Marcos Fregnani-Martins, Rachel Talitman, Luc Loubry | Lovreglio Donato (1841-1907)

Go To Artist Page

Album Links

More Artists From

Other Genres You Will Love
Classical: Chamber Music Classical: Opera Moods: Type: Instrumental
Sell your music everywhere
There are no items in your wishlist.

Lovreglio Donato (1841-1907)

by Marcos Fregnani-Martins, Rachel Talitman, Luc Loubry

The eminent concert performer and flutist Lovreglio Donato (1841-1907) -best loved Opera Fantasy for flute and harp
Genre: Classical: Chamber Music
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
just a few left.
order now!
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Eco Di Napoli Op. 31
15:43 album only
2. Fantasia Ballo Di Maschera Op. 43
8:05 album only
3. Norma Duetto Concertato Op. 39
12:49 album only
4. Mazurka Affano D'amore
4:17 album only
5. Aida Piccola Fantasia Op. 80
9:06 album only
6. Toccatine Aroldo
4:56 album only
7. Toccatine Simon Boccanegra
3:27 album only
8. Toccatine Un Ballo Di Maschera
3:43 album only
9. Notturno for Flute, Bassoon and Harp
6:23 album only


Album Notes
Lovreglio Donato, flutist and composer, was born in Bari on September 6, 1841 and died in Naples in May 1907. He wrote methods and composed music for all instruments. His opus includes original pieces and fantasias on theatre pieces for flute, oboe, clarinet as well as duos, trios and septets, and symphonies for orchestra and for harmony. Many of these works were released by publishing house Ricordi. Composing and performing were his main activities. A musical magazine from Milan also credits him with introducing Böhm’s flute d'amore to Italy and reproaches La Gazzetta di Napoli’s failure to even refer to ‘eminent concert performer and flutist, Mister Donato Lovreglio’, thanks to whom Böhm’s invention became known.

Theobald Böhm (1794-1881) presented and first patented his flute in 1843; he perfected it into his «definitive» model of 1847, the Flauto d’Amore which, set in A or in B-flat, is flutes’ mezzo-soprano, somewhere in between the Western concert flute or C-flute and the Alto flute in G. The development of music for flute in the 1840s is linked with Böhm’s discoveries and work and the absence of reputed contemporary composers for the instrument.

Among the admirers of young Donato were the excellent piano player Adelina Castelli, who fell madly in love with him. Their mutual love, also underpinned by their common passion for music, was strong. Both performed Donator’s pieces together and their marriage couldn’t but lead to a blooming of their art. The young married couple left Naples for Bari, Donato’s city of birth. The newspapers of the period tell of the young flute-player’s success in the, then-frequent, musical events of the city. He was congratulated by many, including famous French writer Alexandre Dumas, the author of The Three Musqueteers, who became both his friend and his bard during his time in Italy and even offered to organize a round of concerts to make him known «all over the world».

The practice of arranging vocal pieces for instruments goes back to the XVIth century. Many compositions saw the light towards the end of the XVIIIth century when melodies from the most famous operas were arranged in this regard - at a time when neither radios nor CDs existed, this helped popularize many operas. Thus, at the time of music virtuosity, Opera Fantasy was also born. Everyone wanted to hear again, at home or at one’s salon, what had been enjoyed with enthusiasm in an opera house. As in this CD, the instrumental virtuosi brought out the best-loved melodies, playing plenty of brilliant variations on flute and harp, which demanded an impeccable technique to such an extent that they almost are «acrobatic pieces».

Interpreting the works of Lovreglio Donato, a flute player who composed a variety of melodies, offers an opportunity to show the particularly surprising technical demands and deliveries of this instrument. The flute literature of the XIXth century still remains poorly known, even if it is the period of the flute players-composers, such as Donato, who wrote either for themselves or for the benefit of their students and followers.



to write a review