Agresta's madrigals may reveal something of the style of Gesualdo's incomplete book. Watkins labels Agresta a minor figure among those Neapolitan composers who were influenced by Gesualdo, but suggests that posterity's opinion of him (and others) might well be different if more of his works had survived. Larson goes further and declares that Agresta 'occasionally surpassed (Gesualdo) in the degree of slow chromatic durezze e ligature and diatonic, scalar points of imitation in quavers and semiquavers', claiming that 'the latter are usually longer and more lively and intricate than Gesualdo's'. Agresta's other madrigals Apart from the Madrigali a sei voci ... Libro primo, three other madrigals identified as being by Agresta survive, all for five voices: 'Io mi sento morir', in Giovanni Vincenzo Macedonio di Mutio's Il secondo libro de madrigali a cinque voci, published in Naples in 1606 by Giovanni Giacomo Carlino. An incomplete and damaged set of part-books exists in the library of the Conservatorio di Musica San Pietro a Majella in Naples (missing Quinto, incomplete Soprano). 'Caro dolce ben mio', in Giardino novo bellissimo di varii fiori musicali scieltissimi il secondo libro de madrigali a cinque voci raccolti per Melchior Borchgrevinck organista del serenissimo re di Danemarcka, published in Copenhagen in 1606 by Heinrich Waltkirch (RISM 16065), which survives complete in the British Library, London, and incomplete (Soprano and Alto part-books only) in the Landesbibliothek Kassel. (This madrigal has previously been edited and published in Glahn et al. 1983) 'Io ard'e moro, Donna', in Teatro de madrigali a cinque voci. De diversi eccellentiss. musici napolitani (RISM 160916), published in Naples in 1609 by Giovanni Battista Gargano and Lucretio Nucci. The only surviving copy of this is in the Landesbibliothek Kassel, with an incomplete Quinto part. The inclusion of a piece by Agresta in the Borchgrevinck collection of 1606 raises many questions. Melchior Borchgrevinck was court organist to King Christian IV of Denmark, and in 1599 led a party of Danish musicians to Venice to study with Giovanni Gabrieli, returning there in the winter of 1601–2. He was greatly respected by his contemporaries, being praised by Orazio Vecchi in the dedication to Christian IV of Le veglie di Siena (1604), who also added that Gabrieli considered Borchgrevinck 'one of the most outstanding musicians of our time'. The two volumes of Giardino novo (the first appeared in 1605, dedicated to Christian IV) included madrigals by some of the most