The ten motets (Concerti sacri) for solo voice, violins and continuo making up his Op. 3 (1703) are among his most attractive compositions, standing on the borderline between seventeenth-century bel canto and the progressive trends represented by Alessandro Scarlatti and, later, Antonio Vivaldi. The two motets for bass voice concluding the set delight through their euphony and the sheer swagger of Aldrovandini’s writing for the voice.