Sinuously beautiful solo motets by a little-known contemporary of Cavalli, imaginatively programmed with instrumental interludes by their Italian contemporaries.

It has been said before now that Cazzati's instrumental music was more inspired than his sacred-vocal work, but this album demonstrates otherwise with a sequence of motets which evolves from the more liberal style of the 1640s to the more severe style of the late 17th century. He was among the pioneers of the instrumentally accompanied motet in which violin lines are skillfully woven around the sung text. On the other hand, the two solo motets show a stark contrast, with the intimate Salvum me fac against the virtuoso war-like Qui bella geritis.

Three organ sonatas are also included, two of which were written by Cazzati’s own organists in Bologna: Giovanni Paolo Colonn, and Cazzati’s great enemy Giulio Cesare Arresti. A sonata by Bernardo Pasquini affords further contrast with the mostly grave devotions of the motets. All four performers here have extensive experience in the revival of little-known composers from the Baroque, and their stylish performances demand a reappraisal of Cazzati in the round.