Andrea Falconieri (1586-1656)
Bayle de los dichos Diabolos
Battalla de Barabaso yerno de Satanas
Rinen, y pelean entre Berzebillo, con Satanasillo
Il Spiritillo brando
La Diamantina
Cara è la rosa
Brando dicho el Melo
La Xaveria Buelta echa para El Senior Conde Xaverio
Corriente dicha la Mota, echa por Don Pedro dela Mota
Folias echa para mi Senora dona Tarolilla de Carallenos
Passacalle
La suave melodia
La suave melodia, su corrente
O vezzosetta dalle chiome d’oro
Ciaccona (L’Eroica)
Fantasia Echa para el muy Reverendo Padre Falla
Il Rosso Brando
Cara è la rosa (version instrumentale)

Filippo Coppola (1628-1680)
Sinfonia
Oy celebren todos
Pietad
Solemnes jubilos
todos unidos
Coro de Proserpina y Salen, Ciane, y Megera

Chœur polyphonique Santo Spirito
Francesco Pinamonti, direction
Cappella Musicale di San Giacomo Maggiore
Roberto Cascio, direction

Andrea Falconieri and Filippo Coppola, who followed him in the role of master of the Royal Music Chapel of Naples in 1656, are the protagonists of this picturesque anthology of dances, chaconnes, follie and passacaglia, in which the authors, honoring the Iberian musical art (from which many forms of dance are coming), staging compositions from purely theatrical taste, with main characters and situations drawn from the Greek mythology (the Rape of Proserpine) and demons and spirits of the underworld. The use of text in an unlikely and maccheronica Spanish language, helps to create a medley of colors and chiaroscuro typical of the early Baroque: period in which colors and shades create that tone that is as important as the music. The Cappella Musicale di San Giacomo Maggiore in Bologna and the choir of the Accademia dello Spirito Santo in Ferrara here are delivering very fresh interpretations with a great attention to the performance practice of the time