1] Canto in stile recitativo - Oscure selve 03:14
2] Aria - Ai miei pianti 01:39
3] Canzona - Oh dolore 03:33
4] Canto in stile recitativo - Ben veggio donna homai 05:45
5] Souffle* 01:51
6] Aria - Son ferito 01:55
7] Aria di Ruggieri - Ti lascio, anima mia 03:10
8] Aria - Voi partite mio sole 02:23
9] Aria a due voci - Non vi partite 02:00
10] Complainte* 07:19
11] Canzona a due voci - Gioite, oh selve 02:11
12] Madrigale - Bella tiranna 01:50
13] Aria - O mio cor 02:37
14] Canzona - Deh volate 02:47
15] Ceccona - Deh vien da me 02:24
16] éveils* 01:46
17] Madrigale - Quanto piu sorda sete 01:08
18] Canzona - Soffrir non posso 01:50
19] Aria - La mia pallida faccia 02:22
20] ça* 05:50
21] Sonetto spirituale - Dove sparir 02:19
22] Sonetto spirituale in stile recitativo - Ohime che fur 02:11
23] Canzona - Doloroso mio core 01:45
24] appel* 05:59
25] Canto in stile recitativo - Vanne, o carta amorosa 02:58
* Maurice Clement organ improvisations

Morpheus was the Greek god of dreams. His father Hypnos was the god of sleep. Morpheus was able to transform himself into the likeness of any human being and most often appeared in dreams as the sleeper’s beloved. Orpheus was another Greek mythological figure and was one of the most renowned of the singers and poets of Antiquity; he was also regarded as one of the gods of music. The powers that his literally magical voice possessed were so great that he could not only bring his rough and ready contemporaries closer to civilisation but also tame the wild beasts in the forest; he could even breathe life into and then enrapture inanimate Nature herself. Girolamo Frescobaldi brought his two volumes of Arie Musicali to publication in Florence in 1630 and distanced himself from Caccini’s purely narrative madrigals by so doing. Frescobaldi brought together secular sonnets, sacred madrigals, recitatives, arias and ensembles in every possible style; it is this immense variety above all else that makes a recording of the complete Arie Musicali so exciting and challenging. Meta(M)Orfose: improvisations by Maurice Clement that are far removed from such fatal desires and the 17th century aesthetic. New timbres on the organ that provide a highly individual commentary on Frescobaldi’s Arie Musicali… desire, search for and missing the beloved… times have not changed.