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The ten motets (Concerti sacri) for solo voice, violins and continuo making up his Op. 3 (1703) are among his most attractive compositions, standing on the borderline between seventeenth-century bel canto and the progressive trends represented by Alessandro Scarlatti and, later, Antonio Vivaldi. The two motets for bass voice concluding the set delight through their euphony and the sheer swagger of Aldrovandini’s writing for the voice.
“These solo motets are set in the format Aria – Recitative – Aria – Alleluia, as was common at this time. ‘Recedant lacrimae’ (Let tears recede) in A minor is slightly repetitive in the outer movements but has some interesting angular motifs in the parts; ‘Volate nubila’ (Fly, you clouds) in G major, is a little more charismatic in my view and perhaps also the more substantial of the two. The violins in both cases offer brief commentaries in between the vocal phrases; they play a short ritornello in the middle of each motet. There is no opening sonata or sinfonia. The basso continuo play throughout and have the most to do in these pieces. The parts supplied - 2 for the violins, 1 each for the bass voice and basso continuo - are all well laid out and easy to read. There are no awkward page turns.” Read the review in The Consosrt
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Full score and parts
Music example: Recedant lacrimae (pdf)