Rome became an important musical centre during that precious moment of peace between the two world wars, and both of these composers were swept along in feverish activity in the arts during this period. Iditta Parpagliolo matches a refined choice of texts with an equally diverse use of musical language in her songs, from the modal mysticism of La buona parola to the infinite sadness of the Tre canti d’amore. Giovanni Salviucci captures the soul of nature in his Quattro liriche, the twilight classical intimacy of his songs contrasting with the radiant neoclassical style of his Chamber Symphony.