Francesco Durante | String Symphonies

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00:00 Concerto No. 1 in F Minor: I. Un poco andante
02:16 Concerto No. 1 in F Minor: II. Allegro
03:58 Concerto No. 1 in F Minor: III. Andante
09:07 Concerto No. 1 in F Minor: IV. Amoroso
10:47 Concerto No. 1 in F Minor: V. Allegro
12:28 Concerto No. 2 in G Minor: I. Affettuoso
14:44 Concerto No. 2 in G Minor: II. Presto
18:31 Concerto No. 2 in G Minor: III. Largo affettuoso
22:54 Concerto No. 2 in G Minor: IV. Allegro
25:21 Concerto No. 4 in E Minor: I. Adagio
28:43 Concerto No. 4 in E Minor: II. Ricercare del 4e Tono
30:34 Concerto No. 4 in E Minor: III. Largo
33:30 Concerto No. 4 in E Minor: IV. Presto
35:37 Concerto No. 6 in A Major: I. Allegro
37:51 Concerto No. 6 in A Major: II. Amoroso
40:15 Concerto No. 6 in A Major: Minuetto
43:26 Concerto No. 6 in A Major: IV. Canone a 3
44:54 Concerto No. 8 in A Major "La Pazzia": I. Allegro
53:16 Concerto No. 8 in A Major "La Pazzia": II. Affettuoso
56:13 Concerto No. 8 in A Major "La Pazzia": III. Allegro

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Francesco Durante  was a Neapolitan composer. He was born at Frattamaggiore, in the Kingdom of Naples, and at an early age he entered the Conservatorio dei poveri di Gesù Cristo, in Naples, where he received lessons from Gaetano Greco. Later he became a pupil of Alessandro Scarlatti at the Conservatorio di Sant'Onofrio. He is also supposed to have studied under Bernardo Pasquini and Giuseppe Ottavio Pitoni in Rome, but there is no documentary evidence. He is said to have succeeded Scarlatti in 1725 at Sant' Onofrio, and to have remained there until 1742, when he succeeded Porpora as head of the Conservatorio di Santa Maria di Loreto, also in Naples. This post he held for thirteen years, till his death in Naples. He was married three times. His fame as a teacher was considerable, and Niccolò Jommelli, Giovanni Paisiello, Giovanni Battista Pergolesi, Niccolò Piccinni and Leonardo Vinci were amongst his pupils. As a teacher, he insisted on the unreasoning observance of rules, differing thus from Scarlatti, who treated all his pupils as individuals. A complete collection of Durante's works, consisting almost exclusively of sacred music, was presented by Gaspare Selvaggi, a Neapolitan art collector and music theorist,[1] to the Bibliothèque Nationale, Paris. A catalogue may be found in Fétis's Biographie universelle. The imperial library of Vienna also preserves a valuable collection of Durante's manuscripts. Two requiems, several masses (one of which, a most original work, is the Pastoral Mass for four voices) and the Lamentations of the prophet Jeremiah are amongst his most important settings. His Magnificat achieved popularity partly because of its misattribution to Pergolesi. Durante finds a place on the Opéra Garnier, Paris, perhaps by virtue of his students. The fact that Durante never composed for the stage brought him an exaggerated reputation as a composer of sacred music. Considered one of the best church composers of his style and period, he seems to have founded the sentimental school of Italian church music. Nevertheless, Hasse protested against Durante's being described as the greatest harmonist of Italy, a title which he ascribed to Alessandro Scarlatti.

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