Cantate Ombre tacite e sole for alto, 2 violins, viola and continuo (manus., Naples, 716) : I. Recitativo
Cantate Ombre tacite e sole for alto, 2 violins, viola and continuo (manus., Naples, 716) : II. Aria
Cantate Ombre tacite e sole for alto, 2 violins, viola and continuo (manus., Naples, 716) : III. Recitativo
Cantate Ombre tacite e sole for alto, 2 violins, viola and continuo (manus., Naples, 716) : IV. Aria
Cantate Bella quanto crudel spietata Irene for alto and continuo (manus., Naples, 1717) : I. Recitativo
Cantate Bella quanto crudel spietata Irene for alto and continuo (manus., Naples, 1717) : II. Aria
Cantate Bella quanto crudel spietata Irene for alto and continuo (manus., Naples, 1717) : III. Recitativo
Cantate Bella quanto crudel spietata Irene for alto and continuo (manus., Naples, 1717) : IV. Aria
Sonata nona for recorder, 2 violins and continuo, in A minor (manus., Naples, 1725) : I. Allegro
Sonata nona for recorder, 2 violins and continuo, in A minor (manus., Naples, 1725) : II. Largo
Sonata nona for recorder, 2 violins and continuo, in A minor (manus., Naples, 1725) : III. Fuga
Sonata nona for recorder, 2 violins and continuo, in A minor (manus., Naples, 1725) : IV. Piano
Sonata nona for recorder, 2 violins and continuo, in A minor (manus., Naples, 1725) : V. Allegro
Cantata Pastorale (Non so qual pił m'ingombra) for alto, 2 violins and continuo (manus., Naples, 1716) : I. Recitativo
Cantata Pastorale (Non so qual pił m'ingombra) for alto, 2 violins and continuo (manus., Naples, 1716) : II. Aria
Cantata Pastorale (Non so qual pił m'ingombra) for alto, 2 violins and continuo (manus., Naples, 1716) : III. Recitativo
Cantata Pastorale (Non so qual pił m'ingombra) for alto, 2 violins and continuo (manus., Naples, 1716) : IV. Aria pastorale
Motet Infirmata, vulnerata for alto, 2 violins and continuo (manus., Naples, 1702) : I. Aria
Motet Infirmata, vulnerata for alto, 2 violins and continuo (manus., Naples, 1702) : II. Recitativo
Motet Infirmata, vulnerata for alto, 2 violins and continuo (manus., Naples, 1702) : III. Aria
Motet Infirmata, vulnerata for alto, 2 violins and continuo (manus., Naples, 1702) : IV. Aria
Motet Infirmata, vulnerata for alto, 2 violins and continuo (manus., Naples, 1702) : V. Recitativo
Motet Infirmata, vulnerata for alto, 2 violins and continuo (manus., Naples, 1702) : VI. Aria
Sonata vigesima quarta for [oboe], 2 violins and continuo in G minor (manus., Naples, 1725) : I. Allegro
Sonata vigesima quarta for [oboe], 2 violins and continuo in G minor (manus., Naples, 1725) : II. Fuga
Sonata vigesima quarta for [oboe], 2 violins and continuo in G minor (manus., Naples, 1725) : III. Largo
Sonata vigesima quarta for [oboe], 2 violins and continuo in G minor (manus., Naples, 1725) : IV. Allegro
Alessandro Scarlatti: his prolificacy as a composer of secular vocal music is astonishing, even by the standards of the day; for three decades, dozens of his operas occupied the stages of cities throughout Italy and German... more »y, and London would develop a taste for opera seria thanks to his Pirro e Demetrio. The great care he took with both proportion and dramatic expression resulted in a perfect balance between the respective roles of recitative and aria, to which he accorded a great formal freedom. Beyond the extraordinary melodic fluidity that characterizes Scarlatti's music, it was his structural rigor, a melancholic mood, and even a certain severity in the harmonic progressions of his recitatives that gradually distanced him from his contemporaries, whose tendency toward superficial hedonism increasingly sacrificed dramatic honesty in favour of vocal prowess.« less
Alessandro Scarlatti: his prolificacy as a composer of secular vocal music is astonishing, even by the standards of the day; for three decades, dozens of his operas occupied the stages of cities throughout Italy and Germany, and London would develop a taste for opera seria thanks to his Pirro e Demetrio. The great care he took with both proportion and dramatic expression resulted in a perfect balance between the respective roles of recitative and aria, to which he accorded a great formal freedom. Beyond the extraordinary melodic fluidity that characterizes Scarlatti's music, it was his structural rigor, a melancholic mood, and even a certain severity in the harmonic progressions of his recitatives that gradually distanced him from his contemporaries, whose tendency toward superficial hedonism increasingly sacrificed dramatic honesty in favour of vocal prowess.