John H. Skirball Center for Performing Arts

!e 18th Century Neapolitan Masters Foundation for the European Tradition

Sunday April 13, 2008 5:00 pm

Presented by Neapolitan Music Society and Skirball Center for the Performing Arts, NYU Our Mission

!e Neapolitan Music Society comprises a dedicated group of musicians, composers, academics, and international community leaders deeply committed to promoting the of Music and its place in music history through performance, research and education.

Music, like all art forms, has evolved throughout history. Few musicians and music lovers today are familiar with one of its richest chapters, centered in elcome to the Neapolitan Musical Society Dear Fellow Patron of the Arts, during the seventeenth and eighteenth centuries. !e Neapolitan At the time of the American Revolution, Naples was the center of the !e contribution our Italian ancestors made to the arts weaves a rich and School, supported by four ancient musical world. When !omas Jefferson made a catalog of his personal music colorful story. One chapter I find particularly inspirational is that of the conservatories, produced some of the collection in 1783, it featured names like Piccini, Hasse and Pergolesi, all Neapolitan composers who lived and worked in Naples, during the greatest masters of the era including important composers trained in the famous music conservatories of Naples. seventeenth and eighteenth centuries. Domenico Scarlatti, Niccolò Jommelli, , Leonardo Almost two centuries later, when I was but a nine-year-old boy, my music !ese innovative maestros introduced new elements to the classical form, Leo and dozens more. Sought after teacher gave me a book of lessons from that early period in Naples. He even adopting a unique notation system to communicate their progressive throughout Europe, these masters were said “study this material well and you will come to understand the great ideas with performers of the day. While their musical contributions had the toast of the eighteenth-century Neapolitan tradition.” I was fortunate to have such a wise maestro, and later a profound and lasting impact on the evolution of classical form, their musical world, yet few are known today I was able to study at the Naples Conservatory itself. In its library I saw how scoring methods were not widely adopted, and eventually these brilliant and their works are rarely performed. much of this tradition remains in manuscript, never having been printed or compositions were dropped from the performance repertoire in favor performed in modern times. those written in more familiar notation. As a result, the works so lovingly Music that exists only on paper cannot, composed by Neapolitan masters were relegated to library archives without performance, inspire the My own music career was centered first in Europe as a conductor. When across Europe. heart and nourish the soul. Literally I came to the United States in 1992, I decided to devote my efforts to thousands of symphonies, and resurrecting the music and masters of the eighteenth-century Neapolitan Fortunately, the non-profit Neapolitan Music Society (NMS) and Maestro other works by eighteenth-century School. Since that time I have helped bring to the attention of American (M°) Gioacchino Longobardi have worked tirelessly to break over two- Neapolitan masters sit silently in audiences this important but almost unknown chapter of music history. hundred years of silence by reintroducing these forgotten Italian treasures. music libraries throughout Europe, !is evening’s performance by the Neapolitan Symphony Orchestra marks lovingly preserved but mute. !e Friends, music lovers, professional musicians and music historians have the world premiere NMS event. Several program selections are being Neapolitan Music Society was formed joined with me to establish the Neapolitan Music Society. We seek to bring performed in America for the very first time. to breathe new life into these forgotten to the attention of audiences worldwide a once famous repertory of music masterpieces, to give voice once again to that contains hundreds of masterpieces still waiting to be rediscovered. I’m delighted to join you in supporting this historically significant event these beautiful compositions. thanks to M° Gioacchino Longobardi. Please join us in learning more about this most marvelous golden age of !e Society seeks to deepen public classical music. Learn what attracted !omas Jefferson to the masterworks Sincerely Yours, appreciation and understanding of of these great Italian composers and what still charms and inspires Matilda Cuomo the Neapolitan School through a audiences today. combination of performance, research, education and preservation. !rough President, these efforts the Society hopes to expand Maestro Gioacchino Longobardi Gioacchino Longobardi the musical horizons of all music lovers. We invite you to join us in rediscovering the treasures of the Neapolitan masters. Program Neapolitan Symphony Orchestra

!is program is proudly presented by the Neapolitan Music Society and co-presented by the Skirball Center, New York Violins Viola University and Casa Italiana Zerilli Marimó at NYU. Introduction by Professor Robert Gjerdingen of Northwestern University, followed by !e Neapolitan Symphony Orchestra under the direction of Mº Gioacchino Longobardi. Alberto Vitolo, Concertmaster Shmuel Katz, Principal Elizabeth Silver, Asst. Concertmaster Stephanie Baer (1684-1755) Concerto in F Minor Kelly Hall-Tompkins, Principal 2nd Olivia Koppell Lorra Baylis Beth Meyers (1685-1744) Tecum Principium (U.S. Premiere) Rebecca Cherry Kevin Roy Conrad Harris Domenico Scarlatti (1685-1757) Salve Regina Ann Leathers Cello Roy Lewis Nicola Fiorenza (c.1700-1764) Adagio e Fuga (U.S. Premiere) Kristina Musser Adam Grabois, Principal Laura Oatts Lanny Paykin Johan Adolf Hasse (1699-1783) Alma Redemptoris Mater (U.S. Premiere) Carol Pool Deborah Sepe Mary Jo Stilp !eo Zimmerman Johan Adolf Hasse (1699-1783) Pallido il Sole (U.S. Premiere) Dorothy Strahl Bass All works elaborated by Mº Gioacchino Longobardi. Richard Fredrickson, Principal Jeff Levine

Francesco Durante Leonardo Leo Domenico Scarlatti Nicola Fiorenza Johan Adolf Hasse

Francesco Durante was born in Leonardo Leo was born in 1694 in Born in Napoli in 1685, Scarlatti Known as “Maestro iroso” Known as “iL Sassone” (German Frattamaggiore, Napoli in 1684. San Vito degli Schiavoni, then part soon proved to be a musical prodigy. (wroughtful Maestro), Nicola composer) Johan Adolf Hasse was He entered the Conservatorio dei of the Kingdom of Napoli. He After settling in Roma with his father, Fiorenza was a violinist at born in Bergedorf, Germany in 1699. Poveri di Gesú Cristo at an early age, studied at the Conservatorio della he began studying with preeminent Conservatorio di Santa Maria di For decades he was the most admired where he studied under Gaetano Pietà dei Turchini under Francesco Italian musicians Pasquini and Loreto, from which he was dismissed composer of seria in Italy and Greco and later, . Provenzale and . From Gasparini. He also met !omas circa 1762 after complaints that he Germany. His finest operas, written Following the death of Leonardo 1720 until his death, he steadily Roseingrave, who became Scarlatti’s mistreated his students. He was later between 1730 and 1760, represent a Leo in 1744, Durante was appointed produced commissioned work for enthusiastic champion, publishing appointed head violinist of the Royal neo-classical style perfectly matched primo maestro of the Conservatorio operas in Naples, , Venice, the first edition of Scarlatti’s Essercizi Chapel, succeeding Domenico de to ’s text, from di Sant’Onofrio a Capuana, where his Bologna, Turin and Milan. One of per gravicembalo (1738-9). Although Matteis. Although Fiorenza is often which he drew much inspiration. students included Sacchini, Piccinni his greatest musical contributions a composer of vocal music, his fame labeled a “minor” figure, he deserves His elegantly crafted Bel Canto and Paisiello. While not a prolific was an attempt to reform religious squarely rests on the hundreds of more credit for his influential (beautiful singing) elevated lyrical composer, his music exhibits great music in Naples. He became keyboard sonatas through which he development of the concerto and melodies to heights that relegated skill and invention with a dramatic principal organist of the vice-regal explored new virtuoso techniques, symphonic forms that emerged from lesser elements to subordinate status. flair. Durante died in Naples at the chapel after Alessandro Scarlatti’s such as hand-crossing, rapidly Southern Italy in the early eighteenth Until Frederick the Great’s death age of 71 and is buried in the church death in 1725. Leo succeeded repeated notes, wide leaps and other century. Fiorenza produced nine in 1786, Hasse’s operas and sacred of San Lorenzo. at the royal chapel in innovations. In 1738 he became concertos and several symphonies works were regularly performed in 1730, becoming vice-maestro in 1737 Knight of the Order of Santiago. He during his more prolific years from Berlin, but less frequently in Italy. and “Maestro di cappella” shortly died in Madrid in 1757. 1726-1728. He died in Napoli He died in Venice in 1783. before his death. circa 1764. Bios

Gioacchino Longobardi Giuseppe Devastato Tiziana Pizzi Alberto Vitolo Robert Gjerdingen Conductor Organist Contralto Concertmaster Professor of Music

Mº Gioacchino Longobardi is Mº Giuseppe Devastato graduated Tiziana Pizzi graduated from Researcher in the Neapolitan Music Professor of Music at !e School currently President and Artistic from the Conservatory of Music Conservatorio di Musica ‘Francesco of the eighteenth century Mº of Music, Northwestern University, Director of the Neapolitan Music “” of Avellino, Cilea’ in Reggio Calabria, where she Alberto Vitolo graduated from the Gjerdingen was trained at the Society. Mº Longobardi studied in 2002, where he studied under studied piano with M° Salvatore Conservatory of Music San Pietro University of Pennsylvania piano with Professoressa Tita Parisi M° Carlo Alessandro Lapegna in the Ascrizzi, canto with Professoressa a Majella of Napoli, with Angelo (Ph.D, 1984) under Leonard B. and received his diploma in piano 2007 he graduated in Composition. Cristina D’Alpino and took classes Gudino, disciple of Alberto Curci. Meyer, Eugene Narmour and Eugene from the Conservatory of Music Winner of many national and in didattica della musica. She He attended courses in Fiesole and K. Wolf. He is the author of Music San Pietro a Majella di Napoli. In international piano competitions specialized in the repertoire of Palermo, bringing to completion his in the Galant Style, the first book to the following years he also studied including the Rachmaninoff Piano with Rose Marie studies in symphony orchestra music examine the cognitive-development choral music, choir conducting and Competition in 2002 and Premio Meister, Gloria Banditelli and Aris with Giuseppe Prencipe, and chamber of elite eighteenth century musicians. composition under the guidance of Pausilypon in 2003, he also attended Christofellis who described her as music with Carlo Pozzi, Giacinto (New York: Oxford University Mº Carmine Pagliuca, Mº Aladino Di Master classes with M° F. Nicolosi, “interprete ideale di Vivaldi, voce Caramia and Trio di Trieste. He Press, 2007); A Classic Turn of Martino, and Mº Ugo Rápalo, with C.A. Lapegna and Laura De Fusco. che il prete rosso sognava mentre has devoted many years to the study Phrase: Music and the Psychology of whom he also studied Musica Sacra, He often serves as a jury member componeva i suoi capolavori” – the of Neapolitan music, editing and Convention (Philadelphia: University Opera and Orchestrazione. in national and European piano ideal interpreter of Vivaldi, the voice revising numerous transcripts of period of Pennsylvania Press, 1988); and competitions, and has performed in the red-haired priest dreamed of while masterpieces. translator of Studies on the Origin After completing his studies Romania, Mexico, USA, Germany writing his masterpieces. of Harmonic Tonality [an English at the Conservatory of Music, and Italy. As concertmaster of Orchestra da translation of Carl Dahlhaus’s Mº Longobardi expanded his Tiziana Pizzi is currently completing Camera di Napoli, he revised and original work.] (Princeton: Princeton knowledge in conducting at the Giuseppe is the founder and director her musical training with Margaret recorded “Sinfonie Napolitane”, a CD University Press, 1990). Musikhochschule Mozarteum in of the Music Festival “V. Vitale” and Baker Genovesi in Rome. She collection of unpublished symphonies Salzburg under the guidance of collaborates with the Neapolitan made her debut as Mamma Lucia of the eighteenth century Neapolitan His current research focuses on the Bernhard Konz, Kurt Prestel and Music Society in the re-evaluation of in Cavalleria Rusticana at a theatre masters. (Antes-Concerto, Recording methods for training composers in Herbert von Karajan. Mº Longobardi the eighteenth century Neapolitan in Montalto Uffugo, Provincia di Company). Mº Vitolo is the Assistant the conservatories of Naples, Italy, is a resident of the United States musical heritage. He is also composer Cosenza, the place of the role’s Artistic Director of the Neapolitan during the eighteenth century. of America where he continues his and arranger for Cinematography historical first performance. She was Music Society, Artistic Director of endeavor as conductor and pianist, and Discography productions for invited by Associazione Amici del Associazione Domenico Scarlatti devoting his efforts to the Neapolitan Universal Classic, CAM, RAI, Teatro Massimo to interpret the role and founder of the concert series Music Society in pursuit of further Classica Viva, Warner and Miramax, of Prince Ozia in the Oratorio La Romatinée Musicali and Sonoritá understanding of the eighteenth working in collaboration with by Niccolò Jommelli. Italiana nel mondo in Roma. He also century neapolitan masters. composer Louis Siciliano. Winner of national competitions, serves as Director of the Department she joined Il Coro dell’Accademia of Classical Music of C.F.M., Centro Nazionale di Santa Cecilia di Roma in di Formazione Musicale, Napoli and September 2002. Tiziana Pizzi is the as music consultant to the European President of Associazione Musicale Music Festival in Napoli. Since 2006 Reggina Domenico Scarlatti, with its he has served as Director of Coro office in Reggio Calabria. Polifonico “Salvo D’Acquisto” in Roma. Skirball Center for the Performing Arts, NYU Board of Directors

!e Skirball Center’s mission is to serve and actively strengthen the NYU Peter Ravella, Chairman community while developing a new generation of young adult audiences for live Austin, Texas performance. !e NYU community includes students, staff, faculty, and alumni Mary Ravella as well as their families and our neighbors in Greenwich Village and downtown Albany, New York Manhattan. Dr. Neil F. Ravella Dallas, Texas Led by executive producer Jay Oliva (President Emeritus of New York University), the Skirball Center has manifested its mission by presenting a Maxwell Rothaus broad range of compelling programming offered through innovative marketing New York, New York methods and at affordable ticket prices. NYU students never pay more than $12 to see an arts event at the Skirball Center. NMS Officers

566 LaGuardia Place (Washington Square South) Mº Gioacchino Longobardi www.skirballcenter.nyu.edu President and Artistic Director Prof. Robert O. Gjerdingen Ticket Information Consultant on Music History Vincenzo Lionti Online | www.skirballcenter.nyu.edu Vice President and First Assistant Artistic Director By Phone | 212-279-4200 Hours: Daily 12 - 8 pm Alberto Vitolo Vice President and Second Assistant | Shagan Box office In Person Artistic Director Skirball Center lobby Ana Constandino 566 LaGuardia Place at Washington Square South 212-992-8484 Assistant to the President Hours: Tuesday – Saturday, 12 - 6 pm, and two hours prior to performance Brian Decker Treasurer Discounts | Available for all NYU students, faculty, staff and alumni. Laura Decker See www.skirballcenter.nyu.edu for details. Limit of two tickets per event. Secretary Valid ID cards are required. Discounts may not be combined. Sponsors and Support

Professional staffing by Gemini Music Productions.

Communications by PetersGroup Public Relations; Austin, TX.

Program design by JH&A Advertising; Austin, TX.

NMS was founded in October, 2007, as a 501(c)(3) corporation registered Legal services by Texas Accountants in Austin, TX. NMS is registered as a non-governmental organization and Lawyers for the Arts; (NGO) in New York, NY. Tax deductible donations are Houston, TX. welcome and promote the preservation and performance Special thanks to Apollo Real Estate, of Neapolitan masterworks. Emily Connor and Jonathan Korol; New York City, NY. www.neapolitanmusicsociety.org Neapolitan Neapolitan Music Society Music Society

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