Angelic inspiration and demonic possession take turns driving some of the most dramatic works of the Baroque. Tartini claimed that his fiendish “Devil’s Trill Sonata” was played to him by the devil himself sitting at the foot of his bed, while Biber’s “Passacaglia” depicts the protection of a guardian angel. In Vivaldi’s “Damnation Sonata” the oboe becomes a wayward soul dragged down to hell. Trios by Arcangelo Corelli, and Marin Marais, who “played like an angel” contrast with works by Antoine Forqueray, who “played like a demon”. Don’t miss House of Time’s exploration of these mythic extremes in baroque music, capped by a special edition of La Folia (The Madness of Spain)