Album insights
The city of Naples first gained prominence during the "barbaric" rule of the Angevin dynasty (1266–1443), when King Robert, its most famous member, gathered a cosmopolitan court around him. According to the poet Boccaccio, many found in Naples a joyous life that made them prefer it over the troubled yet free Republic of Florence. It was not until the Spanish viceroys, starting with Pedro de Toledo in 1536, that Naples embraced the theatrical lifestyle that is still familiar today. The Spanish character, steeped in religious fervor and a love of pomp and ceremony, resonated with the Neapolitans. A kind of peace prevailed, rooted in wealth and grandeur, fostered by the nobles' desire to outdo one another. Artists from all fields found employment in Naples, with many sculptor-architects of the 17th century coming from Northern Italy. Similarly, composers journeyed to the vibrant South in the early 18th century, as the city had already become a hub of musical activity.
In 1707, Naples, like the rest of Italy, submitted to Austrian dominance, but in 1734, the Bourbon monarch Charles III succeeded in making Naples the capital of an independent kingdom. Known as Don Carlos, the Spanish prince made it his mission to bring happiness and prosperity to the city. Historically, there was greater contentment in the "two Sicilies" at that time than in many centuries past. However, Charles was not a patron of the arts; he even harbored a strong dislike for opera. The grand Teatro Don Carlo, the largest opera house of the time, was likely constructed solely out of obligation. Yet, the political stability he fostered served as an incentive for creativity in music and the arts, questioning whether the Golden Age was coming to an end.
The Scarlatti family moved from Palermo to Rome in 1672. Alessandro Scarlatti (born in Palermo in 1660, died in Naples in 1725) began his training there, reportedly under Carissimi. He settled in Naples in 1682, sought after as a composer of musical entertainment for the nobility. Despite his success, the city seemed to irk him so much that he briefly returned to Rome. In Naples, Scarlatti's genius found its true expression, impacting music history with numerous innovations in opera. He pioneered a monodic style based on the modern tonal system, transitioning from polyphonic to melodically driven compositions. His decision to abandon figured-bass forms in favor of expanded melody in response to prevailing tastes is evident in his works. Scarlatti's c-minor symphony showcases a flute enriching the contrapuntal texture while contributing ornamentation and expression. The solo instruments in his concertos often present fragmented material also played by the tutti, creating a dramatic juxtaposition. Although the fugal Allegro is a nod to the past, the final movement, essentially a dance, skillfully employs shifting tonalities, concluding in a minor key.
Giovanni Battista Pergolesi (born in Jesi in 1710, died in Pozzuoli in 1736) from near Ancona was sent to Naples at fifteen to complete his musical education, achieving unexpected fame primarily for his works La Serva Padrona and Stabat Mater. Posthumously, he was hailed as a lost genius by some contemporaries. Alongside composers like Jommelli, Traetta, Vinci, and Paisiello, who studied under Francesco Durante, Pergolesi's style and form closely mirror those found on the opera stage. The Flute Concerto represents one of his few surviving instrumental compositions, though its authorship remains disputed. The concerto retains operatic influences in its style and form.
The 18th-century opera owes much to its most renowned singing instructor, Nicola Porpora (born in 1686 and died in 1768 in Naples). Porpora's itinerant nature led him across Europe, from Venice and Vienna to Dresden, and London, where his vocal technique was highly sought after. Although his time in Vienna was unsuccessful due to the Kaiser's distaste for excessive ornamentation, he found a warmer reception in Dresden and, later, during his London directorship. Porpora's contrapuntal compositions embellished with elaborate themes reflect the operatic style of his era. The cello in his concerto serves as the virtuosic vocal soloist, intertwined with the music's structure. The two allegros, notably the double fugue, are adorned with florid passagework, while the slow movements showcase contrapuntal developments.
Francesco Durante (born in 1684 in Frattamaggiore, died in 1755 in Naples), a student of Alessandro Scarlatti at Conservatorio di San Onofrio, also studied under Pasquini in Rome. His compositions blend the disciplined style of the Roman school with the melodious innovation of the Neapolitan school. While many of his sacred works survived only in manuscript form, Durante's G-minor Concerto Grosso stands as a testament to his artistry, rivaling the best works of Handel and Corelli. Each movement captures specific moods through the use of unexpected harmonies and instrumental colors. The initial chromaticism sets an ominous tone, leading into a double fugue teeming with lively rhythms and sequences. The fourth movement, featuring a solo quartet, exudes a romantically melancholic atmosphere, while the structurally simple yet tense finale concludes the piece dramatically.