Barbara is learning this piece. It astonishes me in two ways: The wealth
of invention and the hard work in putting together so many variations on
a ground.

Listening to them in all their variety makes them sound like a
collection to be mined (as Handel and others did with their own) for
operas and other pieces. Chaconnes are effective endings for operas
whenever you have enough characters still alive, and Storace gave
himself material for any collection of voices left standing. He could
have gotten at least four operas out..

Does anyone know of any derivative pieces from him?

-- 
 Rodney Myrvaagnes
  [log in to unmask]

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