evocation of the sound of the cuckoo that refers to another famous piece by Pasquini. It deals with a multicoloured page with many juxtapositions with elegance without interruption. Bwv 976 is Bach’s transcription of Concerto per violino e archi that closes the lucky serie of estro armonico. The bright page is part of a group of sixteen Concerti by various authors (from Telemann to Benedetto Marcello, from Vivaldi to Johann Ernst of Sassonia) revised for harpsichord by the future author of Brandeburghesi during his period of work in Weimar between 1713-1716: probably for personal reasons about study and close examination of maniere italiane. But somebody supposes that are pages written on commission for requirements of musical consumption of the court. A nimble Allegro with spectacular phrases in eco and a more extroverted conclusive Allegro framework of flowing representations and led with a brilliance of Italian background, frame a brief Largo intimist and peaceful. Inside the endless corpus of harpsichord by Domenico Scarlatti – more than five hundred Sonate – K287, K288 and K328 are the only carrying explicit signs that justify the destination of instruments to king: the Neapolitan composer writes at the bottom of K287 for organ chamber with two keyboards, flautato e trombone, providing moreover precise indications about registers of the other two pieces. The organ nature of K287 that starts off with a linear theme in quavers committed to left and straightaway imitated by superior voice, appears well-known, besides, if we pay attention to the progressions’ play, to bounded notes and to frequent imitative cues of the central part directed to various tonalities exploration. The approach of different dynamic levels and the repetitions in eco give variety and energy to pleasant Sonata in which the acrobatic virtuosity seems to be abandoned on purpose for a balanced temperance. Sonata K288, lively and bright, has an easy pattern and a two/party tone, passing from fundamental to dominant in the first part and, on the contrary, in the second part. More extensive than the preceding, Sonata K328 interchanges sonorities and registers with small flute effects and is decked with an uncommon colour, in virtue of the adoption of the rhythm of 6/8 that gives an hypnotic fluency and an allure like the Pastorale. Frequent are the antiphonal plays and the measured formula, formed by a connection of naïf taste. Sonata K159 has a unique incipit and evokes horn’s brand-bass and hunting atmosphere. Tre Sonate by Pietro Morandi, opera composer, pupil of Padre Martini and working first in Pergola, near Pesaro, then in Senigallia’s Cathedral from 1778, reveal without doubt time’s tastes prone to transposing on organ theatrical stylistic feature following a custom. It is ungenerous branding it as kitsch disdainfully. We can listen to resounding phrases with rullante and timballone, precious cantabili like cavatine in Rossini’s and Donizzetti’s style. Sonata in La maggiore is called for calm and pleasant-mannered melody. Sonata in Do maggiore is composed by military and rutilant phrases with lively rhythms, blaze band, vigorous rataplan. Andrea Favi, opera composer from Forlì, was Teatro Comunale’s director and Kappelmeister of the Cathedral: his Rondò is remarkable the simplicity like a mould of Mozart with pleasant harmony. The closing adoption of glockenspiel register adds an artless quid to the refrain. Of the two Sonate by Cimarosa, the first in re minore has a serious harmonic system and a stylistic taste rich in archaisms, revealing a personal assimilation of Baroque manners. The second in sol, on the contrary, is shorter and presents that taste for the stage. A convinced assertor is Luigi Felice Rossi, a prolific opera composer from Brandizzo, near Turin. He was formed by Mattei at Bologna’s Conservatory then at Naples’ Conservatory with Zingarelli. Pages proposed here are so direct that they do not request particular glosses: it deserves to be marked for undoubted mastery the interpreter’s playing with timbres, softening that was predictable. In respect to Sonata, it begins with an atmosphere of absorbed piety, à la manière de l’Ave Verum, pointing to a simple emotion, but between full score’s folds come out lines of opera style, destined flowing into Rondeau Polacca’s atmosphere with a danceable rhythm and settled forms.