The action in this tale about the 18th century adventurer and (at least in popular lore) seducer is set in Cassanova"s native Venice in the mid-1700s, so it makes sense that the soundtrack would be loaded with Baroque pieces. The Venice-based Tomaso Albinoni is featured prominentaly, along with heavyweights such as Antonio Vivaldi, Jean-Baptiste Rameau, and George Frideric Handel, and lesser-known composers such as Arcangelo Corelli, Francesco Durante, and Alexandre Desplat. Er, actually Desplat is a contemporary French film composer who also released his score for the couldn"t-be-more-different Syriana shortly after Casanova came out. Of the two pieces he penned here, "A Venetian Virgin" is in pure Baroque style, while "Inquisitor Pucci" betrays a more modern film-music vibe. Meanwhile, orchestrator Sonny Kompanek rearranged a couple of the tracks and authored the tense "The Plume"s Nom Is Casanova," which doesn"t sound embarrassing sandwiched between pieces by Albinoni and Handel. Overall, it would have been nice to get longer excerpts from the pieces--many feel chopped into too-small fragments--but the music"s innate grace and elegance can"t be beat for a period film. Or for any film, really: Vivaldi"s Concerto in C Major ("The Doge"s Decree") will be familiar to buffs, who will remember it featuring prominently in the Dustin Hoffman-¬Meryl Streep showdown Kramer vs. Kramer back in 1979. --Elisabeth Vincentelli