The 'Neapolitan School' is often referred to in encyclopedias
and books on the history of music. But this term mainly relates
to music for the stage - in particular operas and intermezzi
- rather than instrumental music. In this category it is mainly
music for strings which is of historical importance, not music
for the transverse flute. This disc with flute concertos by
Neapolitan composers may therefore come as a surprise. But that
makes it all the more interesting.
In his programme notes Stefano Aresi suggests Gennaro Rava was
probably the only one of the five composers who had a thorough
knowledge of the possibilities of the flute, presumably because
he was a flautist himself. Aresi also writes that there is no
evidence of virtuoso Neapolitan flautists. Nevertheless these
concertos suggest that they were played by performers of considerable
skill.
The only generally-known composer on this disc was Niccolò
Jommelli. In the main it is his operas that have secured his
name in our time. He was an important link in the development
from the baroque era to the classical period. Musical innovations
which are often attributed to the Mannheim school, like the
orchestral crescendo, are in fact of his making. In comparison
to the huge number of vocal works in his oeuvre, the number
of instrumental works is negligible. The Concerto in D - which
New Grove labels as a ‘quartet’ because of its scoring
for flute, two violins and bc - is a very fine composition.
The largo is an example of impressive lyricism. This concerto
was probably not written in Naples.
None of the other names is likely to ring a bell with music-lovers.
That doesn't mean these composers were nobodies. Most of them
made a good career, although sometimes with the help of influential
people. Giuseppe de Majo, for instance, became primo maestro
of the royal chapel, as successor of Leonardo Leo. He was chosen
above more famous contenders like Porpora and Durante, thanks
to the preference of Queen Maria Amalia. His Flute Concerto
in G - the only piece on this disc with a part for viola - may
have been written for a performance at the court.
Like De Majo Tommaso Prota and Antonio Palella were educated
at one of the four Naples conservatories. Prota was a member
of a family of musicians. Very few compositions have come down
to us; his stage works are all lost. The Concerto in C is not
his only work for flute: his op. 1 is a set of six sonatas for
two flutes and bc. Antonio Palella was mainly active in the
theatre, and adapted a number of stage works of other composers.
New Grove lists one flute concerto; this Concerto No. 2 in G
proves that he wrote at least two.
Is this music indispensable? No, it is not. Don't expect music
which shakes the world. On the other hand if you ignore this
disc, you rob yourself of one hour of good musical entertainment,
in infectious performances. The ensemble is immaculate, Carlo
Ipata is a brilliant flautist and together they make the most
of this repertoire.
The recording is flawless and the booklet - as always with Hyperion
- exemplary. There is every reason to welcome this disc. Flute
aficionados certainly shouldn't miss it.
Johan van Veen
Auser Musici/Carlo Ipata (transverse flute) 
