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G 12.024 CoverNicola Fiorenza (approx. 1700–1764)
Concerto in F minor
(score and parts)

for alto recorder, solo violin, strings and basso continuo
Edited by Valentina Bellanova and Ulrich Thieme
Reconstruction of the solo violin part by Franz Müller-Busch
Realization of the thorough bass by Eckhart Kuper

Girolamo G 12.026, score and 6 parts, € 29,00
ISMN 979-0-50084-045-9

sample page scoresample page recorder

G 12.024 G 12.027

 


 

Preface

Little is known about the life and work of the composer and violin player Nicola (also known as Nicolò) Fiorenza. Born around 1700 he was active in Naples where he died in 1764. He played the violin in the Royal Chapel and from 1743 to 1762 he taught all string instruments at the conservatory of music Santa Maria di Loreto. In 1689 Alessandro Scarlatti was head of this famous music institute and between 1720 and 1735 Francesco Mancini was appointed director – only to mention two composers that have delivered valuable repertoire for the recorder.

Around thirty manuscripts of works by Fiorenza are kept in the library of the music conservatory San Pietro a Majella in Naples among which trio sonatas for two violins and bass, 15 concertos for various combinations of instruments and nine symphonies. Four of the concertos written between 1726 and 1728 call for Flauto (which, according to former usage of the term, applies to the recorder) and strings. Although stylistically very close to Scarlatti the works undoubtly show individual features which manifest themselves by the charcteristic Venetian smooth cantablity in the slow movements opposed by a tendency to rhythmic sharpness and uncanny figures in the fast movements.

In Neapolitan flute concertos as known from A. Scarlatti, Mancini or Barbella the flute part is traditionally accompanied merely by two violins and bass. In this first published concerto in F minor, Fiorenza adds a solo violin and a violetta. The term violetta, that also appears in works by Castello and Schütz, was used for a middle-sized gamba but most of all for a viola and in a wider sense as described in German sources from Fioranza's time (Mattheson 1713, Walther 1732) referred to any string instrument that could perform a middle part.

In the first movement one is struck by the sudden alternations between dramatic motives in the strings and virtuoso figurations of the solo flute which plays a leading role in the fast movements. The serene middle and accordingly third movement are characterised by expressive melodies performed by the flute. And finally the choice of expressive and technically spoken often "awkward" keys render this concerto its unique quality.

In the movements 2 to 4 it was necessary to reconstruct or recompose the missing solo violin part. The part was largely composed of melodic material taken from the solo flute and first violin part. Some passages however, particularly in the second movement, had to be composed entirely new since there was no material to fall back on. Please find further comments to this edition in the audit report.

Translation: Julia Whybrow

Florence and Hanover, September 20011, Valentina Bellanova and Ulrich Thieme

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