This Suite for full orchestra would describe three pictures of Venetian life
The first picture, a Venetian panorama, seen a gondola from the Laguna should first of all imitate, by means of violoncello and double bases, the rhythmical beating of the oars of the gondola. The violins would give the idea of the reflection on the moon on the glittering water of the Laguna. The chum loans, with their majestic rhythm, should represent the austerity of the palaces, which the gondolier passes by and sees in crossing the Channel Grande. The horns, with their insisting echoes, would invite the gondolier to intone his song. Then it is heard the stroke of the tower clock, the cockcrows, and the first streaks of dawn break out.
In the second picture the author describes a Saturday at the quarter of a canal lateral to the Canal Grande, where a young lover is playing it on his mandolin, under his sweethearts balcony.
In the last picture the composer transports us to St. Mark's Square, on holiday. The peace begins with organ accords (horns, trumpets and trombones), coming from the church: then follows a wedded couple on their honeymoon journey, who look at the beauties of the Square, see a procession pass by, and at last amuse themselves by watching pigeons which are fluttering about cooing. The accords of the organ are heard again, the band that follows the procession from time to time interrupts the scene to which the young couple assists. The feast is that it's highest. All the voices get mixed together: the fluttering of the doves, the harmonies of the organ, the theme of the idyl are nearly over, by St. Mark's big bells, which are joyfully chiming.
Critic of the first performance-Frankfurter Zeitung - Bad-Nauheim, June 19, 1914
Concert hall: Thursday June 18, III art concert, with Miss Marcia Van Dresser's contribution of the opera of a Frankfort on the main direction: Prof. Winderstein.
The director on our oratory has reserved the greatest success of the evening to one of his colleagues, the Hamburg director Francesco Paolo Neglia, who, as composer of a Venetian suite appear himself at the music stand of the direction, to bring to the Bad-Nauheim first performance and manuscript opera.
In general, no great account is taking of suites, of which there is great abundance, because for the most part they seem to alike. But it can be already given a place of exception to that concert of yesterday, and foresee it a long life. Everything shines, sparkles, gurgles, lightens and laughs. The artist takes us with a trip in gondola, in the moonlight, in the darkness of the evening, where we begin to hear a mandolin concert. This mandolin concert forms one of the most enchanting pieces of the whole suite, and it will be received in all the great and small orchestras in the world, above all for the rare and efficacious sweetness of the very beautiful action and full of the violins and the solo cellos. After this part the applause broke for so unanimous and impetuous that the success of the opera appeared already assured here. The third part will represent life in St. Mark's Square, and contains among the other a wonderful piece for wind instruments, that stands for a deep sweetness and for its supreme harmony. In the finish of the Opera the artist gives us a procession, in which the music renders all the pious and glad characteristic ways of the Italian people, well known to the composer, son of that land. The public heartened and thanked Professor Neglia with always-new applause that he tried to attribute to the orchestra, which had played perfectly well.
For shortness it has been wanted to report only one of the recensions is on the Venetian sweet, but many other Neglia's compositions had unfavorable reception on the part of the public and of the critic in Germany, before the breaking out of the world war in 1914. Then, from more than 30 years, a complete silence on his name and works.
As it has already in said in Neglia's article, the poor Neglia-a refugee and fallen in mystery on account of the war - in order to live had to give himself off to other occupations that could never more rise again in the field of art. Nevertheless, in those faraway years of hopeful, but vain expectation, he composed yet a very valuable music, of which only now - at the distance of many years from his death - is recognized the indisputable artistic value, and only now the compositions of the great and unhappy musician are executed everywhere.
In fact, and less than one year, after so much silence, almost all his compositions have been now published, of which several have already been engraved also on records The Masters Voice performed by artists of worldwide fame and more than 80 public performances have already taken place in the most important cities of Italy.
The "Minuet" work 14 and the "Trio" work 52 had had everywhere a particular favor of the public. Unfortunately however the greatest works of the composer have yet to be performed.