Harpsichordist and organist Fabio Antonio Falcone performs Renaissance and early Baroque music. His work on historical keyboard instruments centres on the relationship between vocal and instrumental writing, and on the practices of diminution and improvisation that connect them.
THE NEW ALBUM
Guardame las vacas presents music by Antonio and Hernando de Cabezón alongside the vocal and instrumental models on which their elaborations are based. L’Amorosa Caccia and Fabio Antonio Falcone bring original songs, keyboard glosas and new diminutions into the same programme.
Voices, recorder, cornetto, and gamba join the harpsichord in different combinations, tracing the passage from a sung line to its instrumental elaboration. The recording follows how familiar melodies become material for ornamentation, variation and improvisation.
Antonio and Hernando de Cabezón
L’Amorosa Caccia · Fabio Antonio Falcone
Glaux Records GL007 · Out 6 November 2026
BIO
Fabio Antonio Falcone is a harpsichordist and organist specialising in Renaissance and early Baroque music, with a particular interest in sixteenth-century Italian keyboard and vocal repertoire. His performances draw on the study of historical sources, with particular attention to intabulation, diminution and improvisation.
He performs as a soloist and continuo player at international festivals and concert venues. His collaborations include Ensemble Elyma, Stile Galante, Genève Baroque, Ensemble Lucidarium and Ensemble Odissee Orchestra.
In 2012, he co-founded Pizzicar Galante with mandolinist Anna Schivazappa, focusing on the galant repertoire for mandolin and basso continuo, and co-directed the ensemble until 2019. In 2015, he established L’Amorosa Caccia in Geneva with recorder player Tímea Nagy. As its artistic director, he devises programmes that explore the relationship between vocal models and their instrumental reworkings.
His recording The Art of Variation, devoted to Sweelinck’s secular keyboard cycles, was selected for the Preis der deutschen Schallplattenkritik Quarterly Critic’s Choice in 2023. His recordings have been broadcast by the BBC, RAI, Radio France, BR-Klassik and other international radio stations.
Falcone holds a PhD in Educational Sciences from the University of Geneva. His thesis examined the teaching of keyboard improvisation through pedagogical sources from the sixteenth to the eighteenth century. He is a lecturer in music didactics at the University of Geneva and a member of the DAM research group in the didactics of the arts, music and movement.
FESTIVALS & CONCERT HALLS
Festival MiTo Milan-Turin, Les concerts de Midi Paris-Sorbonne, Festival de Musiques Anciennes de la Réole, Festival Luths et Théorbes, Festival Embar(o)quement immédiat, Festival Frisson Baroque, Sala Puccini Conservatoire de Milan, Festival baroque de Sézanne, Festival Sinfonia en Périgueux, Fondazione Giorgio Cini Venise, Festival Minimes Bruxelles, Festival baroque du Pays du Mont Blanc, Maison de la Radio France, Chapelle de la Salpetrière Paris, Festival Off Vevey-Montreux, Concerti di San Torpete Gênes, Summerwinds Festival Münster, Kunsthalle Lingen, Early Music Festival Bad Arolsen, Concerts d’Anacréon Angers, Musik Hochschule Cologne, Les Inédits de la Bibliothèque Nationale de France Paris, The Sypert Summer Concert Series Edinburgh
The choice of instrument is part of Falcone’s approach to each repertoire. Alongside the harpsichord and organ, his work includes the clavicymbalum, clavicytherium, ottavino, virginal. Differences in construction, touch and sound help shape decisions about phrasing, ornamentation and the balance between voices and instruments. In his programmes and recordings, these choices are considered together with the musical sources.
Historical
keyboards
L'AMOROSA CACCIA
L’Amorosa Caccia is a vocal and instrumental ensemble founded in Geneva in 2015 by Fabio Antonio Falcone and recorder player Tímea Nagy. Its repertoire ranges from late medieval polyphony to Renaissance frottole and madrigals, with a particular focus on the relationship between vocal music and its instrumental reworkings.
In projects devoted to intabulation and diminution, vocal models are heard alongside historical reworkings and new elaborations. Different combinations of voices and instruments make it possible to follow how a melody is redistributed, ornamented or developed. Newly devised diminutions draw on the procedures found in historical sources.
Under Falcone’s artistic direction, the ensemble develops programmes around specific repertoires and sources, choosing the instruments and performing forces for each project. Its recordings include Faenza, an Imaginary Codex (Challenge Classics, 2025); its forthcoming album Guardame las vacas (Glaux Records) is devoted to Antonio and Hernando de Cabezón.
The ensemble takes its name from a Venetian anthology of madrigals published in 1588.
PROGRAMMES
Concert programmes
L’Amorosa Caccia’s programmes are devised for different combinations of voices and historical instruments. They explore vocal repertoire and its instrumental reworkings, with particular attention to intabulation, diminution and improvisation. The brochure presents the ensemble’s current programmes and their performing forces.
Solo recitals
For information about solo keyboard recitals, repertoire and instruments, please get in touch.
MUSIC
This discography brings together Falcone’s solo recordings and his work with L’Amorosa Caccia and other ensembles. The albums reflect his interests in early keyboard music, vocal repertoire and historical practices of musical elaboration.
