GAGLIANO. VOCAL WORKS. The Five Cen- turies Ensemble (Carol Plantamura, soprano; John Patrick Thomas, counter-tenor; Martha McGaughey, viola da gamba; Arthur Haas, harpsichord and organ; Jrügen Hübscher, lute, theorbo and chitarrone). Italia 1TL70060 (4'80). UK distributor: MDC Distribution, 61 Park Road, London NW1 6XQ.

Musiche a una, due e tre Voci (1615)—Alma ma dove t'en vai; lo vidi in terra angelici costumi; In un limpido rio; Mie speranze lusinghiere; Dialogo: 'Chi nudrisce tua speme"; Fanciuletta Ritrosetta; Bontà del del eterna; Mira, fihlide mis; Pastor levate Si'; 0 vita nostra al fin polsere et ombra; Valli pro bode; Cantai un tempo. Sacrae Cantoines, unis ad sex decaritandarum Vocibus (1622)-0 beata trinitas; Magnificat; Princeps Gloriosis sime; Cruceni tuam adoramus, domine; Monstra te esse matrem; Jesu nostra redemptio.

The only music by Marco da Gagliano that I had heard before listening to these pieces was his opera Dafne (1608). Having found that to be an enchanting work I approached this new record with the highest expectations; and I was not disappointed. Much of the music is really very Affecting and has been beautifully recorded. Sensibly, the artists have chosen a representative selection of his work choosing pieces from his Sacracantzones (1622) and from his earlier Musiche a una, due e tre Voct (1615).

Gagliano was born in Florence in 1582, 15 years after Monteverdi, and appears to have spent almost all his life there. In the year that he was appointed to a position at the church of San Lorenzo, Gagliano published his first music, a book of madrigals. These were successful and within five years he had founded an academy of musicians called the "Accademia degli . Elevati" one of whose members was the poet Rinuccini. Rinuccini was the librettist of Dafne as well as being the author of several other poems set by Gagliano.

I found the sacred pieces in this programme particularly persuasive with their rapidly alternating passages of virtuoso singing, straightforward unadorned melodies and occasional quotations of Gregorian chant. But perhaps the most inspired from among this repertoire is the evocative "Alma mia dove t'en vai" which may be recognized as the shepherds' duet from the first scene of Dafn.e. Here, Rinuccini has provided new words. "Bonth del ciel eterna", on the other hand, struck me as an outstanding example of Gagliano's devotional style. Of the artists taking part in this recording, I know nothing, but the singers Carol Plantamura and John Patrick Thomas are persuasive ambassadors for this music. Both have outstanding vocal control and shape their phrases consistently well; furthermore they attach great importance to ensemble and sonority and I can only say that the result is stylish in a way which serves the music extremely well. All the accompanying instruments—a viola da gamba, harpsichord, organ and various sizes of lute—are played with a nice awareness of what the vocalists are attempting to convey. Intonation in all departments is pleasing with only the most occasional lapses in the vocal lines. Add to this an excellent recording acoustic, a good pressing and an informative insert With full texts, though in Italian only, and the sum total is a record which should make wide appeal. Strongly recommended. N.A.