An Evening With John T. La Barbera
Pulcinella, a Commedia dell’arte stock character associated with Naples, playing the mandolin. From the IAM presepio collection. (Photos by New York Scugnizzo)
Last Thursday, I had the great pleasure of attending a lecture about the Neapolitan mandolin by John T. La Barbera at the Italian American Museum. Entitled "Echoes of Mulberry Street," Mr. La Barbera—an accomplished musician and expert on Southern Italian traditional music—discussed a variety of topics, including the history and evolution of the instrument.
La Barbera began with the mandolin's genesis from the soprano lute, known in Europe since the 1300's, to its modern incarnation. He focused on the important design changes, such as the innovative almond shape and round back, as well as the development of steel string models (attributed to the Vinaccia family), during the eighteenth century in Naples. These improvements, plus the impressive repertoire of the Neapolitan school, helped popularize the instrument.
It was pointed out that Naples—prior to its conquest by Piedmont in 1860—vied with Paris as Europe's music center. The Siren city was the third largest in Europe, behind only London and Paris, and one of the most musically influential. However, after its subjugation, Naples lost not only its status as the capital of the Kingdom of the Two Sicilies, but also its prominence as music capital.
Following "unification" Southern Italy was stripped of its wealth. Turin looted the kingdom's abundant cash reserves and dismantled its industries. Policies dictated by northern interests, including oppressive taxation caused a substantial decline in the southern economy. The severe economic decline drove millions of southerners to emigrate over the next several decades, a phenomenon never before experienced throughout its long history.
La Barbera highlighted the important role Neapolitan emigrants played during the mandolin's "golden age" between 1894 and 1918. They maintained a love for the instrument, which was an important part of their culture, and kept the traditions alive in the New World. For a brief period it even became fashionable for women to use mandolin cases as pocketbooks.
The influence of the famed Neapolitan tenor, Enrico Caruso, in popularizing the instrument was also briefly touched upon. When the virtuoso sang the romantic and sentimental Neapolitan songs the mandolin often accompanied him.
Not only were the emigrants writing and publishing mandolin music in America (e.g. E. Rossi from 187 Grand Street), they were manufacturing the instruments as well. The most significant of these artisans were Angelo Mannello and Nicola Turturro—Neapolitan emigrants to New York in the late nineteenth century—who established themselves as premier instrument makers. Examples of Mannello and Turturro's outstanding craftsmanship can be found at the Metropolitan Museum of Art.
During his stay in Naples, La Barbera purchased old sheet music published in the United States by Neapolitan immigrants, underlining the importance of the music and the bond between the diaspora communities and their ancestral homeland.
An example of a Neapolitan mandolin and
traditional sheet music from La Barbera's collection.
From what I understood of the presentation, the "echoes of Mulberry Street" were echoes of a time and culture in Naples that was shattered and thrown to far away places. On Mulberry Street and places like it, the emigrants kept a tradition alive among our people while it withered in our ancestral homeland, and so allowed it to one day return.
I've been fortunate to see Mr. La Barbera perform in the past and own several of his CD's (as well as his book, Traditional Southern Italian Mandolin and Fiddle Tunes), so I was already familiar with his great passion and skill. I was pleasantly surprised to learn that award-winning opera soprano Cristina Fontanelli would accompany him during the performance. The duo did an amazing rendition of the Eduardo di Capua and Giovanni Capurro's Neapolitan classic, O Sole Mio.
(L-R) Dr. Joseph V. Scelsa (founder and president of the Italian American Museum), John T. La Barbera and Cristina Fontanelli.
A brief question and answer period ensued, along with a book signing. La Barbera was enlightening and entertaining.
My personal highlight of the evening was having dinner and drinks afterwards at Il Palazzo with Mr. La Barbera, Mrs. Fontanelli, the enchanting Carolyn Masone from Essence of Italy and friends (Roseanne, Chris and Mike). The meal was wonderful and the company better, there was no shortage of entertaining anecdotes. It was an honor to partake in the intimate and convivial affair.
