Francesco Mancini (1672-1732) was an Italian Baroque composer and organist, whose career was closely associated with Naples, one of the most vibrant musical centers of the early eighteenth century. A pupil of Francesco Provenzale, Mancini rose to prominence within the Neapolitan court and church music establishments, ultimately succeeding Alessandro Scarlatti as maestro di cappella at the royal chapel in 1725. Although he composed extensively for the stage and sacred venues-producing operas, cantatas, and oratorios-his instrumental music, particularly his works for the flute, reveals his deep understanding of melody, virtuosity, and expressive nuance.

Mancini's Sonate per flauto e cembalo (Sonatas for Flute and Harpsichord), published in London around 1724, represent some of the earliest Italian compositions dedicated specifically to the transverse flute, an instrument gaining popularity across Europe at the time. These sonatas blend the lyrical warmth typical of the Neapolitan school with virtuosic passagework that highlights both technical brilliance and expressive depth. The writing often alternates between elegant, songlike slow movements and rhythmically animated fast movements, showing Mancini's mastery of balance between vocal-style phrasing and instrumental agility.

Equally notable are his Concerti per flauto, which demonstrate an inventive approach to orchestral color and solo writing. The flute concertos combine Italianate brilliance with a sensitivity to the instrument's timbre, employing graceful melodic lines, clear structures, and engaging dialogue between soloist and ensemble. Mancini's concertos, alongside those of contemporaries such as Vivaldi and Pergolesi, contributed to establishing the flute as a leading solo instrument in eighteenth-century concert life.

Played by Lorenzo Cavasanti and Corina Marti, and the Capella Tiberina (Paolo Perrone, concertmaster) and the Ensemble Tripla Concordia.