Tu lo sai is an intense and passionate love song. It must be sung with feeling and with fervor, but there must also be a certain amount of restraint and reserve to bring out the full beauty of the melody and the meaning of the words.

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No, no, non si speri is known as a canzone, which originally meant a folk-song. In its present form, as transcribed by Floridia, it makes a grateful song for the student, and is also a splendid recital song.

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In this song, Pur dicesti, O bocca bella we have a simple, beautiful melody, full of embellishments that were so common to the Early Italian School.
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Another gem of a song from the same composer, Montverde. This is the Lament of Arianna, and describes the appalling fate of the martyr's torment. The melody is gripping in its simplicity and pathetic appeal.

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The long sustained phrases of this song require the singer to take a capacity breath at breathing marks, but the breath must be allowed to flow slowly and quietly as in a long sustained sigh, in no sense to be held back.
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There is no doubt that Cavalli had a fine sense of humor, which is shown in the facetious Donzeiie fuggite (Oh, hasten, ye maidens), in which the fair sex is warned to beware of Cupid's dart, lest it be laden with sorrow and deceit.
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In the prayer, Vergin tutta am or (Virgin, full of grace), included in this volume, we have a serene and beautiful sacred solo.
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Caro mio ben is credited to the composer Giuseppi Giordani, who wrote several operas and oratorios. He studied at the Conservatory in Naples, where he was born, and later became a teacher there.<br />
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The contrast between "O cessate di piagarmi" and the Rugiadose odorose, both from the pen of Alessandro Scarlatti, shows the versatility of his genius as a song-composer.
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In this song from the pen of Claudio Monteverde, transcribed by the late Pietro Floridia, we have one of the most dramatic of all the early Italian songs.
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