Falcone elegantly and imaginatively shifts between humorous lightness and contrapuntal rigour on a harpsichord from 1632 that has the ideal range of colour. This is art of variation, inspired and in top form.
Sabine Fallenstein — Preis der deutschen Schallplattenkritik
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 and diminution.
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 Keyboard School at Gesualdo’s Court, devoted to Giovanni de Macque and his contemporaries (Brilliant Classics, 2014), was nominated for the Preis der deutschen Schallplattenkritik in the Orgel & Cembalo category (Longlist 2/2015). The Art of Variation, featuring Sweelinck’s secular keyboard cycles (Challenge Classics, 2023), won the award in the Tasteninstrumente II category (Bestenliste 2/2023). 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
HISTORICAL KEYBOARDS
From the upright clavicytherium to the miniature ottavino, Falcone’s keyboards reveal the inventiveness of early instrument makers. All were built by Roberto Livi after fifteenth- and sixteenth-century models. The Neapolitan harpsichord (2017), with one 8′ and one 4′ register, follows an anonymous instrument of c. 1550 preserved at the Museum of Fine Arts, Boston. The Italian polygonal virginal (1999) takes its distinctive shape from a Domenico da Pesaro instrument of c. 1550 in Berlin. For the clavicymbalum with hammer action (2020), Livi turned to Arnault de Zwolle’s drawing of c. 1450. The clavicytherium (2016) recreates an anonymous instrument of c. 1480 at the Royal College of Music, London, while the ottavino (2020) follows an anonymous model of c. 1550 at the Kunsthistorisches Museum, Vienna.
L'AMOROSA CACCIA
L’Amorosa Caccia is a vocal and instrumental ensemble founded in Geneva in 2015 by Fabio Antonio Falcone and Tímea Nagy. Its repertoire ranges from late medieval polyphony to Italian frottole, French chansons and the glosas of the Spanish Renaissance.
Performance and composition come together in the ensemble’s exploration of medieval and Renaissance music. Recorder diminutions composed by Tímea Nagy weave through the vocal polyphony and historical keyboard intabulations, keeping instrumental invention closely connected to the phrasing of the sung line.
Its recordings include Faenza, an Imaginary Codex (Challenge Classics, 2025). Its latest album, Guardame las vacas (Glaux Records), is devoted to Antonio and Hernando de Cabezón.
The ensemble takes its name from an anthology of madrigals published in Venice in 1588.
PROGRAMMES
Ensemble 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
Download the brochure using the button below to discover Fabio Antonio Falcone’s solo recital programmes, repertoire and historical keyboards. For concert enquiries or further information, 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.
PRESS
CONTACT
For solo recitals, concerts with L’Amorosa Caccia or artistic collaborations, please get in touch using the form below. Enquiries about research and teaching are also welcome.