Rugiadose Odorose Violette graziose, Voi vi state Vergognose, Mezzo ascose Fra le foglie, E sgridate Le mie voglie, Che son troppo. Le violette. Language: Italian (Italiano) Rugiadose Odorose Violette graziose, Voi vi state Vergognose, Mezzo ascose Fra le foglie, E sgridate Le mie voglie, Che. Odorose Violette graziose, Voi vi state. Vergognose, Mezzo ascose. Fra le foglie, E sgridate. Le mie voglie, Che son troppo ambiziose. “Le violette” Scarlatti.
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Pietro Alessandro Gaspare Scarlatti 2 May — 22 October was an Italian Baroque composerknown especially for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. Scarlatti was born in Palermo or in Trapani  then part of the Kingdom of Sicily.
He is generally said to have been a pupil of Giacomo Carissimi in Romeand some theorize that he had some connection with northern Italy because his early works seem to show the influence of Stradella and Legrenzi. The production at Rome of his opera Gli equivoci nel sembiante gained him the support of Queen Christina of Sweden who at the time was living in Romeand he became her maestro di cappella. In February he became maestro di cappella to the viceroy of Naplesperhaps through the influence of his sister, an opera singer, who might have been the mistress of an influential Neapolitan noble.
Here he produced a long series of operas, remarkable chiefly for their scarlati and expressiveness, as well as other music for state occasions. In Scarlatti left Naples and did not return until the Spanish domination had been superseded by that of the Austrians.
Pirro e Demetrio, R.342.23 (Scarlatti, Alessandro)
In the interval he enjoyed the patronage of Ferdinando de’ Medicifor whose private theatre near Florence he composed operas, and of Cardinal Ottoboniwho made him his maestro di cappellaand procured him a similar post at the Basilica di Santa Maria Maggiore in Rome in After visiting Venice and Urbino inScarlatti took up his duties in Naples again inand remained there until His last work on a large scale appears to have been the unfinished serenata for the marriage of the prince of Stigliano in He died in Naples in and is entombed there at the church of Santa Maria di Montesanto.
Scarlatti’s music forms an important link between the early Baroque Italian vocal styles of the 17th century, with their centers in Florence, Venice and Romeand the classical school of the 18th century. Scarlatti’s style, however, is more than a transitional element in Western music; like most of his Naples colleagues he shows an almost modern understanding of the psychology of modulation and also frequently makes use of the ever-changing phrase lengths so typical of the Napoli school.
Byhe had definitely established the “Italian overture” form second edition of Dal male il beneand had abandoned the ground bass and the binary form air in two stanzas in favour of the ternary form or da capo type of air.
From about onwards La caduta del Decemviriinfluenced partly perhaps by the style of Giovanni Bononcini and probably more by the taste of the viceregal court, his opera arias become more conventional and commonplace in rhythm, while his scoring is hasty and crude, yet not without brilliance L’Eraclea, the oboes and trumpets being frequently used, and the violins often playing in unison.
The operas composed for Ferdinando de’ Medici are lost; they might have given a more favourable idea of his style as his correspondence with the prince shows that they were composed with a very sincere sense of inspiration. Mitridate Eupatoreaccounted his masterpiece, composed for Venice incontains music far in advance of anything that Scarlatti had written for Naples, both in technique and in intellectual power.
In his opera Teodora he originated the use of the orchestral ritornello.
His last group of operas, composed for Rome, exhibit a deeper poetic feeling, a broad and dignified style of melody, a strong dramatic sense, especially in accompanied recitatives, a device which he himself had been the first to use as early as Olimpia vendicata and a much more modern style of orchestration, the horns appearing for the first time, and being treated with striking effect. Filippo Neri; and others and serenatas, which all exhibit a similar style, Scarlatti composed upwards of five hundred chamber-cantatas for solo voice.
These represent the most intellectual type of chamber-music of their period, and it is to be regretted that they have remained almost viloette in manuscript, since a careful study of them is indispensable to anyone who wishes to form an adequate idea of Scarlatti’s development. His few remaining Masses the story of his having composed two hundred is hardly credible and church music in general are comparatively unimportant, except the great St Cecilia Masswhich is one of the first attempts at the style which reached its height in the great Masses of Johann Sebastian Bach and Ludwig van Beethoven.
His instrumental music, though not without interest, is curiously antiquated as compared with his vocal works.
From Wikipedia, the free encyclopedia.
Sound Samples: Domenico Scarlatti – Le Violette
Pietro Scalatti Gaspare Scarlatti . Palermo or Trapani, Sicily . Performed by Sylvia Kind on a harpsichord of the type made in the early 20th century. List of operas by Alessandro Scarlatti.
Retrieved 5 February Compositions by Alessandro Scarlatti. Retrieved from ” https: Italian Baroque composers Italian opera composers Neapolitan school composers Pupils of Alessandro Scarlatti births deaths Italian classical composers Italian classical musicians Italian male classical composers Male opera composers People from Palermo Sicilian composers 17th-century classical composers 18th-century classical composers 17th-century Italian musicians 18th-century Italian musicians 17th-century Italian educators 18th-century Italian educators String quartet composers.
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