With Vox clamans in solitudine in 1995 the juxtaposition of texts and music from diverse places, periods and traditions met with great success, at a time when monographic programmes were considered more or less obligatory. Two years later Il Salotto Napoletano was created, an intimate foray into the world of the classical Neapolitan canzone of the nineteenth century. This was followed in 1999 by Il sogno d’Orfeo, a veritable chamber opera, and in 2001, by Via Toledo, a concert of music from the oral traditions of southern Italy. The need for a performance more in keeping with the canons of the seventeenth century prompted Beasley and Morini to propose a kind of dramatised concert that brought out the theatrical aspect and transformed the singer into a character.

In addition, they accepted the challenge of giving to the instruments a role which was “tailor-made” to fit the pieces on the programme, thus bringing the performance closer to the descriptions found in contemporary treatises.
Just as in the early musical chapels, Accordone created a new repertory expressly for its own concerts. From this was born, in 2001, Una Odissea, an opera composed by Guido Morini to texts by Marco Beasley. In 2003 their first studio recording was released, La Bella Noeva (Alpha). This was followed one year later by Vivifice Spiritus Vitae Vis (“Servabo”), a sacred composition by Guido Morini on Latin texts from the Old Testament. 2004 saw the productions of Frottole, a project dedicated to the great musical tradition of the late Renaissance in Italy, and Recitar Cantando, entirely devoted to the style of the same name born in the early 17th century. Frottole and Recitar Cantando are the first two recordings made for the Belgian label Cypres, and has been published in 2005 and 2006, respectively.