1. La Circe: Sinfonia - 1:20
2. La Circe: Se desio curioso (Recitativo) - 2:07
3. La Circe: Ma quale in queste arene (Recitativo) - 1:57
4. La Circe: O de' regi alto germoglio (Aria a 2) - 1:24
5. La Circe: Chi parla, chi risponde? (Recitativo) - 0:59
6. La Circe: Io che lieto trascorro (Recitativo) - 1:29
7. La Circe: Vola Zeffiro (Aria) - 1:22
8. La Circe: Chi stupori cercando va (Aria) - 2:09
9. La Circe: Correrò, volarò (Aria) - 1:10
10. La Circe: Ferma, ferma (Recitativo) - 1:05
11. La Circe: Regina, il ver tu parli (Recitativo) - 1:13
12. La Circe: Ogni vasto desio (Aria a 2) - 1:04
13. La Circe: Se d'angusta camagna (Recitativo) - 1:11
14. La Circe: Chi di voi mi porta a volo (Aria) - 2:24
15. La Circe: Queste di fragil tempra (Recitativo) - 0:35
16. La Circe: Ed io che farò (Arietta) - 0:48
17. La Circe: Può ben divoto cor (Aria) - 1:51
18. La Circe: Su, se, dunque, su, su (Recitativo) - 1:07
19. La Circe: Ed é pur ver ch'io sola (Recitativo) - 0:33
20. La Circe: O degl'eterni Elisi (Arioso) - 1:17
21. La Circe: Ond'io qual serva umile (Recitativo) - 0:39
22. La Circe: Ruscelletti, che traete (Aria a 3) - 1:57
23. La Circe: Sinfonia da capo - 1:28
24. Sinfonia a 2 No. 22 in D Minor: I. Presto - 1:45
25. Sinfonia a 2 No. 22 in D Minor: II. Fuga. Allegro - 1:33
26. Sinfonia a 2 No. 22 in D Minor: III. Contrapunctus a 2 - 0:44
27. Sinfonia a 2 No. 22 in D Minor: IV. Giga - 0:42
28. Sinfonia a 2 No. 22 in D Minor: V. Contrapunctus al rovescio a 2 - 0:46
29. Sinfonia a 2 No. 22 in D Minor: VI. Sarabanda e variatione - 2:56
30. Toccata per cembalo in A Minor - 4:04
31. Sinfonia a 3 No. 17 in F Major: I. Allegro - 0:55
32. Sinfonia a 3 No. 17 in F Major: II. Allegro - 2:06
33. Sinfonia a 3 No. 17 in F Major: III. Adagio - 2:30
34. Sinfonia a 3 No. 17 in F Major: IV. Allegro - 2:38

Marco Scavazza - Zeffiro (baritone)
Teresa Nesci - Algido (soprano)
Jenny Campanella - L'Ombra di Circe (soprano)
Luca Guglielmi (organ & cembalo)
Concerto Madrigalesco
Luga Guglielmi – conductor

This simple celebratory cantata made Stradella a well-known theatrical personality. As opposed to using traditional recitative, Stradella incorporates string interludes interrupting the characters, which allowed them to express emotions during facial expressions and movement, a novelty during the Baroque era. The Concerto Madrigalesco performs these works extraordinarily with historical performance practices. --- Editorial Reviews, amazon.com

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1.Sinfonia		3’43
2.Recitativo [Damone e Clori]	2’49
3.Aria [Damone]: «Miri mai di me chi sia»	2’56
4.Recitativo [Damone e Clori]	1’23
5.Aria [Clori]:«Sospiri quanto sa»	1’21
6.«Non può, non sa, non vuole»	1’22
7.Recitativo [Damone e Clori]	1’10
8.Aria [Damone]: «Quante stelle nel ciel rimiro»	1’32
9.Recitativo [Damone]	0’34
10.Duetto [Damone e Clori]: «Io se t’amo / Io se t’adoro»	1’24
11.Recitativo [Damone]	0’41
12.Duetto [Damone e Clori] «O stelle adorate»	0’52
13.Sinfonia – Balletto		2’11
14.Terzetto [A,T, B]: «Chi segue / chi fugge Cupido»	1’27
15.Recitativo [S1, S2, A, T, B]		2’48
16.Terzetto [S1, S2, B]: «Grand’incanto d’una beltà»	2’36
17.Recitativo [S1, T, B]	1’15
18.Duetto [A, T]: «Chi cerca farsi beato»	0’51
19.Recitativo [S1, S2, A, T, B]		2’22
20.Aria [S2]: «Disperarsi è vanità»		1’40
21.Recitativo [S2, A]	0’54
22.Terzetto [A, T, B]: «L’amare è destino»		1’44
23.Terzetto [S1, S2, B]: «Fugga pur quanto sa pronto il mortale»	1’10
24.Sinfonia1’3225.Recitativo [Damone e Clori]	1’25
26.Aria [S1]: «Chi va godendo»		1’22
27.Recitativo [S1, A]		1’24
28.Aria [B]: «Del nume al potere»	0’59
29.Recitativo [B]	1’00
30.Madrigale [S1, S2, A, T, B]: «Stelle, voi ch’influite»	3’09

Damone - Nora Tabbush (soprano)
Clori -	Claudia Di Carlo (soprano)
Passanti - Nora Tabbush	(soprano) S1
Claudia Di Carlo (soprano) S2
Raffaele Pè	(contralto) A
Maurizio Dalena	(tenor) T
Mauro Borgioni (bass) B

Ensemble Mare Nostrum
Andrea De Carlo - conductor

Notorious rake Alessandro Stradella (1639-82) was more than once forced to flee the ire of cuckolded husbands, but he met his match in Queen Cristina of Sweden, a Catholic convert in Rome who commissioned him to write a serenata on her own original idea about two lovers and a group of passers-by discussing “the power of the stars”. The resulting work is a bold and colourful semi-opera which exists in two different versions: Andrea De Carlo and his Ensemble Mare Nostrum perform the expanded Turin version for seven voices, two concertino ensembles and a larger concerto grosso – Stradella not only had two soprano soloists and an SSATB choir, but almost uniquely different sets of instrumentalists who could perform separately or in combination. A rich palette indeed. On this recording soloists Nora Tabbush and Claudia Di Carlo lead a mightily experienced vocal ensemble, while De Carlo’s large instrumental group are equally impressive. --–Mark Walker, classicalear.co.uk

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1.Sinfonia
2.Recitative: Or che il mondo ristaura (Damone, Clori)
3.Aria: Miri mai di me chi sia (Damone)
4.Recitative: Vadan del loro incendio altri superbi (Damone, Clori)
5.Aria: Sospiri quanto sa (Clori)
6.Aria: Non puo, non sa, non vuole (Clori)
7.Recitative: Dir che per te mi struggo e poco (Damone e Clori)
8.Aria: Quante stelle nel ciel rimiro (Damone)
9.Recitative: Io prego e nel pregar lacrime spargo (Damone)
10.Duet: Io se t'amo - Io se t'adoro (Damone, Clori)
11.Recitative: In quei volumi eterni (Damone)
12.Duet: O stelle adorate (Damone, Clori)
13.Sinfonia – Balletto
14.Trio: Chi segue - chi fugge Cupido (Alto, Tenor, Bass)
15.Recitative: Chi desia di gioire (Soprano 1, Soprano 2, Alto, Tenor, Bass)
16.Trio: Grand'incanto d'una belta (Soprano 1, Soprano 2, Bass)
17.Recitative: So quali sien di lui l'opre omicide (Soprano 1, Tenor, Bass)
18.Duet: Chi cerca farsi beato (Alto, Tenor)
19.Recitative: Quel nume sì giocondo (Soprano 1, Soprano 2, Alto, Tenor, Bass)
20.Aria: Disperarsi e vanita (Soprano 2)
21.Recitative: Possente incantatrice e la preghiera (Soprano 2, Alto)
22.Trio: L'amare e destino (Alto, Tenor, Bass)
23.Trio: Fugga pur quanto sa pronto il mortale (Soprano 1, Soprano 2, Bass)
24.Sinfonia
25.Recitative: Voci amorose ascolto (Damone, Clori)
26.Aria: Chi va godendo (Soprano 1)
27.Recitative: Piu ch'ei mi stringe il core (Soprano 1, Alto)
28.Aria: Del nume al potere (Bass)
29.Recitative: Ama sin l’insensibile (Bass)

Damone - Nora Tabbush (soprano)
Clori  - Claudia di Carlo (soprano)
Passanti: 
Nora Tabbush (soprano)
Claudia Di Carlo (soprano)
Raffaele Pè (contralto)
Maurizio Dalena (tenor)
Mauro Borgioni (bass)

Ensemble Mare Nostrum
Andrea de Carlo (conductor)

Following four successful recordings released on the Ricercar, Alpha and Arcana labels, Rome-based Andrea De Carlo and his Ensemble Mare Nostrum continue their exploration of the Roman repertoire and inaugurate here a new series of recordings, with its own distinctive artwork, devoted to the vast and multifaceted musical heritage of the Eternal City.

Recorded in Nepi (province of Viterbo), where Alessandro Stradella was born, ‘La forza delle stelle’ (‘The power of the stars’) gives us an opportunity to sample some of the fruits of the fascinating collaboration between that exceptionally expressive Baroque composer and the Roman poet Sebastiano Baldini, under the patronage of the exiled Queen Christina of Sweden. The serenata that gives the album its title, based on a scenario by Christina, deals – as was frequently the case at that time – with the subject of love, and the power of the stars to aid or thwart it. The result is a pure delight! --- prestoclassical.co.uk

There is more to interest the ear here than there often is in 'new' discoveries and the performances far outstrip those commonly associated with such niche recordings: they provide powerful but clean operatic interpretations - Raffaele Pé and Nora Tabbush are particular treats - of the extreme expressionism of these two artistic collaborators. ---Gramophone, 2014

La Serenata La Forza delle Stelle è la protagonista di una bella incisione dell’Ensemble Mare Nostrum diretto da Andrea De Carlo in uscita per Arcana, del gruppo Outhere Music, nel mese di settembre 2014. Registrazione preceduta da un concerto tenutosi nel settembre 2013 nell’ambito della prima edizione del Festival Stradella di Nepi. L’esecuzione della Serenata ha anche aperto la seconda edizione del Festival Stradella la sera del 28 agosto scorso alla Chiesa di Santa Lucia al Gonfalone a Roma, con un organico lievemente diverso rispetto al CD, ma con le presenze a mio avviso significative di Filippo Mineccia come contralto e Paolo Perrone primo violino del concerto grosso.

In entrambe le occasioni Andrea De Carlo dava grande risalto alla scrittura di Stradella, dispiegava con grande sapienza direttoriale la complessa materia contrappuntistica e ne delineava luci ed ombre, pieni e vuoti, seguiva le fluide linee melodiche con una tale brillantezza di colori, da restituirci finalmente uno Stradella autore gigantesco del Seicento romano. De Carlo sceglieva di eseguire la versione a sette voci, quindi quella di Torino, utilizzando però per le parti dei due soprani dei passanti, le stesse voci di Damone e Clori, le bravissime Nora Tabbush e Claudia Di Carlo. In questo avvicinandosi maggiormente alla versione modenese dove più attiva era la partecipazione dei due amanti durante tutto il corso dell’opera rispetto alla versione di Torino dove in effetti Damone e Clori scompaiono per ricomparire solo brevemente nel finale. De Carlo ha deciso anche di utilizzare un solo concertino, anche perché i due concertini non suonano quasi mai insieme e la loro presenza era probabilmente da attribuire a motivazioni soprattutto sceniche. Il concerto grosso e il concertino sono stati comunque separati spazialmente e questo risulta molto evidente dalla sonorità nella registrazione, ma ancor più in concerto, dove il dialogo fra gli strumenti, e gli strumenti e le voci è risultato estremamente serrato e di grande impatto sonoro. I cantanti sono tutti all’altezza del compito veramente arduo di interpretare una scrittura musicale difficile e complessa. Nel CD alle già belle voci dei due soprani, si sono uniti Raffaele Pè contralto, Maurizio Dalena tenore, e l’ottimo basso Mauro Borgioni, presente anche al concerto con le voci però di Luca Cervoni tenore e Filippo Mineccia contralto. Quest’ultimo mi ha colpito per la grande sensibilità musicale con la quale ha interpretato le parti solistiche a lui affidate. Il basso, insieme con i due soprani, emerge soprattutto nei terzetti in particolar modo “Grand’ incanto d’una beltà” dalla bellezza stupefacente. La Tabbush e la Di Carlo sono molto brave sia nella prima parte dove è loro richiesta abilità melodica e virtuosa nelle arie, sia nei duetti e terzetti della seconda parte, dalla scrittura più variata. Sia nel CD che nel concerto il madrigale finale è un vero fuoco d’artificio di contrappuntistica sapienza. Le voci che si rincorrono in linee melodiche continuamente variate sono straordinariamente condotte e potentemente incisive. Un plauso va anche agli strumentisti: ottimo il primo violino del concertino Valerio Losito.

Un bellissimo CD da ascoltare e un bellissimo concerto per quei, fortunatamente molti, presenti il 28 agosto per una splendida serata romana, che ha decretato un successo calorosissimo ad un compositore che grazie alla ricerca musicologica e ad Andrea De Carlo avremo il grande piacere di ascoltare sempre più spesso. --- Isabella Chiappara Soria, saladelcembalo.org

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1. Parte 1		34:35
	1. Duetto "Chi ’l freno non regge"Matteo Bellotto, Nora Tabbusch  	1:36
	2. Recitativo "Nel regio trono di Bisanzio assisa"Arianna Vendittelli, Luca Cervoni  	3:42
	3. Aria "Rei timori, perché a stuolo"Arianna Vendittelli  	1:40
	4. Recitativo "Ma quai folli deliri"Arianna Vendittelli  	0:56
	5. Terzetto " Se teme chi regna"Matteo Bellotto, Filippo Mineccia, Nora Tabbusch  	3:23
	6. Recitativo "Sì mal nati consigli"Filippo Mineccia, Arianna Vendittelli  	2:12
	7. Aria "Se le mal corrette voglie"Filippo Mineccia  	1:14
	8. Recitativo "Par che gelida tema"Arianna Vendittelli  	0:43
	9. Aria "Benché audace sia ’l desire"Arianna Vendittelli  	2:27
	10. Recitativo "Crisostomo s’appelli"Arianna Vendittelli  	0:29
	11. Duetto "Talor / Giammai si cade"Filippo Mineccia, Luca Cervoni  	1:46
	12. Recitativo "Eudosia, ah, non son io?"Matteo Bellotto, Arianna Vendittelli  	1:24
    13. Aria "Fugge il dì, fugge la vita"Matteo Bellotto  	2:10
	14. Recitativo "Forse non si rammenta"Matteo Bellotto  	0:46
	15. Aria "Ogni regno diviso sen va"Filippo Mineccia  	2:34
	16. Coro "Non vil capanna"Matteo Bellotto, Filippo Mineccia, Nora Tabbush, Arianna Vendittelli, Luca Cervoni  	0:46
	17. Recitativo "Regio cor d’ardimento"Matteo Bellotto, Luca Cervoni  	1:36
	18. Aria in duetto "La morte n’addita"Matteo Bellotto, Filippo Mineccia  	2:34
	19. Recitativo "Invano, invan si tenta"Arianna Vendittelli, Luca Cervoni  	0:53
	20. Duetto "Alme ree, turba mendace"Matteo Bellotto, Filippo Mineccia  	1:20

2. Parte 2		35:26
	21. Duetto "Della vita il fragil legno"Filippo Mineccia, Luca Cervoni  	1:44
	22. Recitativo "Tu forse il patrio lito"Filippo Mineccia, Luca Cervoni  	1:25
	23. Aria "Fra procelle la nave perì"Luca Cervoni  	1:18
	24. Recitativo "Su, tacete, tacete!"Filippo Mineccia, Arianna Vendittelli, Luca Cervoni  	0:56
	25. Aria "Chi col picciolo serpente"Arianna Vendittelli  	2:04
	26. Recitativo " Non causi anco pensiero!"Matteo Bellotto, Arianna Vendittelli  	1:10
	27. Aria "Tu che sei di verità"Matteo Bellotto  	1:00
	28. Recitativo "Ascolta, Eudosia, ascolta"Matteo Bellotto, Arianna Vendittelli  	0:42
	29. Aria "Su, destati, o sdegno!"Arianna Vendittelli  	2:40
	30. Recitativo "Atto sempre non è d’alma clemente"Filippo Mineccia, Luca Cervoni  	0:31
	31. Terzetto "Benché giuste tempra l’ire"Nora Tabbush, Arianna Vendittelli, Luca Cervoni  	1:55
	32. Recitativo "Crisostomo, deh, ascolta"Matteo Bellotto, Filippo Mineccia, Arianna Vendittelli, Luca Cervoni  	3:25
	33. Aria "Qual vago candore"Luca Cervoni  	1:19
	34. Recitativo "Dal real trono lunge"Filippo Mineccia  	0:56
	35. Aria "È sì bella la luce del dì"Filippo Mineccia  	3:07
	36. Recitativo "Poi ch’a sponde remote"Arianna Vendittelli  	0:34
	37. Aria "Già placata ogni procella"Arianna Vendittelli  	3:18
	38. Terzetto "Al tuo merto, alta reina"Filippo Mineccia, Nora Tabbush, Luca Cervoni  	1:13
	39. Aria "D’obbedirti il fato ambisce"Luca Cervoni  	1:07
	40. Recitativo "Vive Eudosia tra fasti"Luca Cervoni  	1:16
	41. Duetto "Giocondo nel mondo"Matteo Bellotto, Nora Tabbush  	2:37
	42. Recitativo "Sperano indarno gl’empi"Filippo Mineccia  	0:45

Eudosia - Arianna Vendittelli, soprano 
Crisostomo - Matteo Bellotto bass 
Inviato di Roma - Filippo Mineccia, contralto 
Testo, Teofilo - Luca Cervoni, tenor 
Consigliere - Nora Tabbush, soprano

Ensemble Mare Nostrum
Andrea De Carlo - conductor

Recorded in the Church of San Giovanni Battista, Sacrofano (Rome), Italy, 6-9 September 2014.

The Divine Liturgy of St John Chrysostom is an important part of the liturgy of the Russian Orthodox Church. John Chrysostom is one of the main early church fathers and is honoured as a saint in the Eastern Orthodox and Byzantine Catholic Churches. "He is known for his preaching and public speaking, his denunciation of abuse of authority by both ecclesiastical and political leaders", according to Wikipedia. That aspect also comes to the fore in the conflict which is the subject of the oratorio San Giovanni Crisostomo by Alessandro Stradella. It takes us to the time when John Chrysostom was archbishop of Constantinople. He criticized the extravagances of Aelia Eudoxia, wife of Emperor Arcadius, who had her statue erected in the Augustaion, near the archbishop's cathedral. John denounced the pagan dedication ceremonies and compared her to Herodias, the daughter of King Herod who asked him to give her the head of John the Baptist. This resulted in his exile.

This oratorio is surrounded by mysteries. It is not known when it was written nor when or where it was first performed. Luca Della Libera, in his liner-notes, suggests a connection with the papacy of Innocent XI (1676-1689). His namesake Innocent I was the pope who came to John Chrysostom's defence and sent missions to Constantinople. No separate copy of the libretto has been found and as a result we don't know who was its author. As the manuscript of Stradella's oratorio only mentions John Chrysostom and Eudoxia explicitly the identity of the other characters has to be deduced from the story. In the libretto in the booklet these are italicized. The first recitative - scored for tenor - is given to a testo, a role which appears in most oratorios by Carissimi and his immediate successors in this genre. One could compare it with the role of the Evangelist in Bach's Passions. However, here this character doesn't play any part during the oratorio and only returns at the end; there it is surprisingly given to the second soprano. It is assumed that in the other recitatives and arias the tenor represents Theophilus, Patriarch of Alexandria who was a firm opponent of John Chrysostom and is portrayed in the oratorio as a slavish follower of Eudoxia. The role of the alto is identified here with an envoy from Rome (Inviato di Roma), sent by Pope Innocent I. The minor characters cannot be identified; some of the duets - for instance the one that opens the work - are given to Eudoxia's counsellors.

One could divide Italian oratorios of the late 17th and early 18th centuries into two categories. Some were written for performance during Lent and - although they could take different subjects from the Bible or the lives of saints - conclude with a reference to the Passion of Christ. Others have a more general edifying character and reflect the ideals of the Counter-Reformation. The present oratorio belongs to the latter category. It is a musical representation of the moral message of John Chrysostom. This is summed up in the recitative which closes the piece: "In vain do the godless hope that the cloak of royalty will serve them as a shield against extreme misfortune: God is not unwilling to strike monarchs down".

The fact that the oratorio ends with a recitative is quite surprising. There are more remarkable things here. The scoring is for five voices - which was common at the time - and these were also to sing the choruses. However, in this oratorio we find only one very short chorus. The other ensembles are duets and trios. Moreover, the instrumental scoring is confined to basso continuo; there are no parts for strings. Most arias are rather short and only a handful show early forms of the da capo which was to become the standard in later oratorios. Those were also increasingly close to opera. That is not the case here: this work is not really dramatic. When Eudoxia decides to send John Chrysostom into exile we don't hear a direct dramatic confrontation between the two. This oratorio is basically the account of a dispute between two characters of strongly opposing moral convictions. In addition to the conversations between Eudoxia and John Chrysostom we hear dialogues between their respective followers: the views of the former are supported by Theophilus, those of the latter by the envoy from Rome.

Stradella was one of the main Italian composers of his time and his music was in great demand. This oratorio attests to his skills, for instance in his depiction of textual elements and the use of harmony for expressive reasons. Luca Della Libera gives various examples in his excellent liner-notes. A couple of observations should suffice. In the duet 'La morte n'addita' (18) John Chrysostom and the envoy sing different texts but in the last section the latter sings the text which was first sung by John, which evidences support for his case. Their duet 'Alme ree' (20) ends with the words "silences truth" which is graphically illustrated by the harmony. Chromaticism and dissonants are used for the words "sorrow, boredom and tears" in the trio 'Al tuo merto' (38). Since there are no instruments to illustrate elements in the text with melodic phrases expression completely depends on the vocal parts. This oratorio shows that Stradella was a brilliant composer for the voice.

This is pretty much an ideal performance. Andrea De Carlo has brought together a fine team of soloists who show a good feeling for Stradella's idiom. They explore its expressive and dramatic features without exaggerating them. After all, this is no opera. However, it is important that there is a good interaction between the protagonists, and that is certainly the case here. There is no incessant vibrato and as a result the voices blend perfectly in the duets and trios and in the only chorus. The soloists receive fine support from the basso continuo group which plays with rhythmic flair.

In short, this is an outstanding production, and I hope that these performers will take care of further compositions by Stradella. There is still much to discover in his large output. ---Johan van Veen, musicweb-international.com

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I. Parte 1
 1. Aria "Il premio felice"Claudia Di Carlo  	1:08
 2. Recitativo "De’ miei veri consigli"Claudia Di Carlo  	2:29
 3. Aria "Speranze gradite"Veronica Cangemi  	1:19
 4. Recitativo "Codarda, e che vaneggio?"Veronica Cangemi  	1:42
 5. Duetto "A che giova il regnar, se il tempo vola?"Francesca Aspromonte, Gabriella Martellacci  	1:37
 6. Recitativo "O del ciel saggi detti"Veronica Cangemi  	0:58
 7. Aria "Se l’arciero"Veronica Cangemi  	1:15
 8. Recitativo "D’un tuo servo fedel prendi i consigli"Sergio Foresti  	0:32
 9. Aria "Dunque il ciel tanti contenti"Sergio Foresti  	1:21
 10. Recitativo "Quei diporti che in dono"Veronica Cangemi  	1:03
 11. Aria "Così fuggite"Veronica Cangemi  	2:24
 12. Recitativo "Di chi brama il tuo ben" - Aria "Chi pianti e sospiFernando Guimarães  	2:24
 13. Recitativo "Pregio che poco dura"Veronica Cangemi  	2:19
 14. Aria "Bellezze, rapine"Veronica Cangemi  	1:05
 15. Recitativo "Senz’offendere il giusto"Gabriella Martellacci  	0:31
 16. Terzetto "O come si mira sovente"Francesca Aspromonte, Gabriella Martellacci, Sergio Foresti  	2:08
 17. Recitativo "Se vago in orïente"Veronica Cangemi  	1:02
 18. Aria "Piagge amene, là dove il tormento"Veronica Cangemi  	2:04
 19. Recitativo "Tua ragion non comprendo"Gabriella Martellacci, Claudia Di Carlo  	0:31
 20. Duetto "Chi può le nostr’alme"Gabriella Martellacci, Claudia Di Carlo  	1:59

II. Parte 2
 21. Recitativo "Fra le porpore e gli ostri" - Aria "Su, su, cingeVeronica Cangemi  	1:39
 22. Recitativo "Con non più intesi accenti"Fernando Guimarães, Veronica Cangemi, Sergio Foresti  	1:07
 23. Aria "A punir le colpe un’alma"Sergio Foresti  	2:16
 24. Recitativo "Alle vigilie intenti"Gabriella Martellacci, Veronica Cangemi, Francesca Aspromonte, Fernando Guimarães 1:55
 25. Terzetto "Mal nato è il desire"Francesca Aspromonte, Gabriella Martellacci, Fernando Guimarães  	1:35
 26. Recitativo "Della vita mortal nel breve giorno"Veronica Cangemi  	0:40
 27. Arioso "Dite su, pompe, che siete?"Veronica Cangemi  	0:16
 28. Duetto "Siamo scorta a voi mortali"Francesca Aspromonte, Gabriella Martellacci  	1:04
 29. Aria "Spesso un regio ambito soglio"Gabriella Martellacci  	1:10
 30. Arioso "Dite su, piacer, che siete?" (1)Veronica Cangemi  	0:18
 31. Duetto "Noi sirene siamo a l’alme"Francesca Aspromonte, Sergio Foresti  	0:29
 32. Aria "Chi i suoi lumi al vostro canto"Sergio Foresti  	0:53
 33. Arioso "Dite su, piacer, che siete?" (2)Veronica Cangemi  	0:16
 34. Terzetto "Noi sirene siamo a l’alme"Francesca Aspromonte, Gabriella Martellacci, Sergio Foresti  	0:51
 35. Recitativo "Dunque la reggia abbandonar t’aggrada?"Sergio Foresti, Veronica Cangemi, Francesca Aspromonte  	1:23
 36. Duetto "Bella luce del ciel che discende"Veronica Cangemi, Francesca Aspromonte  	1:02
 37. Recitativo "Agi, pompe, beltà, diletti e regni"Veronica Cangemi  	0:58
 38. Aria "Così disciolta"Veronica Cangemi  	0:59
 39. Recitativo "Arresta un sol momento, arresta il piede"Fernando Guimarães, Veronica Cangemi  	1:15
 40. Aria "L’orme stampi veloce il piè"Veronica Cangemi  	1:33
 41. Recitativo "Qui tace la reina"Gabriella Martellacci  	1:54
 42. Terzetto "A notte breve"Francesca Aspromonte, Gabriella Martellacci, Fernando Guimarães  	2:23
 43. Recitativo "Di profeta real s’odan gli accenti"Claudia Di Carlo  	0:30

Santa Editta Verónica Cangemi - soprano
Nobilità Francesca Aspromonte - soprano
Humiltà Claudia Di Carlo - soprano
Grandezza Gabriella Martellacci - contralto
Bellezza Fernando Guimãraes - tenor
Senso Sergio Foresti - bass
Ensemble Mare Nostrum
Andrea De Carlo - conductor

Many oratorios were written in Italy in the second half of the 17th century. In recent years some of these have been brought to the surface and are available in recordings. The oratorios by Alessandro Stradella are among the best-known and some of them are regularly performed, such as San Giovanni Battista and La Susanna. They are about characters, who were quite popular in the baroque era. That is very different in the case of the oratorio, which Andrea Di Carlo has recorded with his Ensemble Mare Nostrum.

The full title of this oratorio is Sant’Editta, vergine, monaca e regina d’Inghilterra (Saint Edith, Virgin, Nun and Queen of England). It refers to Edith of Wilton, who was the daughter of King Edgar of England, nicknamed 'the Peaceful' (c943-975), who ruled from 959 until his death. Edith and her mother withdrew to live in Wilton Abbey. When her father and her half-brother died, she was to succeed Edgar, but turned down the crown and preferred to stay in the Abbey. She was just over 30 when she died and soon she was venerated as a saint. Stradella set a libretto by Lelio Orsini, who was also the author of two other librettos, which Stradella used: San Giovanni Cristostomo and Ester. One wonders why Orsini turned to the character of Edith and why there was any interest in an English character, who likely was completely unknown to Italian audiences.

Arnaldo Morelli, in his liner-notes, states that it seems likely that the writing of the libretto and the composition of this oratorio were the result of a commission. The occasion could have been the wedding of Maria Beatrice d'Este, sister of Francesco II, Duke of Mantua, and James Stuart, Prince of York and the future King of England. The wedding took place in September 1673, but only after long negotiations, because Maria Beatrice preferred to devote herself to convent life, with the support of her mother. It was Pope Clement X who urged her to accept the marriage proposal. This was all part of the Counter Reformation: a Catholic queen in England could turn England into an ally of the Catholic cause. Louis XIV, King of France, also strongly supported the marriage. For Maria Beatrice’s mother, the resistance against the marriage was a way of taking a stand against Louis XIV, thereby maintaining the little Este duchy’s political equidistance between the great powers of Spain and France.

The libretto seems to support the suggestion that the oratorio reflects this time of indecision and deliberation. It is not a dramatic piece, but falls into the category of the morality, like Cavalieri's Rappresentatione di Anima e di Corpo or Handel's Il trionfo del Tempo e del Disinganno. In this case, the opposing forces are not evil, as some in those pieces are. Here Nobility, Humility, Grandeur, Beauty and Sense try to convince Edith not to give up the throne, a clear deviation from the historical truth. As was common at the time, the oratorio comprises two parts and consists of a sequence of recitatives and arias; in addition there are some duets and trios. There is no chorus: the moral is summed up at the end of the oratorio in a trio of Nobility, Grandeur and Sense: "Following a night of suffering that soon disappears comes a day of eternal peace and serenity. Whoever longs for joy in heaven never fears human suffering. All our grief and our pain, they are short-lived, giving way to the supreme good of just reward." Humility ends the oratorio with a short recitative: "The voice of the royal prophet can be heard. She who sows pain harvests delight".

The arias are rather short; they never take more than two and a half minutes and there are hardly any dacapos. Traditionally, oratorios were scored for five singers: two sopranos, alto, tenor and bass. That is the case here as well; one of the sopranos took care of two characters. There are no independent instrumental parts; only the viola da gamba takes a more concertante role once in a while, but otherwise the singers are only supported by the basso continuo. Because of that there is no sinfonia to open the oratorio; it begins with an aria by Humility.

It is not surprising that Stradella's oratorios are quite popular. He was a singer himself - and a quite famous one at that - and knew very well how to write for the voice. This explains why the vocal parts of his oratorios are always interesting and melodious. The most of the arias here are given to Saint Edith, but the other characters certainly have good arias to sing as well. The duets and trios are also of fine quality. It is telling that single arias from Stradella's pen have been found in manuscripts across Europe, bearing witness to the popularity of his compositions.

This is the third production in a Stradella project of Andrea Di Carlo and his ensemble. I was impressed with the first two discs, La forza delle stelle (http://www.musica-dei-donum.org/cd_reviews/Arcana_A377.html) and San Giovanni Cristostomo (review). I have nothing but praise for the present performance either. The singers are all outstanding; Verónica Cangemi deserves special praise for her outstanding interpretation of the title role. The voices blend perfectly and, as a result, the duets and trios come off beautifully. The basso continuo part is lively and the variety of instruments gives colour to this part, which is also played with great rhythmic flexibility. The inclusion of a harp is particularly nice and useful; it is in line with a practice of the time, which is still too often neglected.

This is a most delightful disc and I am looking forward to the next instalment. ---Johan van Veen, musicweb-international.com

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Prima Parte
1 	Recitativo: Qui Dove In Faccia Ai Fiori 	0:52
2 	Aria: Ermi Tronchi, Annose Piante 	2:28
3 	Recitativo: Pelagia, Bellissima Donzella 	0:58
4 	Aria: Mentre April T'infiora It Seno 	1:17
5 	Recitativo: Segui Le Nostre Strade 	0:48
6 	Aria: Strugge L'alma Un Non So Che 	1:18
7 	Recitativo: Penso, Ahi Lassa, E Il Pensiero 	0:35
8 	Aria: Quel Fiore Labile 	1:19
9 	Recitativo: E Tributario Sol Fassi Dal Cieio 	0:44
10 	Aria: Per Destare Orrida Guerra 	1:00
11 	Recitativo: Lo Cosi Vilipeso 	0:28
12 	Aria: Vedi In Calma Il Mar Placato 	0:40
13 	Recitativo: Tali Del Regno Tuo Sono Gli Imperk 	0:48
14 	Duetto: Empio No, Nol Crederò 	1:43
15 	Recitativo: Ma Già Vinto Tu Sei 	0:15
16 	Aria: Ah, Cieli Codardi 	0:48
17 	Recitativo: Mentre Serve Pelagia A' Cenni Miei 	0:04
18 	Aria: Ah, Sfere Guerriere 	0:39
19 	Recitativo: Me, Me Presente, Io Sono 	0:14
20 	Aria: Saette E Fulmini 	0:56
21 	Recitativo: Porto In Man Guerra E Pace 	0:34
22 	Aria: Agli Assalti di Teneri Accenti 	2:52
23 	Aria: Quanta è Cara, Quanto è Bella 	1:46
24 	Recitativo: 'Oh Come, Oh Quanto Vago 	1:04
25 	Aria: Gado Si, di Gemme E D'ori 	0:58
26 	Recitativo: Quanta Mi Alletta Invero 	0:42
27 	Aria: Sono I Crini Aurati Stami 	1:48
28 	Recitativo: Sono I Dolci Mile! Sguardi 	0:14
29 	Le Pupille Son Faville 	1:01
	Seconda Parte
30 	Recitativo: Qual Ape Studiosa 	0:40
31 	Aria: Quanto è Dolce Con Due Guardi 	1:32
32 	Recitativo: Che Saette, Che Strali? 	0:39
33 	Aria: Quanto Crudo It Nume Ignudo 	0:57
34 	Recitativo: T'inganni, Se Tu Credi 	0:37
35 	Aria: Si, Presumo, O Vaghe Stelle 	1:53
36 	Recitativo: Pelagia! / Mio Monarca! 	0:48
37 	Aria Agitata: Abbatto, Combatto 	0:32
38 	Recitativo: E Il Mio Fulgido Guardo 	1:18
39 	Aria: Tu Che Abbatti E Combatti Col Guardo 	0:57
40 	Recitativo: Ah, No, Basta It Pensiero 	0:35
41 	Aria: Dal Polo Con Volo 	0:41
42 	Recitativo: Meco Dunque T'adopra 	0:14
43 	Coro: Festeggiate 	0:31
44 	Aria: Corran Nettare I Ruscelli 	0:41
45 	Recitativo: Pelagia! 	1:30
46 	Aria: Si Peccai, Ma Questo Fonte 	1:05
47 	Recitativo: Già Con Sagrato Fonte- 	0:44
48 	Aria: È Follia Pugnar Con Gli Astri 	0:27
49 	Recitativo: Parto Ai Boschi Romiti E Mi Dileguo 	0:14
50 	Aria: Oh, Del Polo Calpestato 	0:44
51 	Recitativo: Al Tuo Merto Inesausto 	0:09
52 	Aria: Pace A Voi, Selvagge Rupi 	0:58
53 	Recitativo: Qui, Solitaria Alfine 	1:07
54 	Aria: Mio Monarca, Eccoti Il Cor! 	1:29

Baritone Vocals [Mondo] – Sergio Foresti
Contralto Vocals [Religione] – Raffaele Pe
Luthier [Instrument Design] – Andreas von Holst, Enzo Laurenti, Jaume Bosser,
 Johan Deblieck, Klaus Jacobsen, Sergio Marcello Gregorat, Ugo Casiglia
Soprano Vocals [Santa Pelagia] – Roberta Mameli
Tenor Vocals [Nonno] – Luca Cervoni
Ensemble – Ensemble Mare Nostrum
Conductor – Andrea De Carlo

With this fourth installment of the Stradella Project, Andrea De Carlo and Ensemble Mare Nostrum continue their exploration of the oratorio output, following the recent rediscoveries of San Giovanni Crisostomo and Santa Editta. A pretty dancing-girl at the imperial court of Antioch in Syria, Pelagia, is the object of rivalry between an evil angel, Mondo (the World), urging her to enjoy life to the full before old age destroys her beauty, and Bishop Nonno of Edessa, who with the help of a good angel, Religione, invites her to a life in the service of God. Pelagia succumbs to the flattery offered by Mondo, but just as the latter is celebrating his victory, she retires unexpectedly to a lonely cave in the wilderness where she can dedicate the rest of her life to the loving service of God. Stradella cannot resist revealing his point of view about this sudden change, giving the oratorio a surprise ending. Soprano Roberta Mameli offers us a complex and seductive portrayal of the title role, surrounded by a distinguished cast including Sergio Foresti as Mondo, Raffaele Pe as Religione and Luca Cervoni as Nonno. As in previous installments, the recording was made within the framework of the Alessandro Stradella International Festival in Nepi, the composer’s birthplace. ---arkivmusic.com

Alessandro Stradella was one of the most colourful characters in the 17th-century Italian baroque. Though many details about his career as a composer remain sketchy, the circumstances of his death at the age of 42 in Genoa, as the victim of hired assassins, are not disputed. Stradella made enemies easily, perhaps because he was notoriously promiscuous, and his murder was not the first attempt on his life. Around 300 of his works survive, including four operas (two more are lost), more than 170 cantatas and six oratorios; the best known of his compositions date from the last five years of his life, when he was living in Genoa, having fled from Rome.

Exactly when and where Stradella composed his oratorio Santa Pelagia remains uncertain. It’s a curious piece, and the choice of a relatively obscure saint as its subject is typically unconventional. Pelagia of Antioch, or Pelagia the Harlot, was a fourth- or fifth-century “actress” in the Turkish city, who is supposed to have enraptured the bishop Nonnus with her charms. After hearing Nonnus preach, however, she prayed for repentance, was baptised and gave away all her worldly goods to become a hermit on the Mount of Olives, where she died a few years later of starvation. Unsurprisingly, Stradella seems far more interested in Pelagia’s life of luxury than in her subsequent conversion and martyrdom. His oratorio turns the story into a tussle between worldly pleasures and religious discipline. They are personified by two of the four soloists, while the soprano takes the role of Pelagia and the tenor, Nonnus. The 50-minute work contains 26 solo numbers, all brief and half of them for Pelagia; otherwise, there’s just one duet and a single “chorus of the worldly”.

This is the fourth instalment of Andrea De Carlo’s Stradella Project with Ensemble Mare Nostrum, which has so far concentrated on the oratorios. Accompanied by just a handful of strings and continuo, there’s a lightness of touch to the performance that is genuinely engaging, and the agile voices of the soloists, led by Roberta Mameli as Pelagia, preserve that sense of airiness. None of it is music of great depth, but it is all presented most attractively. ---Andrew Clements, theguardian.com

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CD 1

1.Toccata
2.E pazzia innamorarsi
3.Mio cor, che si fa?
4.Che mi giovan le vittorie
5.Fedeltà sinchè spirto in petto avrò
6.Adorata libertà, dal mio core non partir
7.Parti, fuggi dal mio seno
8.Il mio cor per voi, luci belle
9.Pria di scior quel dolce nodo
10.Begl'occhi, il vostro piangere
11.Se di gioie m'alletta il sereno
12.Cara e dolce libertà
13.Deh, frenate i furori
14.Non fia mai, ah no, ch'io speri
15.S'Amor m'annoda il piede
16.Le luci vezzose volgetemi, o Clori
17.Quanto è bella la mia stella
18.Ogni sguardo che tu scocchi

CD 2

1.Chi mi disse che amor dà tormento
2.Pensier ostinato
3.Al rigor di due tiranni
4.Da Filinda aver chi può
5.Speranze smarrite
6.Il mio cor ch'è infelicissimo
7.Dell'ardore ch'il core distempra
8.Chi vuol libero il suo pie'
9.Delizie, contenti
10.Chi non porta amor nel petto
11.Chi avesse visto un core
12.Dormite, occhi, dormite
13.De1h, vola, o desio
14.Avete torto, occhi miei cari
15.Ti lascierò e a poco a poco
16.Torna, Amor, dammi il mio bene
17.Destatevi, o sensi, risvegliati, onore
18.Avrà pur d'aspettar più?
19.Bel tempo, addio, son fatto amante

Harmonices Mundi:
Susanne Rydén, soprano
Martin Oro, countertenor
Lisandro Abadie, baritone
Alessandro Palmeri, cello
Pietro Prosser, theorbo, lute, baroque guitar
Hedwig Raffeiner, Rossella Croce, violin
Claudio Astronio, organ, harpsichord, conductor

The story I have read about Alessandro Stradella involves his involvement with various plots in Rome during his early years, so much so that assassins were sent to seek him out. They found him conducting music in a church, but they made the mistake of stopping to listen. So profoundly moved were they that they stated something to the effect that anyone who was capable of such heavenly music deserved to live. And so instead of having to fight his way out of the predicament and possibly dying in the attempt, Stradella was allowed to go into exile to Venice. Where, of course, he promptly seduced the mistress of Count Alvise Contarini, thus honing his personal skills developed at the court of the notorious Queen Christina of Sweden at the Colonna Palace, where he had been apprenticed for some time. The tale may well be apocryphal, but it nonetheless serves as a wonderful reason behind the aspects of love that abound on this disc.

Many of his 300 or so works are centered on the subject of love, to no one’s surprise. These two discs contain no fewer than 36 solo arias, prefaced by one of his rarer moments of instrumental composition, a keyboard toccata. This is a complex contrapuntal work that is reminiscent of either Froberger or Frescobaldi, with generous sequences, echo effects, and imitation throughout. Had this been written by Johann Sebastian Bach it would be in the repertoire of every harpsichordist, but Stradella’s main interests lay in the realm of vocal music. The arias themselves all reflect his careful attention to the sentiments expressed in the poetry. He is not afraid to use musical devices to outline the often lyrical (and sometimes downright erotic) texts, such as turning to minor mode suddenly without warning, as he does in “Quanto è bella,” or using a basso ostinato to reflect the continuous rolling of thoughts in “Pensier ostinato.” In “Non fia mai” he exploits the dexterity of the line as if casting aside caution as the textual lover does when confronted with infidelity. Several of the arias were intended as insertions to operas by Cavalli, including “Dormite, occhi,” in which a lovely solo violin puts Giasone to sleep, while a tortuous harmony pervades the aria “Mio cor, che se fa?” This collection proves beyond a doubt that Stradella’s reputation for outlining a poetic text was entirely justified.

The ensemble Harmonices Mundi has proven itself a worthy interpreter of Stradella’s music. Soprano Susanne Rydén finely deflects the pitch at the appropriate moments of grief and anguish, making the harmony quite pungent with almost quarter-tone dissonance. Martin Oro’s fruity countertenor handles the lines with ease, while Lisandro Abadie has a virile, powerful bass. The various accompaniments are well chosen, from guitar, theorbo, or lute, while the violins enter as excellent counterpoint to the voice in those arias that are operatically derived. In short, this is an excellent rendition of these works, and I recommend it highly. ---FANFARE, Bertil van Boer

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Part One 	30:15
1 		Adagio - Allegro - 	3:13
2 		Allegro 	1:01
3 		'Amanti, ola, ola!' 	0:22
  	  	  	Madrigale a cinque voci 	
4 		Recitative: 'Or no si chi paventi' 	1:02
  	  	  	Amore 	
5 		Aria: 'Non sempre dispiega' 	1:16
  	  	  	Bellezza 	
6 		Recitative: 'Or voi, dame vezzose' 	0:28
  	  	  	Amore 	
7 		Duet: D'Amore all'invito' 	2:14
  	  	  	Bellezza, Cortesia 	
8 		Recitative: 'Che sia della Belta vanto primiero' 	1:01
  	  	  	Bellezza 	
9 		Aria: 'La belta d'un vago viso' 	6:45
  	  	  	Bellezza 	
10 		Recitative: 'Chi rese delirante' 	1:57
  	  	  	Bellezza 	
11 		Aria: 'Sembianza ch'č bella' 	1:01
  	  	  	Accademico I 	
12 		Duet: 'L'umana alterezza' 	2:05
  	  	  	Bellezza, Accademico II 	
13 		Recitative: 'Ragioni assai possenti' 	1:01
  	  	  	Amore, Cortesia 	
14 		Aria: 'Quel violento affetto' 	1:57
  	  	  	Cortesia 	
15 		Recitative: 'Dell'alma ch'č immortale' 	1:49
  	  	  	Cortesia 	
16 		Aria: 'La Bellezza persuade coi suoi rai' 	1:50
  	  	  	Bellezza, Amore 	
17 		Trio: 'Ogn'alma d'ambedue gode esser serva' 	1:14
  	  	  	Amore, Cortesia, Accademico II 	

Part Two 	21:55
18 		Allegro 	1:28
19 		Recitative: 'Con erudita lingua' 	2:46
  	  	  	Amore, Rigore 	
20 		Aria: 'Le donne piů belle' 	2:43
  	  	  	Cortesia 	
21 		Duet: 'Cruda beltč ch'idolatrie sol brama' 	2:15
  	  	  	Accademico I, Accademico II 	
22 		Recitative: 'Con concetti poetici e bizzarri' 	0:55
  	  	  	Amore, Capriccio 	
23 		Aria: 'Nere luci il vostro sole' 	2:31
  	  	  	Capriccio 	
24 		Arioso: 'Di rai biancheggianti' 	1:56
  	  	  	Amore 	
25 		Aria: 'Corriero sincero' 	0:48
  	  	  	Bellezza 	
26 		Recitative: 'Benché ascritto non sia' 	0:30
  	  	  	Disinganno 	
27 		Aria: 'Si guardi' 	2:09
  	  	  	Disinganno 	
28 		Recitative: 'Come, come fu ammesso' 	0:17
  	  	  	Amore 	
29 		Aria: 'Dal libro d'Amor' 	1:00
  	  	  	Amore 	
30 		Recitative: 'Unito al Disinganno' 	0:51
  	  	  	Amore 	
31 		'Dotto Maestro' 	1:47
  	  	  	Madrigale a cinque voci 	

 	Rosita Frisani soprano - Bellezza (Beauty)
 	Cristiana Presutti soprano - Cortesia (Courtesy)
 	Anna Chierichetti soprano - Capriccio (Fancy)
 	Gianluca Belfiori Doro alto - Amore (Love)
 	Mario Cecchetti tenor - Rigore ( Discipline)
 	Makato Sakurada tenor - Accademinco I (First Academician)
 	Riccardo Ristori bass - Accademico II (Second Academician) & Disinganno (Disenchantment)
  	  	  		

Chi resiste al Dio bendato 	21:14
  	  	  	Serenata a 3 voci 	
32 		Sinfonia: Allegro 	0:45
33 		Sinfonia: Andante - Presto - Adagio - Presto 	3:23
34 		Aria: 'Chi resiste al Dio bendato' 	1:36
  	  	  	Soprano I 	
35 		Duet: 'IO, io de' cori amanti' 	1:06
  	  	  	Soprano II, Basso 	
36 		Aria: 'Fra lacci e catene' 	2:17
  	  	  	Soprano II, Basso 	
37 		Arioso: 'Deitŕ coeca' 	0:55
  	  	  	Soprano I 	
38 		Aria: 'Chi del bendato arcier' 	6:57
  	  	  	Soprano I 	
39 		Duet: 'Nume sovran' 	1:34
  	  	  	Soprano II, Basso 	
40 		Aria: 'Chi vive con amor' 	2:42
  	  	  	Soprano I 	
  	  	  		73:43
 
	Rosita Frisani soprano I
 	Anna Chierichetti soprano II
 	Riccardo Ristori basso
 	Alessandro Stradella Consort
 	Estevan Verlardi - conductor

Italy's Alessandro Stradella Consort, after recording works by Alessandro Scarlatti and other Italian Baroque composers, have turned back to their namesake with several impressive discs. Stradella's life was a dramatic one, containing sex and violence in equal measure, but some of the genres in which he worked have less prime-time appeal. This disc presents chamber vocal music Stradella wrote for his aristocratic patrons -- semi-dramatic works whose texts are both talky and stilted. Amanti, olà, olà is a setting of a sort of Platonic disputation on the nature of Love, featuring as characters Beauty, Courtesy, Fancy, Love itself, Discipline, Disenchantment, and two Academicians. The smaller three-part Chi resiste al Dio bendato treads similar territory, but Stradella doesn't let these abstract texts slow him down. His treatment of his small instrumental ensemble is extraordinarily atmospheric, and his moods are matched step for step by the Alessandro Stradella Consort under Estevan Velardi. Stradella perfected a dramatically effective type of vocal line that Handel must have known well, directly or indirectly. Sample track 38, Chi del bendato arcier schiavo fedel si trova (Those who find themselves faithful slaves of the blind archer) for an example of Stradella's ability to infuse real lackadaisical lovesickness into a conventional text, and also to hear the voice of soprano Rosita Frisani, the singer among Velardi's group who is most often featured here. It's effective if you've heard some Baroque-specialist singers before, but it may take some getting used to. The music and performances here aren't quite the revelation of those on the Stradella Consort's Vola, vola in altri petti recording, but they offer new illustrations of the unknown riches to be found in Stradella's music. Both the works here are receiving their premiere recordings. --- James Manheim, Rovi

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Alessandro Stradella (Nepi 1639 - Genova 1682)
01. Sinfonia for 2 violins & continuo in A minor, (McC 20) (06:42)
02. Sinfonia for violin, cello & continuo in D minor, (McC 22) (08:26)
03. Sinfonia for 2 violins & continuo in F major, (McC 17) (06:33)
04. Sinfonia for violin & continuo in D major, (McC 2) (05:30)

Lelio Colista (Roma 1629 - 1680)
05. Sinfonia for 2 violins, theorbo & continuo in D major, (W-K 21) (04:51)
06. Sinfonia for 2 violins, theorbo & continuo in A minor, (W-K 30) (07:30)
07. Sinfonia for 2 violins, theorbo & continuo in D minor, (W-K 32) (05:46)

Carlo Ambrogio Lonati (Milano ca. 1640 - ca. 1710)
08. Sinfonia for 2 violins, archlute & continuo in D major (08:50)
09. Sinfonia for 2 violins & continuo in G major, (A 6) (10:23)
10. Sinfonia for 2 violins & continuo in C major, (A 9) (04:58)

Christoph Timpe - Violino primo
Accademia per Musica:
Gabriele Folchi - Violino Secondo
Andrea Fossa - Violoncello
Andrea de Carlo - Violone
Francesco Romano - Tiorba, Arciliuto
Anna Fontana - Clavicembalo, Organo

After exploring Baroque violin music from Naples (Musica Napoletana), Christoph Timpe now turns toward rome (Simfoniae Romanae) with his Accademia Per Musica. This young Italian chamber ensemble once again throws light on a forgotten chapter of music history with trio sonatas from the period before Arcangelo Corelli (1653-1713). The sonatas by Colista, Lonati and Stradella are more than just interesting precursors of later masterpieces. --- Editorial Reviews, amazon.com

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