L'innocenza infetta dal pomo, 1685;
Il flagello dell'empietà, 1685;
La Susanna, 1686;
Il trionfo della purità di Maria, 1687;
Il Giosuè vittorioso: all perf. in Naples, music lost, libs I-MOe, Nc, Nn, Pci
Primo libro de' mottetti, 2–5vv, op.1 (Naples, 1679)
Cantate, libro primo, 1v, op.2 (Naples, 1685)
Cants., 3vv, spiritual canzoni, other sacred works, pastorali, duets, 2vv, bc, Nf
La sirena consolata (serenata) (Naples, 1692), lost
Similarly a setting such as Va’, ché l’hai fatto a me is notable for its intensity and compression – and lest one gives the impression that Amodei preferred Arcadian Vocalise, he lets rip with a taxing fast section in Già col manto dell’ombre. He learned what, say Caldara learned from Alessandro Scarlatti, in terms of pictorialism and close attention to textual detail. We can hear this in the fluttering and expressive melsimatic lines of Colà dove il Sebeto. The disc is happily rounded out with one work each by little known composers Zamboni and Storace, so little known in fact that we know neither the years of their birth nor death. Zamboni’s Sonata for archlute is in the expected five dance movements and is effectively written with a particularly lithe and free-flowing fourth-movement Sarabanda. Storace wrote his Passacagli sopra Alamire for harpsichord solo and it formed part of his only published collection – from which we know, at least, that he worked in Messina. It’s a well-argued and cogent series of variations that shows a level of invention well above the normal. These three little-known composers receive performances of perception from three well-known interpreters of the early muse. Even Kirkby is sometimes stretched by some of Amodei’s considerable demands – in something like Va’, ché l’hai fatto a me the technical difficulties in the higher register are pronounced. Altogether however BIS have uncovered a notable composer and brought him back to sometimes startling life.
Jonathan Woolf (source/font: aquí)
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