The figure and work of Bernardo Storace are particularly fascinating because of the aura of mystery which surrounding both. The only information we have on this remarkable composer for keyboard instruments is printed on the frontispiece of his one known work, the “Selva di varie compositioni d’intavolatura per cimbalo ed organo by Bernardo Storace vice Chapel Master of the Illustrious Senate of the Noble and Exemplary City of Messina”. The continuous earthquakes that afflicted Messina right up to the beginning of the twentieth century destroyed any existing evidence of Storace and his works. The one example of the Selva, which has fortunately survived, was printed in 1664 in Venice, then a very important printing centre, but is without the editor’s name or a dedication. This vast florilegium is made up of a wide range of variations based on nearly all the popular themes of that time, as well as two courantes, two toccatas and canzonas, two ricercari and a pastorale. Francesco Cera, renowned early music specialist, here uses three different historical instruments: organ, harpsichord and spinetta, for a refined and competent performance, supported by Fabio Tricomi at the percussions.

1. Passagagli sopra A la mi re

2. Follia

3. Capriccio sopra Ruggiero

4. Aria sopra la Spagnoletta

5. Passagagli sopra C sol fa ut per b

6. Monica

7. Partite sopra li cinque passi

8. Passo e mezzo

9. Romanesca

10. Capriccio sopra il passo e mezzo

11. Altro passo e mezzo

1. Ciaccona

2. Balletto

3. Ballo della battaglia

4. Corrente

5. Corrente

6. Passagagli sopra D sol re per #

7. Pastorale: Prima parte

8. Seconda parte

9. Aria

10. Terza parte Allegro

11. Quarta et ultima parte

12. Toccata e Canzon

13. Toccata e Canzon

14. Passagagli sopra Fe fa ut per b

15. Recercar di legature

16. Recercar