Though the three concertos presented here are not all essentially Neapolitan, they all make reference to Naples in one way or another. Porpora, to be sure, was from Naples - the start and the very end of his career both played out at the foot of Vesuvius, even if his many peregrinations took him to London, Rome, Venice, Dresden and Vienna; Haydn spent a while as first the disciple and then the assistant (and dogsbody...) of Porpora, whom he met in Vienna at the house of Metastasio in 1753 - thus closing the Neapolitan circle. As for Monn, he would spend his whole life in Austria, but he would all the same accept the novelties coming up from the South, in particular the new, purely melodic sensibility – which in his day (1717 to 1750) was still adulterated with baroque polyphony. Moreover, the Neapolitan connection of cellist Adriano Maria Fazio (here accompanied by the soloists of the Cappella Neapolitana... just to prove that you never truly leave Naples!) is no less than the prestigious Premio delle Arti awarded by this great city; Fazio studied with Antonio Meneses before deepening his knowledge of baroque with Christophe Coin. Finally, if our dear readers want to know why the album is entitled Invisible: it is a reference to a quote from our cellist, who says that "the invisible is the tangible sign of our emotions". © SM/Qobuz