Saturday, 7 December 2013


“We are the music makers, and we are the dreamers of dreams.” ― Arthur O’Shaughnessy

For Music Saturday some music by the patriarch of a musical family, Alessandro Scarlatti. Alessandro Scarlatti (2 May 1660 – 22 October 1725) was an Italian Baroque composer especially famous for his operas and chamber cantatas. He is considered the founder of the Neapolitan school of opera. He was the father of two other composers, Domenico Scarlatti and Pietro Filippo Scarlatti.

Scarlatti was born in Palermo, then part of the Kingdom of Sicily. He is generally said to have been a pupil of Giacomo Carissimi in Rome, and some theorise 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 nell Sembiante” (1679) gained him the support of Queen Christina of Sweden (who at the time was living in Rome), and he became her Maestro di Cappella.

In February 1684 he became Maestro di Cappella to the viceroy of Naples, perhaps 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 fluency and expressiveness, as well as other music for state occasions.

In 1702 Scarlatti left Naples and did not return until the Spanish domination had been superseded by that of the Austrians. In the interval he enjoyed the patronage of Ferdinando de' Medici, for whose private theatre near Florence he composed operas, and of Cardinal Ottoboni, who made him his maestro di cappella, and procured him a similar post at the Basilica di Santa Maria Maggiore in Rome in 1703.

After visiting Venice and Urbino in 1707, Scarlatti took up his duties in Naples again in 1708, and remained there until 1717. By this time Naples seems to have become tired of his music; the Romans, however, appreciated it better, and it was at the Teatro Capranica in Rome that he produced some of his finest operas (“Telemaco”, 1718; “Marco Attilio Regolò”, 1719; “La Griselda”, 1721), as well as some noble specimens of church music, including a mass for chorus and orchestra, composed in honour of Saint Cecilia for Cardinal Acquaviva in 1721. His last work on a large scale appears to have been the unfinished serenata for the marriage of the prince of Stigliano in 1723. He died in Naples in 1725.

Here are seven concerti for various instruments (Naples, 1725):
Concerto for flute, strings and basso continuo in A major: I. Allegro - 0:05 II. Fuga - 1:00 III. Adagio - 2:54 IV. Allegro - 4:48
Concerto for flute, strings and basso continuo in D major:
I. Allegro, adagio - 6:12 II. Fuga - 8:21 III. Largo - 10:25 IV. Allegro - 12:14
Concerto for recorder, strings and basso continuo in A minor:
I. Allegro - 13:39 II. Largo - 15:39 III. Fuga - 17:17 IV. Piano - 19:23 V. Allegro - 21:11
Concerto for recorder, strings and basso continuo in C minor:
I. Moderato - 23:06 II. Fuga - 24:27 III. Largo - 26:20 IV. Allegro - 27:51 V. Andante - 29:21
Concerto for recorder, strings and basso continuo in A minor:
I. Andante - 30:15 II. Allegro - 34:27 III. Veloce, lento - 36:20 IV. Allegro - 37:33
Concerto for recorder, strings and basso continuo in C major:
I. Adagio - 39:29 II. Fuga - 41:07 III. Largo - 43:26 IV. Allegro - 44:57
Concerto for recorder, strings and basso continuo in G minor:
I. Allegro - 46:33 II. Fuga - 47:27 III. Largo - 49:38 IV. Allegro - 51:39

Alto recorder: Michael Schneider (A. Brown, after Denner)
Transverse flute: Karl Kaiser (G. Kowalewsky, after Palanca)
Violin: Sabine Lier (S. Klotz, 1760, Mittenwald) Ingeborg Scheerer (T. Eberle, 1781, Naples) Violoncello: Rainer Zipperling (V. Panarmo, 1786, Palermo)
Harpsichord and Chamber Organ: Sabine Bauer (Italian model, Griewisch / Fr. Lieb) Chamber Organ: Harald Hoeren (Fr. Lieb)