Rossi, M: Toccata settima from 'Toccate e correnti d'intavolatura d'organo e cimbalo'

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.

Edinburgh University’s Russell Collection is one of the world’s finest collections of early keyboard instruments. The second volume in John Kitchen’s ongoing project to bring its musical exhibits to life matches music by Handel, Purcell, the Scottish composer Robert Bremner and others including Mozart’s son Franz Xaver with a gloriously vigorous menagerie of spinets, virginals, chamber organs, clavichord and harpsichords.