20 Songs, 1 Hour 14 Minutes

EDITORS’ NOTES

The secular music of 17th-century Italian composer Giovanni Sances is a real find. For him, love was the perfect vehicle for vocal music of endless invention, whether it be a love that brings joy or one that breeds despair. From the doleful frustration of “Dove n’andrò che non mi segua Amor?”—marvel at Hanna Al-Bender’s lithe soprano—to the dramatic multimovement “L’infortunio d’Angelica,” Sances proves to be an indisputable master of theater. It helps, naturally, that this music is performed with abundant grace and skill.

EDITORS’ NOTES

The secular music of 17th-century Italian composer Giovanni Sances is a real find. For him, love was the perfect vehicle for vocal music of endless invention, whether it be a love that brings joy or one that breeds despair. From the doleful frustration of “Dove n’andrò che non mi segua Amor?”—marvel at Hanna Al-Bender’s lithe soprano—to the dramatic multimovement “L’infortunio d’Angelica,” Sances proves to be an indisputable master of theater. It helps, naturally, that this music is performed with abundant grace and skill.

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