Benevolo is one of those composers who fills a gap in the history books: he succeeded his master Ugolini as organist at the church of St Louis of the French in Rome in 1638, and he was held in high esteem during his lifetime and for long afterwards: the insert-notes by Jean Lionnet detail Benevolo’s life story and the history of his reputation down to Feininger’s publication of some of his works from the 1950s onwards (the French original is to be recommended above the English paraphrase, which contains errors of translation).
The Missa Azzolina is an accomplished piece of writing, but somewhat unimaginative. It is the kind of music which relies a great deal on the performers, and unless they are particularly alive to the possibilities inherent in the music on the page, the result is dull and academic. The Sanctus, for example, is a missed opportunity in this respect. The work has some memorable dance-like moments, however, especially in the Gloria and Credo, and the occasional blaze of grandeur (such as the opening of the Credo). Most impressive among the other pieces included on the disc is the Miserere, a grand, tragic piece of considerable power, and one which inspires Le Concert Spirituel to give of their best. Elsewhere the choral sound can seem rather unfocused and ill-blended.
A curiosity, then, but one which is likely to have appeal for more than just dedicated enthusiasts of the early baroque.'