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Among the forty or so secular vocal compositions by Johann Sebastian Bach that we know of, some doubts arise over the authenticity of Amore traditore, BWV 203. Its destination is unknown; it is one of two works on an Italian text (the other is BWV 209 Non sa che sia dolore) inserted among secular works on various subjects. Following a Charles Burney description of a young Domenico Scarlatti playing like a devil we have imagined an evening during which George Frideric Handel, Domenico Scarlatti and Johann Sebastian Bach would meet and perform some of their compositions for a public of experts and, probably driven by their competitive rninds, would show their peculiarities of composers, players and accompanists. The aim was to offer the public a little illusion: to experience even an infinitesimal part of the feelings that the great virtuosos were able to arouse in their listeners.