Dandrieu: Magnificats

Dandrieu: Magnificats Vol 1
Jean-Baptiste Robin
Grandes Orgues 1710, Chapelle Royale – Versailles
Chateau de Versailles CVS023. 70’51

The second in the L’âge d’or de l’orgue français series featuring the 1710 organ in the  Versaille Chapelle Royale focuses on Jean-François Dandrieu (1681-1738). From 1721, he was one of the four organists of the Chapelle Royale. He had an early introduction to Court musical life when, aged five, he played the harpsichord to the Palatine Princess Elisabeth-Charlotte of Bavaria, wife of Philippe d’Orléan, Louis XIV’s brother. He succeeded the famed Nicholas Lèbegue as organist of Saint-Merry, Paris in 1704/5. From 1733 he added to these posts the position of organist to the now-demolished St Barthélémy, a role previously held by his uncle and which after his death, was passed on to his daughter. Continue reading

La Serenissima: The Godfather

The Godfather
Masters of the German & Italian Baroque
La Serenissima, Adrian Chandler
Signum Classics SIGCD602. 66’09

For long the undoubted champions of the music of Vivaldi, as their name suggests, La Serenissima are spreading their musical wings to explore the musical triumvirate of Telemann, Pisendel and JS Bach, all three closely connected, together with the composers Fasch, Vivaldi and Brescianello, who also had links with the principal trio. As La Serenissima note on their website, the links are that Pisendel was godfather to one of Telemann’s children; Telemann was godfather to CPE Bach;. JS Bach admired both Pisendel and Telemann and composed for the violinist Pisendel; Vivaldi helped Pisendel with his A minor concerto movement; Fasch was a friend of Pisendel and Telemann, and Pisendel played concertos by Brescianello, an Italian who helped to spread disseminate Italian instrumental music throughout the German-speaking lands. Continue reading

Bach: Violin Concertos

Bach: Violin Concertos
Kati Debretzeni (violin)

English Baroque Soloists, Sir John Eliot Gardiner
SDG732. 70’15

This recording has the makings of becoming an all-time favourite version of the Bach Violin Concertos. Quite apart from the exceptional playing by Kati Debretzeni, we get the bonus of two additional concertos. In addition to the well-known A minor and E major, (BWV 1041/1042) concertos, Kati gives us two others, the disputed D minor (BWV 1052) and the world premiere recording of her own arrangement of the E major harpsichord concerto (BMV 1053), transposed down to D. The detailed programme notes give full details of the rationale and implications of the two additional concertos, and their arrangements for violin. Continue reading

Ensemble Masques: Routes du Cafe

Routes du Cafe
Ensemble Masques, Oliver Fortin

Alpha Classics, Alpha 543. 71’39

Coffee is an essential contribution to the lives of many travelling musicians. This fascinating CD from Ensemble Masques pays musical homage to coffee with two cantatas devoted to coffee, and instrumental music of Turkish origin or influence reflecting it’s origins in Constantinople. The programme is arranged in the form of an Ottoman fasil (suite), the two cantatas contrasted by Ottoman-style improvisations (taksim). We are taken on a tour through the cities of Europe where coffee-culture took hold – Paris, London, Constantinople and Leipzig – the latter, predictably, with Bach’s ‘Coffee’ Cantata Schweigt stille, plaudert nicht, BWV 211.

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St Catharine’s College: O Gemma Clarissima

O Gemma Clarissima
Music in Praise of St Catharine
The Choirs of St Catharine’s College, Cambridge, Edward Wickham
Resonus Classics RES10246. 72’02

Quite by chance, I realize that I am reviewing this recording on the Feast of St Catherine, 25 November. The patron saint of wheelwrights, millers, students, and young unmarried girls, the Cambridge college that now bears her name (which they spell ‘Catharine’) was founded in 1473 as ‘Katherine Hall’. The famous torture wheel that she is usually depicted with was, apparently, destroyed by an angel before it touched her, killing many. After her beheading, more angels whisked her remains off to the Mount Sinai monastery, which became and remains a centre of devotion. A monastery in Rouen also became a pilgrimage site after a monk brought back a finger that “broke off” when he prayed for a relic.

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Hilliard/Garbarek: Remember me, my dear

Remember me my dear
Jan Garbarek and The Hilliard Ensemble
ECM New Series ECM 2625. 

Remember me, my dearThe 25-year collaboration between four a capella male voices of The Hilliard Ensemble and the Norwegian jazz saxophonist Jan Garbarek is one of the most extraordinary stories in the world of music. Although far from being the first example of cross-over partnerships, it was one of the most innovative. Engineered (in more ways than one) by ECM’s Manfred Eicher, the result was Officium, one of the most influential recordings of recent decades. Two others followed, plus extensive concert touring. After 40 years of performing and recording, The Hilliard Ensemble retired in 2014. Part of their final year of performances were appearances with Jan Garbarek, one of which is the focus of this live recording. Continue reading

Dancing with the Sun King

Dancing with the Sun King
Michel Pignolet de Monteclair & Jean-Fery Rebel
Ensemble Odyssee
Pan Classics PC10410. 62’20

Dancing with the Sun King | Pan Classics PC10410

Michel Pignolet de Monteclair: Serenade ou Concert divisee en 3 suites
Jean-Fery Rebel: Boutade, Caprice, Les Caracteres de la Danse

For a demonstration of just how colourful French Baroque orchestral music can be, this recording by Ensemble Odyssee of music from the time of Louis XIV can’t be beaten. The bulk of the recording is devoted to the 1697 Serenade ou Concert divisee en 3 suites by Michel Pignolet de Monteclair, one of the lesser-known composers of the period. Separating the three Suites are individual pieces by Monteclair’s contemporary, Jean-Fery Rebel (Boutade Caprice) and the concluding 1715 Les Caracteres De La Danse. Continue reading

J S Bach: Harmonic Seasons

J S Bach: Harmonic Season
Manuel Tomadin
1737 Treutmann organ, Stiftskirche Grauhof bei Goslar, Germany
Brilliant Classics 95786. 79’471

The title of this recording reflects the way the 12 pieces are arranged, reflecting Bach’s own predilection for grouping pieces together in organised sets. In this case, the “Seasons” are indeed “Harmonic”. The four groups of pieces each start with a Prelude and Fugue or Fantasia, and the groups descend in key order through the “perfect, divine triad” from G to E to C, the first major, the subsequent two both in the minor key. The final tonal and harmonic resolution comes with the concluding C major Prelude and Fugue. Continue reading

Lulier: Cantate e Sonate

Lulier: Cantate e Sonate
Accademia Ottoboni, Francesca Boncompagni, Marco Ceccato
ALPHA 406. 54’16

 

The composer Giovanni Lorenzo Lulier (c1660-1700) has been overshaded by most of his contemporary’s from 17th-century Italy and, on the showing of the music on this recording, the reason seems to be sadly clear. There is a phrase I sometimes use on occasions like this – that a composer has been “plucked from well-deserved obscurity”. I am afraid that it applies here.  Continue reading

Prières pour Notre Dame

Prières pour Notre Dame
Music for organ and upper voices
Colin Walsh – Cavaillé-Coll organ of St Ouen, Rouen 
Romsey Abbey Choir, George Richford
Regent REGCD538. 67’27


Dupré: Versets pour les Vêpres
Lili Boulanger: Pie Jesu
Demessieux: Rorate coeli,  Attende Domine
Poulenc: Litanies à la Vierge noire

This evocative recording features music by four French composers performed on the magnificent 1890 Cavaillé-Coll organ of St Ouen, Rouen, a former Benedictine foundation – as is Romsey Abbey in Hampshire, from where the Senior girls of the Romsey Abbey Choir (aged between 16 and 19) provide an ideal contrast to the power of the organ.

Rouen St Ouen organ

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Arne: Judgement of Paris

Thomas Arne: The Judgement of Paris
Brook Street Band, John Andrews
Dutton Epoch CDLX 7361. 67’50

If it wasn’t for his Rule Britannia (1710-1778), Thomas Arne would probably be more-or-less forgotten today. Although he wrote music for nearly 100 stage works, most of his scores are lost, many destroyed in the 1808 Covent Garden fire. Such was the fate of the full score of The Judgement of Paris, although parts if it had been published. The version performed here is based on that publication, with the missing recitatives and choruses reconstructed by Ian Spink for his Musica Britannica edition. It was first performed at Drury Lane Theatre in March 1742 and, three months later, in Dublin alongside his masque Alfred. His wife Cecilia Young sang the role of Venus. Continue reading

Landini: L’Occhio del Cor

Francesco Landini: L’Occhio del Cor
Songs of Invisible Love
La Reverdie, Christophe Deslignes
Arcana A462. 64’56 

Although famed today as a musician, organ & organetto player and composer in his day, Francesco Landini (c1330-1397) was equally as well- known as a poet. In 1368 he was named Poet Laureate in Venice, an honour he shared with Petrarch. He was organist of San Lorenzo in Florence from 1365 until his death where his (previously lost) tombstone can be seen, albeit tucked away in a corner  His poetry only survives today by the fact that he set so much of it to music, as explored in this recording from La Reverdie with organetto player Christophe Deslignes. Landini’s name is open to question, the former assumption that he was the son of a painter is now disputed and, with it, the related link with the Landini family. That name will be hard to shake off, but nowadays prefered names are the contemporary Francesco da Firenze, Francesco degli Organi or Francesco il Cieco (Francesco the blind) Continue reading

Devotion

Devotion
Sacred and secular songs by Henry Purcell
Ensemble Unmeasured, Julia Doyle
Deux-Elles DXL1183. 62’42

Ensemble Unmeasured takes its name for the unmeasured preludes and toccatas of the 17th century “but also refers to the magic of music itself, which cannot be measured or quantified”. In this debut disc, they are joined by soprano Julia Doyle, one of the finest singers of early music around for an exploration of Purcell’s ravishing and intense music. Continue reading

Beethoven transformed

Beethoven TransformedVolume 1
Chamber Music for Harmonie
Boxwood & Brass
Resonus Classics RES10249, 61’40


Beethoven arr. Czerny: Septet Op.20
Beethoven: Sextet Op.71

Beethoven Transformed is a two-year project by Boxwood & Brass exploring wind music in early 19th-century Vienna and, in particular, the rearrangement of Beethoven’s music by other composers for Harmonie (wind band). What are today considered as venerated ‘masterpieces’ were treated with considerable liberty in such arrangements. This recording also throws some welcome light on the world of Harmonie, the wind bands so popular in central Europe, notably in Vienna, but little known today outside that area. Just listening to the first few moments of Beethoven’s Op.20 Septet opens up a world of exotic instrumental colour and texture that relies on the use of period instruments. Continue reading

Purcell: King Arthur (1691)

Purcell: King Arthur (1691)
Gabrieli Consort & Players, Paul McCreesh
Concert: St John’s Smith Square, 30 October 2019
CD: Signum/Winged Lion SIGCD589. 2CD. 97’38

Purcell King Arthur 1691

The new recording by the Gabrieli Consort & Players of Purcell’s King Arthur was launched at an impressive concert performance at St John’s, Smith Square. Lacking the two biggest-name singers from the recording (Carolyn Sampson and Roderick Williams), the concert was otherwise the same as the CD apart from the late replacement bass Robert Davies, standing in for Marcus Farnsworth and a smaller orchestra. Omitting all the spoken text of the original play, the music of King Arthur makes for a musically excellent, but texturally confusing, listen. None of the main characters of the King Arthur story appears. The music occurred at intervals during the play, generally as little masques, only occasionally as one-off songs responding to moments in the play. Continue reading

Salvatore Lanzetti: Sonatas for Violoncello and Basso Continuo Op.1

Salvatore Lanzetti
Sonatas for Violoncello and Basso Continuo Op.1 (Vol 1)
Agnieszka Oszanca, cello
Challenge Classics CC72794. 68’55

Salvatore Lanzetti (c1710-1780) was a virtuoso Italian cellist and composer who introduced many new innovations in cello performance. He was born in Naples around 1710 and studied cello and composition there. After early employment in Lucca and Turin, he started touring around Europe, spending many years in London. Charles Burney noted Lanzetti’s role in popularizing the cello in England. His Opus 1 XII Sonate à Violoncello Solo e Baffo Continuo was published in Amsterdam in 1736 and was dedicated to Federico di Brunswick, known in England as Frederick, Prince of Wales. This magnificent recording from cellist Agnieszka Oszanca is an important contribution to recognizing the importance of Lanzetti to the cello world, and to the musical life of England. He was one of the many generations of musicians from the continent of Europe that have enlivened the musical life of England, then and now. Continue reading

17th-Century Playlist

17th-Century Playlist
Ed Lyon, Theatre of the Ayre
Delphian DCD34220. 61’30

This debut recording from tenor Ed Lyon reflects his own playlist of music from the 17th-century. Many of them have that catchy ear-worm tendency to provide an immediate hook, although hearing 15 such pieces one after the other might help to reduce that effect.The recital opens with Alessandro’s exquisite Misero, Cosi va, a reflection on the pain of true love and, in the opera Eliigsbalo, a welcome relief from the sheer awfulness if the titular tyrannical teenage Roman Emperor Heliogabalus. The delicately sensitive opening instrumentalist realisation of the four repeated bass notes sets the scene for a recording of vocal and instrumental brilliance.

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Weiss in Nostalgia

Weiss in Nostalgia
Sylvius Leopold Weiss: Suites from the London Manuscript
Alex McCartney, Baroque lute
Veterum Musica VM019. 48’41

Sylvius Leopold Weiss (1687-1750) is the go-to composer for all lute and early guitar performers. He was born, and started his professional life, in Breslau Silesia (now Wroclaw, Poland) before moving to a number of the German-speaking courts, culminating in a post at the Dresden Court of Augustus II (der Starke: the Strong), where he was the most highly paid musician. The London manuscript GB-Lbl30387 contains about half of Weiss’s known music, including the two Suites recorded here (in F & d). It was purchased by the British Library in 1877, and was probably put together in Prague some time after 1730

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Babell: Concertos Op.3

William Babell: Concertos Op.3
for violins & small flute
Ensemble Odyssee, Anna Stegmann, Andrea Friggi
Pan Classics PC10348. 75’02

William Babell: Concertos op. 3

William Babell (c16901723) is best known today (if at all) for his technically demanding harpsichord transcriptions of Handel pieces, giving a fascinating insight into the sort of improvisatory ornaments and additions to the musical text that Handel himself was famed for. He came from a musical family, his father playing bassoon in the Drury Lane Theatre orchestra. Babell started out as a violinist in the Court Orchestra of George I, before becoming known as a harpsichordist and organist, preceding the famed John Stanley as organist at All Hallows, Bread Street, London. This excellent recording by the Amsterdam-based Ensemble Odyssee throws some light on other aspects of Babell’s short-lived musical career. His Opus 3 Concertos were collected together, in a rather random form, by Walsh three years after Babell’s death, aged just 33, apparently from “intemperate habits”. This recording uses on a new edition by Andrea Friggi (the Ensemble Odyssee harpsichordist) based on the confusing Walsh print. Continue reading

Anamorfosi

Anamorfosi
Allegri, Monteverdi
Le Poème Harmonique, Vincent Dumestre
Alpha 438. 73’10

Gregorio Allegri: Miserere mei, Deus
Luigi Rossi: Un allato messagier
Claudio Monteverdi: Si dolce è ‘l martire
Anon: Domine, ne in furore tuo
Domenicho Mazzocchi: Breve è la vita nostra
Antonio Maria Abbatini: Sinfonia La comica del cielo
Marco Marazzoli: Chi fà, Un sonno ohimè
Claudio Monteverdi: Maria, quid ploras, Pascha concelebranda

The word “Anamorphosis” is described by Wikipedia as “a distorted projection or perspective requiring the viewer to occupy a specific vantage point, use special devices or both to view a recognizable image”. In the UK it is perhaps best known through its use Holbein’s famous 1533 painting The Ambassadors where what seems to be an elongated smudge across the bottom of the painting turns out to be a skull (a memento mori) when viewed sideways from the right-hand corner of the picture. It is that notion of artistic distortion that Vincent Dumestre and his Le Poème Harmonique explore in musical terms in this recording of music from the early Baroque era, a period when the structures of the Renaissance were successively deconstructed, and viewed from a different perspective through a lens of ornamentation and elaboration.

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Dufay: Lament for Constantinople

Guillaume Dufay
Lament for Constantinople & other songs
The Orlando Consort
Hyperion CDA68236. 70’48

Music, and indeed most art forms, that comes on the cusp of a change in style can be amongst the most fascinating as composers, artists, and architects search out new approaches to their art. The music of Guillaume Dufay represents one such boundary, in his case, that between the Medieval and Renaissance periods. Although substantially Medieval in style, with its complex rhythmic structures and the curious Medieval habit of combining several texts in the same piece, often in different languages, there are clear elements of the forthcoming Renaissance style in Dufay’s music. This impressive recording by The Orlando Consort demonstrates this aspect of his music well in a sequence of 18 tracks, 12 in Rondeau form, 3 Ballades, 2 multi-texted Motets and a single Virelai. Continue reading

Carbonelli: Sonate da Camera 7-12

Giovanni Stefano Carbonelli: Sonate da Camera 7-12
Bojan Čičić & The Illyria Consort
Delphian DCD34214. 78’18

Following their 2017 debut recording of the first six of Giovanni Stefano Carbonelli’s Sonate de Camera (my enthusiastic review is here), Bojan Čičić & The Illyria Consort return to complete the set with the final six concertos. Four of the six are premier recordings. Sadly that completes the only known compositions surviving from this fascinating composer, Italian born, but settling and making a success of a career in England. My earlier review sets out the background to Carbonelli and these pieces, so I will not repeat them here. Continue reading

Lully: Dies Iræ, De Profundis, Te Deum

Jean-Baptiste Lully
Dies Iræ, De Profundis, Te Deum
Choeur de Chambre de Namur, Millenium Orchestra, Cappella Mediterranea, Leonardo García Alarcón
Outhere Music: Alpha 444. 82’50

The complex rituals of the ceremonial music of the French Court of Louis XIV, with its divided Music re Roi, are perhaps summed up in these three Lully pieces – the grand motets Dies Iræ, De Profundis and Te Drum. Although Lully never held any formal posts within the Chapelle du Roi, court tradition dictated that for royal funerals, although the Mass itself was directed by the Sous-maîtres de la Chapelle, for the Prose and Aspersion of the Coffin, the music (Dies Iræ & De Profundis) was the responsibility of the Superintendant de la Musique de la Chambre – Lully. He took this opportunity to develop the genre of the grand ceremonial motet using the combined forces of the two choirs and a rich orchestration.

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Ensemble Diderot: The London & Paris Albums

The London & Paris Albums
Ensemble Diderot, Johannes Pramsohler
London: Audax ADX13718. 66’10
Paris: Audax ADX13717. 65’13

Ensemble Diderot: The London Album | Audax ADX13718

Ensemble Diderot: The Paris Album | Audax ADX13717

ADX13718: The Trio Sonata in England before 1680
ADX13717: The Trio Sonata in France before 1700

The impressively energetic Ensemble Diderot continue their series of recordings (on their own label) with these two offerings, comparing and contrasting Trio Sonatas from London and Paris in the latter part of the 17th-century. There are several premiere recordings, some fine examples of the early history of the Trio Sonata, and a few oddities that are nonetheless worth recording, and listening to.

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Henri-Jacques de Croes: La Sonate Égarée

Henri-Jacques de Croes: La Sonate Égarée
BarrocoTout
Linn Records CKD 597. 62’19

CKD 597 Cover

BarrocoTout (Carlota Garcia, flute, Izana Soria, violin, Edouard Catalan, cello, and Ganael Schneider, harpsichord) are named after a sketch in a Spanish comedy show: Barroco Tú (= Baroque yourself). They got together during their studies at the Royal Conservatoires, Brussels in 2013. They were selected for the EEEmerging (Emerging European Ensembles) project in 2015 and in 2016 won awards at the Utrecht Early Music Festival. This debut recording by Linn Records is one of their prizes for winning the 2017 York Early Music International Young Artists Competition. It is appropriate for them to choose a little known composer, in this case, the Antwerp born Henri-Jacques de Croes (1705-86).

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Conti: Missa Sancti Pauli

Francesco Bartolomeo Conti: Missa Sancti Pauli
Purcell Choir, Orfeo Orchestra, György Vashegyi
Glossa, GCD924004. 67’25

György Vashegyi and his Purcell Choir and Orfeo Orchestra take time out from their impressive series of recordings of music of the French Baroque for this CD of the grand 1715 Missa Sancti Pauli by the Italian Francesco Bartolomeo Conti (c1681-1732). Conti was born in Florence and worked for most of his life in the Hapsburg court in Vienna, initially as a theorbist and mandolin player, and then as court composer and vice-Kapellmeister. Despite his comparatively low profile nowadays, he was well respected in his time, not least by Bach and Zelenka. He does, however, seem to have got into trouble for beating up a priest (see here). A composer of operas as well as sacred music, it was the latter that kept his name alive after his death, deservedly if this attractive Mass setting is anything to go by.

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La Morte Della Ragione

La Morte Della Ragione ‘The Death of Reason’
Il Giardino Armonico, Giovanni Antonini
Outhere Music. ALPHA 450. CD Book. 73’07

La Morte della Ragione (The Death of Reason) (CD + Book) | Alpha ALPHA450

La Morte della Ragione (The Death of Reason) is the sort of recording that may require you to put on a seat belt before listening. Under the banner of Petrarch’s comment that “Senses reign, and Reason is dead” Il Giardino Armonico take us on a whistlestop tour through a sizeable chunk of early music history. The choice of descriptor is deliberate, as it is also very obviously a showcase for the virtuoso recorder playing of director Giovanni Antonini, which dominates much of the programme and comes vey close to be too clever by half.

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Johannes de Lymburgia: Gaude Felix Padua

Johannes de Lymburgia: Gaude Felix Padua
Le Miroir de Musique, Baptiste Romain
Ricercar RIC402. 65’39


Johannes de Limburgia was born around 1380 in the Duchy (or city) of Limburg. He seems to have worked in Liège between 1408–19, and then in Italy. Somebody of the same name was in Vicenza from 1431 to 1436. There was a canon with the same name in Liège in 1436. His music survives principally in the manuscript Bologna Q15, dating from the first half of the fifteenth century. It includes 46 of his pieces, all liturgical. An indication of his importance, at least to the compiler of the manuscript, is that only Dufay has more pieces than Limburgia. Despite that, he is very little known today, so this recording from the excellent Le Miroir de Musique and their director Baptiste Romain is very welcome. The four/five singers and three/four instrumentalists (one does both) perform a selection of liturgical pieces and Latin strophic songs in the manner of Italian Lauri.

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Barlaam & Josaphat

Barlaam & Josaphat
Buddha – a Christian Saint?
Dialogos, Katarina Livljanić
Outhere Music: ARCANA A458. 65’41

This recording (released on 5 October) by Katarina Livljanic and Dialogos tells an astonishing story that was completely unknown to me and, I suspect, to many other people. It is a musical reflection on the story of the Christian saints Barlaam and Josaphat, a tale that replicates, in a Christian setting, the story of the life of the Buddha. The story was known in at least four religions and was passed down in most of the medieval languages. It tells of Prince Josaphat (from the Sanskrit word Bodhisattva), the son of the Indian King Abenner who was persecuting Christians. Astrologers predicted that Josaphat would become Christian, so the king imprisoned him. But he met the hermit Saint Barlaam and converted to Christianity. Eventually his father, the King, also became Christian, and became a hermit, passing his throne to Josaphat, who also later abdicated and retired into seclusion and contemplation with his teacher Barlaam. The story comes from a 2nd to 4th century Sanskrit Buddhist text, passing into Christian mythology via Baghdad and the 8th century Arabic Book of Bilawhar and Yudasaf) and Middle Eastern Christian sources. In medieval times, the two saints were honoured (although not actually sainted) by both the Slavic Eastern Orthodox and the Roman church. There is even an illusion to it in Shakespeare’s Merchant of Venice.

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Amadio Freddi: Vespers (1616)

Amadio Freddi: Vespers (1616)
The Gonzaga Band, Jamie Savan
Resonus RES10245. 58’10

We know very little about Amadio Freddi (c1580-1643). His death is known to be in 1634, but his age at death is reported to be either c1570 or c1580. The latter date seems more likely, as in 1592 he was in paid employment at the Basilica of S. Antonio in Padua as a boy soprano, followed in 1598 with a doubling of salary as a countertenor. He seems to have come from humble background, his father having worked as a sword polisher. The payment from S. Antonio, unique for a boy soprano at the time, may have been a reflection of his families straightened circumstances. This important recording by The Gonzaga Band is the world premiere recording of his 1616 Vespers, from his Messa, vespro et compieta, composed while he was maestro di cappella at Treviso Cathedral between 1615 and 1627. In 1627 he moved to Vicenza before returning to Padua in 1634.

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