IL TESORO DI SAN GENNARO
Sacred music in early 18th-century Naples

Domenico Scarlatti (1685-1757)
Sinfonia a 5 in do maggiore
01 Presto
02 Adagio e staccato
03 Allegro assai

Cristofaro Caresana (1640-1709)
04 Canzona a 4 con istromenti “Per S. Gennaro"

Nicola Fago (1677-1745)
05 Confitebor a 3 con violini
Stabat Mater a 4 voci e strumenti
06 Stabat mater dolorosa (Largo)
07 Pro peccatis suae gentis (Andante moderato)
08 Virgo virginum praeclara (Andante)
09 Quando corpus morietur (Largo)

Domenico Scarlatti
Sinfonia a 4 in re maggiore
10 Grave
11 Presto
12 Adagio
13 Allegro assai
Antra valles Divo plaudant (mottetto a 5 voci e strumenti)
14 Antra valles Divo plaudant
15 Cultor nemorum Joannes
16 Istae praecursor magnus
17 Supernae vos mentes
18 Prepotens martir et Lydus luminis
19 Antra valles Divo plaudant

Gaetano Veneziano (1665-1716)
20 Jam sol recedit (inno a voce sola con violini)
21 Iste confessor (inno a 2 voci, 4 violini e b.c.)

Domenico Scarlatti
Sinfonia a 4 in sol maggiore
22 Allegro assai
23 Grave
24 Allegro assai

Gaetano Veneziano
25 Ave Maris Stella (inno a voce sola con violini)

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About this CD

Antonio Florio’s deep understanding of the Baroque musical terrain of Naples now takes him to the dawn of the 18th century when the fervour and visceral excitement held by Neapolitans for their chief patron saint San Gennaro was at its height, in an era when the city had been ravaged by plague and was living in constant fear of eruptions from nearby Mount Vesuvius. Great devotion was directed at San Gennaro, in the belief that he would ward off further evils: a richly-adorned chapel in Naples’s cathedral was dedicated to him and provided with its own musical ensemble, and a stream of composers (often pupils of the great Francesco Provenzale) such as Cristofaro Caresana, Nicola Fago and Gaetano Veneziano worked there.

Central to the programme of I Turchini, prepared by Florio and Dinko Fabris, are performances of Fago’s four-part Stabat Mater and Caresana’s canzona Sirene festose. There is a rare outing also for a motet, Antra valles Divo plaudant, written by the young Domenico Scarlatti – three of whose string sinfonias are also included here – when he was one of the organists in the Real Cappella; musicians in Naples regularly moved in and out of different ensembles, then as now.

A booklet essay by Fabris himself splendidly underpins the popular traditions and musical and religious colour surrounding San Gennaro in a Naples still alive today; moreover, an evocation brought to potent life by the performances of Florio, with his singers and instrumentalists of I Turchini.