: Concerto in E flat maj. for Lead Violin, 2 Violins, Viola and Bass/ Concerto in D min. for 2 Violins and Bass (1728)/ Concerto in A maj. for 3 Violins and Bass (1728)/ Concerto in A min. for 3 Violins and Bass (1727)/ Concerto in A min. for 3 Violins and Bass/ Sinfonia in F min. for 2 Violins and Bass/ Sinfonia in G maj. for 3 Violins and Bass/ Sinfonia fugata in F min. for 3 Violins and Bass/ Sinfonia in C min. for 4 Violins and Bass/ Trio in B min. for 2 Violins and HarpsichordAuthor
: Nicola Fiorenza (ca.1700-1764)Editor
: Giovanni BorrelliPublication Date
: Napoli e l’Europa (Naples and Europe)Pages
: pp. 244Size
: 235x315 mmBinding
: Hardback (Cloth Hard Cover)ISMN
: NAP 4
Nicola Fiorenza (1700?-1764), composer and virtuoso Neapolitan violinist, lived during the first half of the 1700s. His musical production, whose manuscripts are preserved for the big part in the Library of the Conservatorio di Musica S. Pietro a Majella in Naples, is composed of 15 concerts with different instrumental organics, 9 symphonies whose principal instrument is the violin – that sometimes proposes pieces with a lot of virtuosities typical of the solo concert –, some pieces for one or two instruments with continuo and two cantatas.
Skilled virtuoso, Fiorenza had assimilated both the style of the elegant Baroque of French school, and the “a terrazze” style, the improvised language typical of the Venetian composers. He knew the style of the Concerto Grosso of Corelli very well, to which he joined a dressy counterpoint maybe too much present for the style of that time. Fiorenza elaborated different styles, filtering them through his sensitive predilection towards the Neapolitan party music and the popular melody, developing a personal composite language that doesn’t consider him belonging to one of the “schools” of his time. From a formal point of view and for the choice of the instrumental organic, his compositions have not a strong stylistic individuality in comparison with the composite canons of the first part of the XVIII century, but the production of Fiorenza seems to reflect the schemes and the composite forms typical of the late Baroque. His choice of the incisive brevity of the thematic figures is typical of the XVII century, that almost never overcomes the breath and the circle of one or few beats. Fiorenza’s solo compositions show his research of virtuosities, but he never lapses into a rash virtuosity, on the contrary he maintains a gallant taste.
Napoli e l’Europa (Naples and Europe)The Neapolitan School from the 17th to the 19th Century
This series presents critical and Urtext editions of music by composers of the Neapolitan School from 17th to 19th century.
Ut Orpheus Edizioni is the exclusive publisher for the Neapolitan School project, created by Maestro Riccardo Muti, at the helm of the Orchestra Giovanile Luigi Cherubini. Starting in 2007, in association with the Ravenna Festival, the Salzburg Festival has produced, for the Whitsun Festival, operas, oratorios and masses of great musical relevance, rarely performed or even unheard.
Ut Orpheus is publishing the critical edition of the music in the section of the present series named ‘Masterpieces of the Neapolitan School selected by Riccardo Muti for the Salzburg Whitsun Festival project in association with the Ravenna Festival’. Furthermore, the publisher is producing for each work the vocal score and the orchestral material on hire for other productions.
Presentation by Riccardo Muti
Introductory Texts in Italian and English