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The human voice is consistently praised in the treatises of the Renaissance as the “superior” and “worthy” model that musical instruments should strive to imitate; yet this is perhaps the result of a consensus that was more academic than practical. Indeed, the current revival of historical music has shown that the reconstruction of original instruments and the rediscovery of their playing techniques is a major path to understanding ancient repertoire, whether it is played or sung. Instruments and voices are, in short, part of an ongoing dialogue of a past universe, from which today only the traces of certain stars and firmaments can be seen. The music of 16th century Europe formed one of the richest constellations, where there was a frenetic arrival of novel works and methods devoted exclusively to the development of the language and practice of instruments in parallel with the vocal arts. Italy was particularly fertile ground, cradling the development of the virtuoso praxis of glosa or diminuzione; the compositional exploration based on fantasia called ricercare; and the diffusion of an endless number of compositions derived from the world of dance. It was also in Italy that we find the first documented use of the term capriccio to name an instrumental composition, giving way to the Capricci in Musica a Tre Voci by Vincenzo Ruffo. The instruments used in this recording are representative of early Renaissance Italian culture and the realm of chamber music: a small harpsichord without dampers in its high register, a single-course harp, a viola da gamba, and a lute. In some of the works I have considered it appropriate to use an organetto, although it is indeed an instrument that fell out of use in the course of the 16th century. In spite of this chronological limit— albeit imprecise—several reasons have motivated this choice. Firstly, as Tasto Solo´s previous recording Early Modern English Music showed, the history of this instrument is enormously rich in the last years of the 15th century, especially in Italy, and it is still documented in the early 1500s. Therefore, it would be nonsense to state that an instrument completely ceased to be played after a precise date, and ironic, considering our current early music scene that increasingly gives more and more space for pure anachronisms and crossover. Furthermore, the organetto, in addition to its similarity to the flute or to the cornetto, brings an archaic sound in keeping with the flashes of medieval elements still present in the Capricci in Musica a Tre Voci and in the language of the early Renaissance. The musicians of the past lived with great admiration for their predecessors. Works of the fourteenth and fifteenth century were copied well into the Renaissance and beyond. Petrarch’s poems were a source of inspiration for many composers through the ages. And ancient instruments, even if only sporadically, were ready to reappear at any time, either because of their symbolism or their fascinating sonorities.