The forced “stop” due to the pandemic allowed us to bring to life an idea and a partnership that had long awaited their moment. We were able to rediscover the repertoire of songs from the 1800s and 1900s of two cities, Naples and Venice, which have always been symbols of Italian music in the world, and to reinterpret it by exploring the points of contact and creating a relationship and comparison between two musical traditions. Navigating through the Neapolitan repertoire, we were simply spoiled for choice given the infinity and beauty of the musical offerings.<\/p>\n
After a brief foray into the world of Neapolitan villanella with “Vorria ca fosse ciaula” (1551), we began the true repertoire of song with \u201cTe voglio bene assaje,\u201d a hit at Piedigrotta in 1839. Since then, Neapolitan song has continued to be enriched with masterpieces up to the present day. It is not far from the truth to say that some pieces represent \u201cItalian song\u201d well beyond national borders. It was different for Venice. Between the 1600s and 1700s, Venetian song, the \u201ccanzon da batelo,\u201d had undeniable diffusion and success. The term \u201cbarcarola,\u201d in fact, means \u201ccomposition evoking the songs of Venetian gondoliers,\u201d translated in German also with the term “Gondellied.”<\/p>\n
With the fall of the Serenissima Republic, the fortunes, not only musical, of the lagoon city began to signal a crisis. There was hardly anything left to sing about or to be merry! <\/p>\n
We had to wait until the end of the 19th century, when, in 1891, the satirical newspaper \u201cSior Tonin Bonagrazia\u201d decided to hold a new singing competition in order to \u201crevive Venetian song.\u201d The Feast of the Redeemer in Venice became what Piedigrotta was for Naples. To close our program in a \u201cperfect circle,\u201d it could only be the two chosen instruments of the same repertoire: the guitar and the mandolin.<\/p>\n
Our collaboration, friends for a lifetime, came about naturally as a consequence. Once we selected and arranged the pieces, singing while accompanying ourselves with guitar and mandolin and \u201cplaying\u201d with the voices, we chose to intersperse the songs with original instrumental pieces from the so-called \u201cclassical\u201d period of the mandolin. To tie the musical repertoire together, a series of narratives to help the listener follow the proposed journey in an almost theatrical unity, and here is ready \u201cMusic from the Two Gulfs. Venice and Naples.\u201d<\/p>\n
All that remains is the pleasure of letting you listen to it. An instrumental piece closes our showcase of sounds: \u201cThe Carnival of Venice,\u201d a theme with variations by the Genoese Paganini, probably derived from an ancient Neapolitan song \u201cO mamma, mamma ca.\u201d This melody, today a symbol of Venetian music in the world, is reinterpreted by us in a \u201cVaried Fantasy,\u201d coincidentally, by the Neapolitan Carlo Munier.<\/p>\n
Music goes and returns between Naples and Venice and knows no barriers that can stop it!<\/p>\n
Venice and Naples<\/p>\n","protected":false},"excerpt":{"rendered":"
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