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The theme of the deploration represents one of the keystones of the Italian baroque revolution in the first half of the 17th century. These lamenti constituted the ideal framework for putting into practice the latest discoveries in expressive solo singing. Freed from the subtleties of counterpoint, it was now able to communicate the emotion expressed in the words directly to the listener. In this respect sacred music was not far behind and it is easy to understand why the plaints of Mary Magdalene at the foot of the Cross were so abundant, especially in Rome where religious music had always occupied a more important position than elsewhere. The solo motets of Rossi, Agneletti, Mazzocchi and Frescobaldi bear dazzling witness to this specifically Roman musical activity.
Rossi: Pender Non Prima Vide Sopra Vil Tronco (Pianto Della Maddalena)
Frescobaldi: Dove, Dove Sparir
Frescobaldi: Toccata Per L'Arpa, Canzon
Frescobaldi: A Piè Della Gran Croce
Rossi: Toccata Settima Per Clavicembalo
Gratiani: Dominus Illuminatio Mea
Mazzocchi: Dunque Ove Tu Signor
Mazzocchi: Lagrime Amare
Kapsberger: Toccata Per Liuto
Mazzocchi: Homai Le Luci Erranti
Bernabei: Heu Me Miseram Et Infelicem
Ferrari: Queste Pungenti Spine
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