Che fiero costume by Giovanni Legrenzi

Relatively little is known about Baroque composer and organist Giovanni Legrenzi, though it is explainable – of 19 operas he composed (which by itself is quite an impressive amount), most haven't survived, and in this light it is a little wonder that historians and musicologists weren't very interested in a biography of a person, whose remaining legacy is quite sparse. Given that he was among forefront composers in his time, it is particularly sad to see only three of fourteen his oratorios having managed to reach the present day as well. To do the best that I can, I want to share with you one of Legrenzi's survived works – for all that he did (including giving lessons to young Vivaldi), he deserves more recognition than he already has. Here is sheet music of Che fiero costume in F Minor, enjoy!

The Spider's Feast – Albert Roussel

Albert Roussel is a very unique name in French music and, dare I say, overall in classical. Despite lesser-known than Maurice Ravel – with whom he was close friends, – or Eric Satie, who was Roussel's student, his works – and, to lesser or even the same extent, personality – had been highly influental: admittedly, a group of composers Les Six, same as quite a few young composers of the beginning of the 20th century, were known to highly regard his oeuvre. Speaking of which, its diversity is startling: most notably, it includes impressionist and neoclassical periods, contains eastern motifs, brought by Roussel after traveling around the world – he at all served as a naval officer for about 7 years, – but draws upon classicism even so. Also, before his efforts, a common belief existed that French symphonic music isn't even possible, but Roussel proved musicologists wrong.

Here is his piano arrangement of his famous ballet, enjoy: Le Festin de l’Araignée (The Spider's Feast), Op.17. Below is the original version, for your listening pleasure:

April Is in My Mistress' Face

Thomas Morley was a person one can't help but respect, especially if that one is a musician. In an attempt to make their living by writing music many choose the path of the least resistance and compose what is demanded – needless to say, it usually means simplyfying things much. Morley, over against, had managed to create accessible and genuinely loved compositions – mainly madrigals, – which were distinguished by sophisticated counterpoint – a notable fusion of technique and depth without sacrificing any of them.

Morley's works were created more than five hundred years ago – he was born in 1557 and died in 1602, – but they sound refreshing even today, and I believe this quality is very rare to find. Last but not least, his music is so pacifying it could almost be considered a stress-reliever, and a very effective one at that. Here is Morley's April Is in My Mistress' Face – enjoy!

I Puritani. Ah! Per sempre by Bellini

Just a few hours earlier I had a conversation about role of the melody in music in general and in opera in particular. Many would agree it is hard to underestimate, but let's be honest: anyone seeking for exquisite melodies wouldn't most likely find a plenty in modern music. I remember a quote by Giacomo Puccini where he complained that people don't seek for good melodies in opera anymore and for that reason it is at death's door as a genre. All this discussion made me think about Vincenzo Bellini, an outstanding melodist of the early 19th century, whose works even now do not lose their luster – with his immense gift in composing vocal melodies he somewhat compensates for other composers' inattention. Download one of his arias here: I Puritani. Ah! Per sempre, for Voice and Piano.

Aria 'Dove Io Credea le Mie Speranze Vere'

Talking about rare sheet music, not so long ago particularly hard to find were the scores written by women – there just wasn't a lot of composers among them. Luckily, these days the situation changed, and one of those who we should be thankful for that I believe is Francesca Caccini. Not only she is one of the most highly-regarded female composers, in addition to being that (and also poet, singer, and lutinist), she as well have went down in history as the first woman ever to compose an opera (La liberazione di Ruggiero dall’isola di Alcina). Download one of her amazing arias (for piano and soprano) here: Aria 'Dove Io Credea le Mie Speranze Vere'.