Arcadia

1	Destati, Lidia mia, chamb
2	Destati, Lidia mia, chamb
3	Destati, Lidia mia, chamb
4	Quando penso agl'affanni,
5	Quando penso agl'affanni,
6	Quando penso agl'affanni,
7	Quando penso agl'affanni,
8	Quando penso agl'affanni,
9	Quando penso agl'affanni,
10	Quando penso agl'affanni,
11	Sinfonia a quattro, for s
12	Sinfonia a quattro, for s
13	Ecco, che alfin ritorno,
14	Ecco, che alfin ritorno,
15	Ecco, che alfin ritorno,
16	Ecco, che alfin ritorno,
17	Concertino a 7, for strin
18	Concertino a 7, for strin
19	Concertino a 7, for strin
20	Concertino a 7, for strin
21	Concertino a 7, for strin
22	Concertino a 7, for strin
23	Navicella, ove ten vai, c
25	Navicella, ove ten vai, c
26	Introduzione a quattro, f
27	Introduzione a quattro, f
28	Introduzione a quattro, f
29	Ferma omai, fugace e bell
30	Ferma omai, fugace e bell
31	Ferma omai, fugace e bell
32	Ferma omai, fugace e bell
Arcadia
1.	Destati, Lidia mia, chamber cantata 10:08
	Composed by Francesco Gasparini
	Performed by Andreas Scholl, Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
2.	Quando penso agl'affanni, cantata for alto voice, 2 violins, viola & continuo, SF. 276 19:41
	Composed by Benedetto Marcello
	Performed by Andreas Scholl, Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
3.	Sinfonia a quattro, for strings & continuo: [Adagio] 3:17
	Composed by Bernardo Pasquini
	Performed by Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
4.	Sinfonia a quattro, for strings & continuo: [Vivace] 0:57
	Composed by Bernardo Pasquini
	Performed by Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
5.	Ecco, che alfin ritorno, chamber cantata 11:03
	Composed by Francesco Gasparini
	Performed by Andreas Scholl, Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
6.	Concertino a 7, for strings & continuo (I-Nc, GB-Lam) 8:13
	Composed by Arcangelo Corelli
	Performed by Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
7.	Navicella, ove ten vai, chamber cantata 8:29
	Composed by Bernardo Pasquini
	Performed by Andreas Scholl, Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
8.	Introduzione a quattro, for strings & continuo 4:07
	Composed by Pietro Paolo Bencini
	Performed by Accademia Bizantina, Ottavio Dantone and Ottavio Dantone
9.	Ferma omai, fugace e bella, chamber cantata for alto, 2 violins, viola, & continuo 11:46
	Composed by Alessandro Scarlatti
	Performed by Andreas Scholl, Accademia Bizantina, Ottavio Dantone and Ottavio Dantone

Barnes & Noble

Countertenor Andreas Scholl delves into Italian literary history on the delightful Arcadia, a recording that focuses on music by members of the famous Arcadian Academy, founded in Rome at the end of the 17th century. Centered around Queen Christina of Sweden and other brainy Roman sophisticates, the Academy concentrated on poetry and literature, inspiring much wistful writing on the ideals and tribulations of rural life and love. Yet composers also joined in and took a crack at expressing such notions musically, and the five solo cantatas included here -- by Francesco Gasparini, Benedetto Marcello, Bernardo Pasquini, and Alessandro Scarlatti -- are wonderful examples of such musical scene painting. Scarlatti (father of the more famous Domenico) may be the best known of his compatriots on the program, and his cantata "Ferma omai, fugace e bella," a late work with much imaginative text setting, shows that talent ran deep in that family. The other three names are liable to be unfamiliar except to Baroque buffs, but their music is similarly full of charm and invention, and Scholl makes a strong case for all their works, with stylish, assured singing enhanced by a full, muscular tone that grows radiant in the top range. Other, purely instrumental music by Arcangelo Corelli and Bernardo Pasquini (fellow Academicians as well) breaks up and enlivens the program, played with precision and flair by the spirited early-instrument band Academia Bizantina. EJ Johnson

Gramophone

Scholl sings with his customary expertise and sheer vocal loveliness, moving effortlessly from note to note with a full-bodied and well-supported tone whose essential darkness occasionally blossoms into a smoothly radiant upper register.... For such little-known music to be visited by an artist of Andreas Scholl's standing is heartening news, but this pleasing release is no mere star vehicle. Lindsay Kemp

Classic FM Magazine

[March 2004 Disc of the Month] Scholl's voice is countertenor perfection: rounded, pure and seductive, and his accompanying orchestra, Accademia Bizantina, spares no ounce of expressiveness. Oliver Condy