Purpose of the Caucus:

The Albanian Issues Caucus focuses on six key goals:

1. Promotion of Democratic Institutions: Supporting the peaceful development of democratic systems in Albania, Kosovo, North Macedonia, and other Balkan regions with significant Albanian populations.
2. Humanitarian Assistance: Working to alleviate human suffering in Albania, Kosovo, North Macedonia, and other regions in the Balkans with Albanian communities.
3. Cultural Exchange: Encouraging greater cultural exchange between Albania, Kosovo, North Macedonia, and other ethnic Albanian-populated areas.
4. Human Rights Advocacy: Promoting the protection of human rights, including those of minority groups, in Albania, Kosovo, North Macedonia, and neighboring regions with ethnic Albanians.
5. Economic Development: Supporting the creation of free-market economies throughout the Balkans to foster prosperity and growth.
6. Strengthening U.S.-Albanian Connections: Facilitating communication and collaboration between Albanian Americans, their ancestral homelands in the Balkans, the U.S. government, and other ethnic communities.

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On April 12, a constituent assembly, composed of individuals who had already been in secret communication with the Italian embassy in Tirana, declared King Victor Emmanuel III of Italy as the new King of Albania. Francesco Jacomoni, the former Italian ambassador to Albania, was appointed as the king’s lieutenant. Shefqey bey Verlaci became the head of a new Albanian government, which immediately signed a series of agreements with Jacomoni that effectively abolished Albania’s parliament and independent diplomatic relations. The Albanian army was dissolved, and the two nations were officially unified under Italian control.

At the time, this invasion was perceived in the West as part of a larger Axis strategy involving both Nazi Germany and Fascist Italy. However, it has since been revealed that Mussolini’s invasion of Albania was more of a reaction to Germany’s annexation of Bohemia and Moravia in March 1939. This event marked the collapse of Western powers’ appeasement policies, and Mussolini sought a quick victory to assert Italian power. Albania, politically and economically weakened, was seen as an easy target, and its capture provided Italy with a strategic base for its subsequent invasion of Greece in October 1940.

The Italian Occupation of Albania (1939-1943)

Italy’s occupation of Albania lasted from April 7, 1939, until Italy’s surrender to the Allies on September 8, 1943. During this period, Albania and Italy were closely integrated. The Albanian and Italian armed forces were merged, and King Victor Emmanuel III of Italy was declared the new monarch of Albania after King Zog fled. Italians took control of key towns and strategic locations, and former ambassador Francesco Jacomoni was appointed as the country’s governor. Economically, the two countries were also unified, with customs duties between them abolished and Italians free to settle in Albania.

When Italy launched its invasion of Greece on October 28, 1940, Albania became the main base for Italian military operations. Albanian forces, now part of the joint Italian-Albanian army, were sent to the front, though some Albanian soldiers refused to fight and were consequently imprisoned in concentration camps, such as the one in Shijak. Although Italy initially advanced into Greece, the Greek army soon pushed Italian forces back, and Greek troops eventually entered Albanian territory.

Following the German invasion of Yugoslavia in 1941, Yugoslavia was partitioned, and areas with significant Albanian populations were handed over to Italy and integrated into Albania. While most Albanians welcomed the expansion of territory, particularly the addition of Kosovo, they remained deeply resentful of the union with Italy. Economically, Albania benefited from Italian investments in infrastructure, such as road construction, and from the addition of more agriculturally favorable lands in Kosovo. However, opposition to Italian rule grew, with strikes in Shkodër, protests in Korçë, and the rise of a partisan resistance movement.

After Italy capitulated to the Allies in September 1943, the Italian occupation officially ended. Nevertheless, thousands of Italian soldiers remained in Albania, with many either being captured by German forces or managing to evade capture by disguising themselves as civilians, some even joining the Albanian resistance. This period of occupation and its aftermath are vividly captured in literary works such as The General of the Dead Army by Ismail Kadare and Albania’s National Liberation Struggle: The Bitter Victory by Reginald Hibbert.

Thus, while the Italian invasion initially seemed like a swift victory, it laid the groundwork for years of conflict, resistance, and eventual integration into the larger struggles of World War II.

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David Kosta, Master of Ceremonies at the event, made the announcement following a speech by Van Christo. “Ladies and gentlemen,” Kosta proclaimed, “Van Christo has just informed me that he will soon donate photocopies of two Scanderbeg operas—one by Vivaldi and another by Francoeur—along with English translations, to the Fan Noli Library, the Skanderbeg Museum in Kruja, Albania, and prestigious institutions such as Harvard University’s Department of Music, Boston University’s School of the Arts, and the Boston Conservatory of Music.”

This groundbreaking announcement was the result of years of painstaking research by Van Christo, who has long been recognized for his dedication to preserving Albanian art and culture. Known for his work as the owner of Van Christo Advertising Agency and creator of the popular radio programs “Van Christo Radio Theatre,” Christo has consistently promoted cultural unity among Albanians worldwide. His efforts to find and preserve works dedicated to Albania’s history culminated in this significant cultural discovery.

Van Christo’s passion for Albanian music and culture dates back to his tenure as the conductor of Kor’i Usterit, or the “Worcester Choir,” from 1979 to 1983. This Albanian men’s choir performed across major cities like New York, Philadelphia, and Boston, leaving a lasting impact on the Albanian diaspora in the U.S. But Christo’s most thrilling cultural discovery came in 1982, when he was reading The Albanians, a book by Anton Logoreci. In it, he encountered a passage noting that Antonio Vivaldi, the famed Venetian composer, had written an opera about Scanderbeg, Albania’s national hero.

Overcome with excitement, Christo immediately set out to uncover whether the opera still existed and where it might be found. His search, which spanned three years, took him to musicologists, libraries, and historians across Italy, England, France, and the United States. His efforts finally led him to discover that Vivaldi’s Scanderbeg opera premiered in Florence on June 22, 1718, at the reopening of the Teatro de la Pergola, a historic theater in the city. Vivaldi’s choice of Scanderbeg as the subject of the opera reflected the enduring fame of the Albanian hero, even 300 years after his legendary resistance against the Ottoman Empire.

As if the discovery of Vivaldi’s opera wasn’t enough, Christo stumbled upon another major find—a second opera about Scanderbeg, composed by François Francoeur in the 18th century. This opera, which had been performed before King Louis XV and Queen Marie Charlotte Leszczynska of France at the royal palace in Fontainebleau in 1763, was another testament to Scanderbeg’s far-reaching legacy. Christo eventually located the entire opera, including both the original and a revised version, along with its musical scores and librettos.

Van Christo believes that these operas, particularly Francoeur’s, could find a place in the repertoires of major opera companies today. He has had the work authenticated by Dr. Graham Sadler, a noted musicologist from the University of Hull, and says that it is in excellent condition, ready for revival. Christo expressed his confidence that the Francoeur opera, with its historical and musical significance, could be successfully produced if introduced to the right audiences.

As for Vivaldi’s Scanderbeg, Christo has an even more ambitious dream. He envisions commissioning a modern composer, such as Gian Carlo Menotti, to create a new opera based on Vivaldi’s libretto, incorporating the remaining four arias that survived from the original score. With support from musicologist Professor Michael Talbot of the University of Liverpool, Christo believes that a collaboration of this kind could reinvigorate Vivaldi’s opera and bring it to major stages around the world.

However, such a project would require significant financial backing—an estimated quarter of a million dollars. Van Christo hopes that the Albanian-American community, especially younger generations, will step up to help fund and promote these important cultural works. “Imagine a Vivaldi-Menotti collaboration on a Scanderbeg opera!” Christo mused. His vision is for these operas to not only preserve Albania’s cultural heritage but also to inspire new generations through the revival of these historic masterworks.

With this remarkable discovery, Van Christo has brought to light two forgotten pieces of music history that celebrate one of Albania’s greatest heroes. His dedication to preserving these works demonstrates the enduring importance of Scanderbeg, not only to Albania but to the world of classical music.

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The first significant Albanian military presence in Italy occurred in 1448 when Dhimiter Reres, a trusted commander under Skanderbeg, was called upon by Alfonso I of Aragon, the King of Naples, to aid in conflicts in the region of Calabria. In recognition of their military service, Reres and his Albanian soldiers were granted lands, leading to the establishment of Albanian communities in both Calabria and Sicily. Reres’ sons, Gjergj and Vasil, further expanded Albanian settlements in the provinces of Agrigento, Catania, and Palermo in Sicily. This marked the beginning of a significant and enduring presence of Albanians in the region.

The emigration continued to intensify after the death of Skanderbeg in 1468. His death marked a turning point in Albania’s resistance against the Ottoman Empire, and the subsequent fall of Kruja, the capital of Skanderbeg’s defense, in 1478 led to a mass exodus of Albanians to Italy. Many of Skanderbeg’s soldiers and their families fled across the Adriatic Sea, joining earlier Albanian settlers. This wave of refugees established new Arberesh communities in Apulia, Calabria, and Molise, founding towns such as Campomarino, Casalvecchio di Puglia, and Santa Croce di Magliano.

By the early 16th century, the flow of Albanian immigrants had grown so large that the Albanian presence became firmly established across several Italian regions. Entire villages, particularly in Calabria, were founded and populated by Albanians who preserved their language, customs, and Byzantine-rite Christian faith. Notable towns such as San Demetrio Corone, Spezzano Albanese, and Santa Sofia d’Epiro were built and sustained by the Arberesh, who created a distinct Albanian identity within Italy that endured for generations.

Culturally and religiously, the Arberesh faced significant challenges in maintaining their traditions, particularly their Byzantine-rite Christianity. The Roman Catholic Church, which dominated Italy, exerted considerable pressure on these Albanian immigrants to adopt the Latin rite. Despite these pressures, the Arberesh steadfastly preserved their Byzantine traditions. Latinization efforts, including mixing the Latin and Byzantine liturgies, were resisted by many of the Arberesh communities, but the threat of forced assimilation loomed.

A significant turning point came in the 18th century when Pope Clement XI, himself of Albanian descent, recognized the importance of protecting the cultural and religious identity of the Arberesh. He worked to support their right to practice the Byzantine rite and established the College of Saint Athanasius in Rome in 1732 to train priests in the Byzantine liturgical tradition. This effort was further supported by subsequent popes, including Pope Clement XII, who provided funds and resources for the establishment of a Byzantine bishopric in Calabria. This bishop was granted full authority to oversee the Byzantine churches and clergy, providing much-needed protection for the religious practices of the Arberesh.

Despite these advancements, tension remained between the Arberesh and the Latin Catholic hierarchy, particularly in areas where local bishops sought to impose Latin practices on the Albanian communities. Nevertheless, the formal recognition of the Byzantine rite by the Vatican in the 17th and 18th centuries was a critical victory for the Arberesh, allowing them to maintain their distinct liturgical practices.

Over time, additional measures were taken to secure the cultural and religious independence of the Arberesh. In the late 19th and early 20th centuries, the Vatican further solidified the position of the Arberesh within the Catholic Church. In 1919, during the papacy of Benedict XV, the diocese of Lungro in Calabria was officially established to serve the Byzantine-rite Arberesh communities. Later, in 1937, Pius XI established the diocese of Piana degli Albanesi in Sicily. These dioceses were critical in preserving the Arberesh’s unique religious identity and providing them with dedicated bishops who understood and respected their Byzantine traditions.

In addition to religious support, the Arberesh communities also benefited from broader Italian recognition of their cultural heritage. The Italian government and academic institutions took an interest in documenting and preserving Arberesh history, language, and culture. Arberesh literature, folklore, and traditions were recorded and celebrated as part of Italy’s diverse cultural tapestry.

The Arberesh identity, however, was not confined to religious or cultural practices alone. They also played a role in Italian military and political life. Some Arberesh joined the Spanish and Venetian armies, where their military prowess was highly regarded. Albanian cavalry units, known as the “Stratioti,” were famed for their bravery and played a prominent role in European conflicts.

The influence of the Arberesh extended beyond Italy. Pope Clement XI, the most notable Arberesh figure, had a deep connection to his Albanian roots and worked actively to unify Christianity in his ancestral homeland. He convened the “First Albanian National Council” in 1703, which sought to bring about reforms in the Catholic Church in Albania and promote cooperation between the Catholic and Orthodox communities. Although his efforts were not entirely successful, they demonstrated the Arberesh’s ongoing concern for the fate of Albania and the broader Christian world.

Through centuries of migration, struggle, and adaptation, the Arberesh managed to preserve their distinct identity within Italy. Their story is one of resilience, as they maintained their Albanian language, Byzantine religious practices, and cultural traditions despite being far from their original homeland. The Arberesh continue to thrive in Italy today, serving as a testament to the enduring spirit of the Albanian people. Their communities remain active in Calabria, Sicily, and other parts of Italy, where they celebrate their heritage and contribute to the rich mosaic of Italian culture.

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Christo’s career began as President and Creative Director of Van Christo Advertising in Boston, a role he held from 1960 to 1994. His agency catered to high-tech and industrial clients across the USA, Canada, and the UK, earning prestigious accolades, including two CLIO Awards and two International Broadcasting Awards.

Following the collapse of communism in Albania in 1994, Christo saw a growing need to support Albanian immigrants who were arriving in Massachusetts and facing challenges such as housing, healthcare, and education. To meet this need, he founded the Frosina Information Network, a non-profit organization that provided critical assistance to hundreds of Albanian and other immigrants. In recognition of his efforts, Christo was appointed to the Massachusetts Governor’s Advisory Council on Refugees and Immigrants by Governors Weld, Cellucci, and Swift.

Christo’s commitment to Albania is shared by his wife, Jane Christo, who served as General Manager of NPR radio station WBUR in Boston. In 2008, she was awarded the Medal of Gratitude by Albanian President Alfred Moisiu for her work in training journalists from Albania and Kosovo. In 2012, Van Christo was honored with the Order of Mother Teresa Medal by Albanian President Bamir Topi for his efforts in aiding Albanian immigrants and raising awareness of the suffering of Kosovars under Serbian oppression.

A U.S. Navy veteran, Christo served in the Pacific during World War II as a Petty Officer aboard the U.S.S. Chaffee (DE230). In January 1945, the Chaffee was struck by a Japanese torpedo intended for the U.S.S. Pennsylvania (BB38), an action for which the crew was awarded the Philippine Liberation Medal with Bronze Star. Christo is also a founding member and Commander Emeritus of the Albanian American War Veterans of the United States (AAWV) in Massachusetts.

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Despite these limitations, Gjoka and other musicians of his era helped establish Shkodra as a key center of musical life in Albania, particularly between the two World Wars and after WWII. Shkodra was the birthplace of Albania’s first orchestral and choral groups, and the staging of the country’s earliest musicals. This musical tradition eventually spread to the southern city of Korça. As a result, Shkodra became the educational hub for the first generation of Albanian composers in the latter half of the 20th century.

Preng Jakova (1917-1969), who studied clarinet at the prestigious Santa Cecilia Conservatory in Rome, was one of the most influential composers of this period. Jakova specialized in vocal music, and with operas like “Mrika” (1958) and “Scanderbeg” (1968), he became known as the creator of Albanian national opera. His works were influenced by the 19th-century Italian bel canto tradition, and he skillfully incorporated the melodies and rhythms of Albanian folk music into his compositions.

Among Albanian composers, none has had a greater impact than Çesk Zadeja (1927-1997), often hailed as the father of Albanian classical music. Born and raised in Shkodra, Zadeja studied composition at the Moscow Conservatory and, from 1956 onward, was a key figure in the development of Albania’s musical culture. He played an instrumental role in founding the Music Conservatory of Tirana, the Theatre of Opera and Ballet, and the Assembly of Songs and Dances. Zadeja also taught music composition at the Academy of Arts in Tirana for 30 years, where he educated a generation of prominent Albanian composers. His body of work, including his first symphony composed in 1956, two ballets, numerous concertos, symphonic works, chamber music, and vocal pieces, was characterized by technical precision and a deep integration of Albanian folk music elements.

The second half of the 20th century posed significant challenges for Albanian music due to the absence of a strong professional tradition. As a result, much of the country’s musical development remained rooted in classical and romantic styles. This era produced many notable composers, including Tish Daia (b. 1926), who composed Albania’s first ballet, “Halili and Hajria”; Nikolla Zoraqi (1928-1991), who worked on opera and ballet compositions; and Feim Ibrahimi (1935-1997), whose piano concertos contributed significantly to the development of Albanian musical theater in the 1970s and 1980s. Other important figures from this period include Tonin Harapi (1925-1991), a pioneer in Albanian piano education, as well as Shpetim Kushta (b. 1943) and Thoma Gaqi (b. 1949).

With the fall of communism in 1990, Albanian music entered a new phase of development. The end of state control and ideological restrictions allowed for the creation of new musical structures. Two key organizations, “The Society of Music Professionals” and “The Society of New Albanian Music,” were established between 1991 and 1992, providing a platform for Albanian musicians to integrate into the international music scene. These organizations also facilitated the emergence of new festivals and concerts, including the annual Festivals of New Music and International Chamber Music concerts, which continue to showcase contemporary Albanian music.

Today, Albanian composers like Aleksander Peçi (b. 1951), Sokol Shupo (b. 1954), Vasil Tole (b. 1963), and Endri Sina (b. 1968) represent the ongoing evolution of Albania’s classical music tradition. They continue to blend traditional Albanian elements with modern compositional techniques, ensuring that the country’s musical legacy remains vibrant and dynamic in the 21st century.

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Despite these challenges, Gjoka and a few other musicians helped turn Shkodra into a hub of Albanian musical activity between the two World Wars and beyond. The city was home to Albania’s first orchestral and choral groups, as well as its earliest musicals. These developments later spread to the southern city of Korça, and Shkodra became the educational center for the first generation of Albanian composers in the mid-20th century.

One of the most prominent of these composers was Preng Jakova (1917-1969). Educated at the Santa Cecilia Conservatory in Rome, Jakova primarily composed vocal music. His operas “Mrika” (1958) and “Scanderbeg” (1968) earned him recognition as the founder of Albanian national opera. His lyrical compositions were heavily influenced by the Italian bel canto tradition of the 19th century, while also incorporating elements of Albanian folk music.

Perhaps the most renowned figure in Albanian classical music is Çesk Zadeja (1927-1997), often referred to as the “father of Albanian classical music.” A native of Shkodra, Zadeja studied music composition at the P.I. Tchaikovsky Conservatory in Moscow. Upon returning to Albania, he played a pivotal role in shaping the country’s musical landscape, contributing to the founding of the Music Conservatory of Tirana, the Theatre of Opera and Ballet, and the Assembly of Songs and Dances. As a professor at the Academy of Arts in Tirana, Zadeja mentored a generation of Albanian composers. His first symphony, written in 1956, marked the beginning of a classical music tradition in Albania. Over the course of his career, he composed ballets, concertos, symphonic works, and chamber music, blending sophisticated musical techniques with elements of Albanian folk traditions.

The latter half of the 20th century saw further challenges for Albanian music, as the country lacked a strong professional tradition. As a result, many composers focused on classical and romantic styles. Notable figures from this period include Tish Daia (b. 1926), composer of the first Albanian ballet “Halili and Hajria”; Nikolla Zoraqi (1928-1991), known for his contributions to opera and ballet; and Feim Ibrahimi (1935-1997), who played a key role in the development of Albanian musical theater with his piano concertos during the 1970s and 1980s.

With the fall of communism in 1990, Albanian music faced new opportunities and challenges. The dissolution of state control allowed for the emergence of new musical organizations and structures. Two key groups, “The Society of Music Professionals” and “The Society of New Albanian Music,” were established in the early 1990s, helping to integrate Albanian composers into the global music scene. These organizations also initiated important events, such as the annual Festivals of New Music and International Chamber Music concerts.

Today, prominent Albanian composers like Aleksander Peçi (b. 1951), Sokol Shupo (b. 1954), Vasil Tole (b. 1963), and Endri Sina (b. 1968) continue to push the boundaries of Albanian music, blending tradition with contemporary influences. Their contributions mark the latest chapter in Albania’s ongoing journey toward establishing a vibrant and recognized classical music tradition.

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