Burney called him ‘a very pleasing composer’, while La Borde speaks of ‘a particularly graceful style, concise and energetic arrangement of the parts, and new ideas’. Neefe described him as ‘a light, agreeable and lively composer, whose counterpoint is cleaner than that of many of his countrymen’, Leopold Mozart liked to use one of his harpsichord concertos when teaching. The interest towards Luchesi during his whole life is not little, especially if compared to other composers that never had the fortune to have, at least, a direct quote from such a scholar. By the way, the quotations are nothing if there is no fact and evidence and luckily the music survived is enough to give us an idea pretty correct about his style and why he was so admired and respected.
Few things are known about his life. His destiny was not any different than other Kappelmesiter or Maestro di musica in the 17th that has the greatest lucky in a life of a stable job into a Court but at the same time the greatest disgrace to be forgotten soon after his death. Born in Motta di Livenza, close to Treviso, Italy the 23 May 1741, according to Neefe, by 1757 he was in Venice where he studied with Gioacchino Cocchi, Padre Giuseppe Paolucci and Giuseppe Saratelli, the maestro di cappella of S Marco. No other indisputable information is known about his first studies. From […]
Andrea Luchesi (b Motta di Livenza, nr Treviso, 23 May 1741; d Bonn, 21 March 1801). Italian composer. By 1757 he was in Venice where, according to Neefe, he was trained ‘in the theatrical style’ by Gioacchino Cocchi, and ‘in the church style’ by Padre Giuseppe Paolucci and Giuseppe Saratelli, the maestro di cappella of S Marco. From 1765, with the support of his patron, the music theorist Count Giordano Riccati, Lucchesi made a name for himself in Venice as an opera composer and wrote sacred and secular occasional works on commission. He also travelled to neighbouring cities as a virtuoso performer on the harpsichord and particularly organ. In 1768, for instance, he played for the dedication of the organ in Padua Cathedral.
In 1771, like many of his colleagues, he went to Germany as the director of a travelling opera company. A decree of 26 May 1774 from the Elector Archbishop of Cologne appointed him court Kapellmeister in Bonn, succeeding Beethoven's grandfather. In 1775 he married into the distinguished d'Anthoin family. As the opera company had dispersed and the court theatre had been closed, Lucchesi was now principally active as a composer of church music. Nonetheless, he still wrote a few small-scale stage works, and in 1785 composed a serenata for the elector on the occasion of his consecration as bishop. However, the musical direction of the Nationaltheater in Bonn, built in 1778, was in the hands of the court organist C.G. Neefe, while instrumental music at the court was the responsibility first of the violinist Gaetano Mattioli and later Josef Reicha.
Apart from a visit in 1783–4 to Venice, where Lucchesi produced his opera seria Ademira, and where he probably received the title of director of the Accademia Musical de' Tedeschi, Lucchesi remained in Bonn until the court was dissolved after the French occupation of the Rhineland in 1794. In 1787 he was appointed Titularrat. From 1782 to 1792 the young Beethoven was a member of the court Kapelle, first as assistant organist, then as harpsichordist and viola player. In addition to Neefe's teaching and his experience in Reicha's orchestra, Beethoven's musical development must have been considerably influenced by Lucchesi, who, as Kapellmeister, determined the repertory of sacred music performed at the court. After the elector's flight in 1794 and in the event of the court returning, plans for church music on a smaller scale were entrusted to Lucchesi. However, they came to nothing, and his final years were spent in poverty and obscurity.
In line with his career, Lucchesi's works can be divided into the operas and instrumental works of his time in Venice and early years in Bonn, and his sacred music for the electoral Kapelle. His secular works were performed in many different European cities, ranging from Lisbon, where one of his operas was performed, to Stockholm and Prague, where several of his symphonies found their way into the archives. While he had been most famous for his organ works in Italy, according to La Borde his symphonies were held in particularly high esteem in Germany, a notable achievement for an Italian at this time. Leopold Mozart, writing in his 1771 diary of his Venetian travels, described Lucchesi as a maestro di cemballo and liked to use one of his harpsichord concertos when teaching. Although only a few of Lucchesi's works appeared in print, his Sei sonate op.1 for harpsichord and violin (1772), was the first music to be printed in Bonn. Lucchesi's sacred music, apart from the early works (mostly lost), is now at the Biblioteca Estense in Modena, together with a large part of the manuscript and printed music from the elector's collection. Apart from many compositions for liturgical use, his sacred works include a Passion to a Metastasio libretto for concertante performance during Holy Week.
Various contemporary assessments of Lucchesi's style have come down to us. Burney called him ‘a very pleasing composer’, while La Borde speaks of ‘a particularly graceful style, concise and energetic arrangement of the parts, and new ideas’. Neefe described him as ‘a light, agreeable and lively composer, whose counterpoint is cleaner than that of many of his countrymen’, adding, however, that in his sacred works he ‘does not always confine himself to the strict style’. Lucchesi's approach to sacred music reconciled the stile antico and the stile moderno, combining an early form of the imitation of Palestrina with the secularized, fashionable operatic style of the 18th century. It was entirely in the spirit of the contemporary theory of church music that he had learnt from his teacher Paolucci (a pupil of Padre Martini) and from Vallotti in Padua.
Paciariello, Maurizio (Fortepianist) attended Giuseppe Scotese’s classes at the “S. Cecilia” Conservatoire in Rome, where he got his diploma with top marks and distinction. Later, he took a higher studies course under Aldo Ciccolini. Then he completed further studies in chamber music with P. Badura-Skoda at the Accademia Chigiana in Siena, and with N. Brainin at the “Scuola di Musica di Fiesole“. He received a prize at the 47th ARD International Competition in Munich in 1998, and debuted at the Carnegie Hall, New York, in 2003. His focus is the solo and ensemble repertoire, with special interest in performing on period instruments; in fact he currently has access to a small but representative selection of period instruments, including a copy of a late 18th century clavichord, an early 19th century Viennese Haselmann fortepiano, a Boisselot French piano from ca. 1840, and a 1885 Bosendorfer. His attention to early performance techniques has led to the realization of ambitious projects, such as a performance of Beethoven’s complete sonatas for violin and pianoforte on a 1804 Broadwood piano (Museum of the American Piano, New York), and his successful performance at the Cappella Paolina at the Quirinale in Rome. His recording debut came with the Concertos for pianoforte and orchestra by F. Kuhlau and F. Berwald with the Sassari Symphonic Orchestra, for Inedita. Also for Inedita he recorded Beethoven’s Concerto in E-flat major WoO 4 (1784), winning acclaim among critics in Italy and internationally. He followed up on his research into Beethoven’s youthful concertos with the Rondo in B-flat major and the Concerto in D op.61a, both greeted enthusiastically by international musicologists and a candidate for the Prix International du Disque, Cannes. The seventh volume of “Beethoven Rarities” (INEDITA), dedicated to a revision of Concerto op.58 in the 1808 manuscript version, and Concerto op.19 with the handwritten cadenza taken from the Kafka Skizzenbuch, earning 5 stars from Rivista Musica. He produced a CD dedicated to music for violin and pianoforte by the Norwegian composer C. Sinding (ASV), which won praise from Fanfare, BBC News, Guardian, Daily Telegraph. He has recorded the Sonatas of Lino Liviabella and Nino Rota for viola and Pianoforte with Luca Sanzò, and the complete works for violin and pianoforte by Ottorino Respighi, with Marco Rogliano (TACTUS). The CD (BRILLIANT) with Luca Sanzò of Viola and Piano sonatas by Paul Hindemith has received important recognition from Gramophone, Fanfare, MusicWeb International, Musica, Opusklassiek. In his review on Fanfare of the Three Hindemith’s Piano Sonatas (BRILLIANT) James H. North so describes Paciariello’s features: “a Gustav Leonhardt turned into a Van Cliburn”.
Pisana, Susanna (Violinist) started to learn violin with her father when she was young. She continued studying with Norbert Brainin, leader of the Amadeus Quartet, focusing her attention on chamber music. She has performed in the most important auditorium in Rome (Parco della Musica, Teatro Argentina, Auditorium Foro Italico, Teatro Olimpico, Teatro Globe, Teatro di Documenti), Milan (Pomeriggi Musicali, Teatro dell’Arte) and festivals such as Ancient Music Festival in Urbino, Cantiere Internazionale d’Arte in Montepulciano, Società Barattelli in L’Aquila and many others. She made a thorough study of the philological practice of baroque music on original instruments (she plays a Bernardo Calcagni, around 1740), performing even with the Concerto Italiano by Rinaldo Alessandrini. Thanks to the attention to the performance practice she developed a deep interest in contemporary music, collaborating with the Freon Group and the “G. Petrassi” chamber ensemble. In 2006 she performed on live radio with the Michelangelo Quartet at the Paolina Chapel of the Quirinal Palace, in the presence of Giorgio Napolitano, President of the Italian Republic. From 1991 to 2007 she was a violin teacher and concertmaster at the Folk Music School of Testaccio in Rome.