Considers Conforti\u27s treatise Breve et facile maniera d\u27essercitarsi... (1593) and his Salmi passaggiati (1601-03), revealing the vast gulf between the etude-like exercises in the treatise and the actual embellished music--a difference similar to that between the exercises of Hanon and the piano etudes of Chopin. The embellishments of this period were far more than mere displays of virtuosity; they sprang from a desire to express the deepest meanings of the text
