"Music at the Center of Life"
Can we talk about a musician's history? Mauro Bibbò certainly has one to tell... Classical studies, a brief foray into medieval music, some international experiences, a great passion, music integrated into a historical and social context with theatrical music accompanied by written texts. And now, sublime music is being played.
The Mission
The goal of the musician Mauro Bibbò goes beyond mere performance of selected pieces; it is centered on a constant and meticulous philological, but above all, sonic research in which sound production and the balance of sounds take precedence over all factors that could deviate from the realization of the sound system.
The quest for sound is not limited solely to agogic aspects but also extends to the search for musical instruments contemporary to the proposed pieces. In fact, he plays a precious wooden flute from 1850, made in Boston by the builder William Robert Gibbs. This instrument is highly esteemed by international enthusiasts for its rich and sweet tonal qualities it imparts to the crafted instruments.
The "Musicalfa" Quartet
The Musicalfa Quartet, consisting of Mauro Bibbò on flute, Mario dell'Angelo on violin, Luigi Tufano on viola, and Vincenzo di Somma on cello, is a chamber music ensemble that has been a presence on the Italian and international music scene for many years. The quartet was formed by four musicians with a strong classical background who shared the common desire to promote a conscious and accurate appreciation of music.
This Mediterranean-style ensemble is known for its ongoing exploration of the musical sensibility found in the music of 18th-century Neapolitan composers. They have chosen to interpret some significant pieces from this era. As a result, they have participated in major Italian music festivals, bringing the previously undiscovered works of composers from the golden age of Neapolitan music to audiences throughout Italy. The quartet aims to evoke the atmosphere of the time, focusing on the philological and lyrical interpretation of the music. These concerts are closely tied to the sense of dance and worldly cheer that brought success to the musicians of that era and contributed to the vast musical literature we draw upon today.
The quartet's performances have been particularly well-received abroad, in cities such as St. Petersburg, Lille, Bergen, Leipzig, Alicante, London, Lisbon, and Paris.
One of the quartet's featured musical programs is centered around the quartets of W.A. Mozart, commissioned for the ensemble by the Dutch flutist De Jean for the generous sum of 200 florins. These quartets are composed for a particularly original and interesting formation: flute, violin, viola, and cello, expressly written for the flutist Johann Baptist Wendling of the Mannheim court. Composed when Mozart was between the ages of 21 and 30, these quartets are considered true masterpieces that reveal the emotional turmoil of a relatively "young" musician, given the chaotic course of Mozart's life involving social life, love, and early operatic works. The program also includes a concerto by the Aversan musician D. Cimarosa, likely composed around 1792 during his time in Vienna at the court of Emperor Leopold II. There are some Austrian musical elements in this concerto, such as the thematic motif of the first movement of quartet no. 5, which, if attributed to Vienna, would anticipate the Haydn-esque theme with variations of the "Kaiserquartett" (dating to 1797), showcasing the melodic charm and formal perfection characteristic of Cimarosa's quartets during a period of great fame and success, thanks to the triumph of "Il Matrimonio Segreto."
Other musical programs primarily focus on the music of the 18th-century Neapolitan school, featuring composers like Cimarosa and F. Fiorillo. Among them, F. Fiorillo is particularly noteworthy as a Neapolitan composer highly regarded internationally.
