
11. Duo Concertant In E-Flat Major, Op. 72: III. Rondo. Allegro Con Brio
12. Sophia Giustina Dussek-Corri - Introduction & Waltz

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Francesco Cavalli - 5 Magnificat

"Cavalli’s career was not dazzling and he achieved celebrity and material comfort only gradually as he climbed the steps of one of the most prestigious musical institutions of the time: the cappella musicale of the Basilica of San Marco. In an essay written in 1931, Henry Prunières says: 'Without any great effort Cavalli created grand instrumental and vocal frescos which are unequalled, in an easy, always expressive idiom. No musician of his time
possesses Cavalli’s decorative sense of music.' 

"The Magnificat is the canticle sung by the Virgin Mary during her visit to Elizabeth (Luke 1:46-55) and has been set, in different styles, by many composers. Cavalli uses this canticle in five different compositions: 'Magnificat a sei voci', taken from the posthumous collection of 'Musiche sacre' [Sacred Works] by Claudio Monteverdi, printed in Venice in 1650. This composition, which presents the typical sectional structure of post-Monteverdi sacred music, is characterised by an airy lightness of weft in the style of 'concertato misto' and by variety in the handling of the music, with solos, duets, trios, some embellished, in the vocal line punctuated with terse 'tutti' passages of homo-rhythmic nature. 

"'Magnificat of the Vespro della Beata Vergine' (published 1675). As well as the Magnificat the Vespro also includes five psalms which remind one vaguely of Gregorian melodies with a lively, dramatic tone that accentuates the sense of prayer.

"'Magnificat of the Vespro delle Domeniche' (1675). In this we hear Cavalli’s new musical style which, albeit within its musical geometry, highlights the elements of quivering musicality, exalted by the effective chiaroscuro play of bichorality.

"'Magnificat of the Vespro delli Cinque Laudate' (1675). This Vesper reveals Cavalli’s liturgical orthodoxy and his talent for fanciful musicality, yet always concluded with simplicity.

"'Magnificat of the Musiche sacre' (Venice, 1656). The eight-voice Magnificat with instruments represents the style of the composer’s full maturity, seen in the use of the various compositional artifices of the baroque period: Choruses, arias, concertato passages (from duets to vocal octets), fugues and sinfonias develop and are woven into a solid formal structure. Evidence of the composer’s consummate skill is to be found in the consolidated use of double choirs reinforced by the introduction of a concertato instrumental group, spreading the compositional fabric over three sound levels. This composition, again, evinces the influence of the Recitar cantando with its search for sound effects in the declamation of each verse and their concatenation, from the expressive power of the beginning of the Magnificat, to the brilliant instrumental sinfonias, to the richly-embellished virtuoso concertato passages, to the surprising twelve-voice fugue on the verse 'Esurientes implevit bonis', to the brilliant finale with its wealth of sumptuous sounds." (Adolfo Bossi, tr. Timothy Alan Shaw. From the liner notes.)

Performers: Coro Claudio Monteverdi, Ensemble La Pifarescha, Bruno Gini

1. Magnificat A 7
2. Magnificat A 8
3. Canzona A 10
4. Magnificat A 8
5. Magnificat A 8
6. Magnificat A 8
7. Laetatus Sum A 3
8. Canzona A 12
9. Dixit Dominus A 8

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Francesco Cavalli - Gli Amori d'Apollo e di Dafne

"'Gli amori d’Apollo e di Dafne', premiered at the Teatro Tron di San Cassiano in Venice in 1640, marked the first collaboration between two geniuses, the poet Giovan Francesco Busenello (1598-1659) and the composer Pier Francesco Cavalli (1602-76). The combination was to prove a fruitful one, for of the poet’s five librettos (a sixth, still unpublished, 'La discesa d’Enea all’inferno', was never set to music) four received settings by Cavalli: 'La Didone' in 1641, 'La prosperità infelice di Giulio Cesare dittatore' (the music of which is unfortunately lost) in 1646, and 'La Statira, principessa di Persia' in 1655, a felicitous incursion into fabulous and exotic territory. The lastnamed, like the more illustrious 'L’incoronazione di Poppea', the poet’s fifth opera, has come down to us in two distinct musical versions, one from Venice, the other from Naples.

"Since 1637, Venice had possessed the first opera house open to a paying audience and no longer reserved for a noble elite, as was the case in Medici Florence which had witnessed the birth of this entirely new genre. This revolution was completely to change the system of opera production, making this 'strano misto di allegro e tristo' ('strange mixture of joy and sadness' – Faustini, 'La Calisto') the focus of an industry destined for future prosperity, on which the organisation of our modern opera houses still rests today.

"[...] Following closely on the heels of his friend Badoer, who in that same year of 1640 had just presented Monteverdi with 'Il ritorno d'Ulisse', Busenello wrote his first libretto, 'Gli amori d’Apollo e di Dafne', for the most promising of the Venetian composers, himself a pupil of Monteverdi: Cavalli. This native of Crema, who had been born Francesco Caletti-Bruni but adopted the name of his patron, had enjoyed a triumph the previous year, again at the San Cassiano, with 'Le nozze di Teti e di Peleo' (the earliest Venetian opera whose music has survived, all those of Ferrari and Manelli having disappeared), a work still reliant on the courtly canons of the festa teatrale, laden with divinities solidly planted on their pedestal. With 'Gli amori di Apollo', an important step forward was taken. The relative complexity of the plot (justified by Busenello in his preface), which skilfully combines several parallel threads, signals this new distance from the Florentine favole, while at the same time constituting an authentic manifesto of theatrical poetics.

"[...] Let us recall, in conclusion, that Busenello’s libretto continued for another three scenes, with notably a ballet of flowers which spelt out the letters composing the name of the metamorphosed nymph (a device already used in another Florentine pastorale, La Flora, performed at the Palazzo Pitti in Florence in 1628), with the drama ending on yet another disputatio between the two nurses, in which Filena, the champion of sensual love, has the last word over Cirilla’s idealism. Cavalli’s decision to close the opera with a duet testifies to the new customs of his time: 'Il ritorno d’Ulisse' and 'L'incoronazione di Poppea' – on which he very likely collaborated, at least in the Venetian score which has come down to us – also end with duets, a stylistic habit that was to persist for a good part of the Seicento. The recording of this work, of key importance in the history of the genre, fills a significant gap in the discography. The wish of Henry Prunières, one of the first studiosi of Cavalli, seems at last to be granted nearly eighty years after he wrote these words: ‘What benign magician will free Music from her prison in the fine gilt bindings of the [Biblioteca] Marciana? Who will recall her from her long sleep and bring her out into the light, like Meonte delivered from the spells of the witches in 'La virtù de' strali d'amore' ?" (Jean-François Lattarico, tr. Charles Johnston. From the liner notes.)

Performers: Ensemble Elyma, Gabriel Garrido

1.1. Sinfonia
1.2. Prologo: 'Gia' Dell'alba Vicina'
1.3. Atto I, Scena I: 'Delicata Fanciulla'
1.4. Atto I, Scena II: 'Gradita Poverta''
1.5. Atto I, Scena III: 'Figlia, Le Cui Bellezze Illustrano'
1.6. Atto I, Scena IV: 'O Piu D'ogni Ricchezza'
1.7. Atto I, Scena V: 'Quel Bel Fior Di Giovinezza'
1.8. Atto I, Scena VI: 'E Quando Sara Il Di'
1.9. Atto I, Scena VII: 'Ben E Cieco Titone'

2.1. Atto I, Scena VIII: 'Volgi, Deh Volgi Il Piede'
2.2. Atto II: Sinfonia
2.3. Atto II, Scena I: 'Discendo Dall'Olimpo'
2.4. Atto II, Scena II: 'Ahi, Che Gli Studi, E L'arti'
2.5. Atto II, Scena III: 'Io Voglio Certo'
2.6. Atto II, Scena IV: 'Vanne Amor'
2.7. Atto II, Scena V: 'Piutosto Cadami'
2.8. Atto II, Scena VI: 'Dunque Tu Vuoi Partire?'
2.9. Atto III: Sinfonia
2.10. Atto III, Scena I: 'E Sarai Cosi' Stolta'
2.11. Atto III, Scena II: 'Figlia Indarno Da Me'
2.12. Atto III, Scena III: 'Ohime, Che Miro?'
2.13. Atto III, Scena IV: 'Lamento. Misero Apollo'
2.14. Atto III, Scena V: 'Che Lagrime Son Queste'
2.15. Atto III, Scena VI: 'Ohi Me, Dunque Si Crudo'
2.16. Atto III, Scena VII: 'Se Sopra L'esser Dio'

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