In this case, the paradox not only lies in the fact that his output was forgotten, but that it literally disappeared in a fire or was lost with the dispersion of riches of the Jesuit order, one hundred years after his death. Thus, the main problem confronting musicologists -albeit a fascinating one- is the unequivocal attribution of works to this Italian composer.

Gianluca Capuano tells the whole interesting story in his well-researched essay. But, as always, apart from our featured article, this issue of Goldberg contains other articles of interest.

Thus, for example, our readers are presented to Busenello (1598-1659), the poet, lawyer and freethinker considered the first librettist in opera history. Jean-François Lattarico tells Busenello’s entertaining and curious story.

The relationship between music and painting has always been one of our magazine’s defining features and in this issue it takes on particular importance in the article about Gainsborough and music, written with Brian Robin’s usual brilliance.

George Houle presents an interesting study of the viola and its evolution in Italy. And to complete this issue, John Potter, undoubtedly one of the most respected specialists in medieval polyphony, throws new light on Léonin (Magister Leoninus) and his output. The French musician Martin Gester, founder and director of Le Parlement de Musique, is interviewed in the current issue and is our featured performer on this occasion.

Overall, this issue is marked by a diversity of subjects that make for very pleasant reading. We hope our readers will enjoy it!