Domenico Scarlatti (1685–1757) was an Italian composer and harpsichord virtuoso of the Baroque era, best known for his prolific output of keyboard sonatas. Born in Naples on October 26, 1685, Scarlatti hailed from a musical family, with his father, Alessandro Scarlatti, being a renowned composer of opera and sacred music.
Domenico Scarlatti's early musical education was shaped by his father, who recognized and nurtured his son's prodigious talent. By the age of 16, Domenico had already established himself as a skilled harpsichordist and composer. His career led him to various European cities, including Rome, where he served in the court of the exiled Polish queen Maria Casimira.
Domenico Scarlatti, an Italian composer of the Baroque era, is widely celebrated for his remarkable contributions to the world of music. Renowned for his sonatas, Scarlatti's works demonstrate exquisite craftsmanship, inventive melodies, and captivating harmonies. In this blog post, we embark on a journey through his vast repertoire to explore and celebrate the 10 best compositions by this musical genius. Domenico Scarlatti's legacy as a composer continues to inspire generations of musicians and music enthusiasts. Through these ten masterpieces, we have explored the breadth and depth of his compositions, each displaying a unique facet of his genius. From pastoral serenity to fiery passion and intricate dance rhythms, Scarlatti's music transcends time, captivating listeners with its beauty and emotional depth. Embrace the brilliance of this extraordinary composer and dive into the mesmerizing world of Domenico Scarlatti's music.
Domenico Scarlatti, an Italian composer of the Baroque era, left an indelible mark on the world of music with his vibrant and ingenious compositions. Renowned for his keyboard sonatas, Scarlatti's works exhibit exceptional virtuosity, harmonic complexity, and a fusion of various musical styles. This blog post delves into the complete biography of Domenico Scarlatti, shedding light on his life, achievements, and lasting musical legacy.
In the annals of classical music, few composers have left an indelible mark on the world as Domenico Scarlatti did. Renowned for his groundbreaking contributions to the development of keyboard music, Scarlatti's compositions continue to captivate audiences centuries after his time. This blog post delves into the fascinating biography of this Italian maestro, shedding light on his life, artistic journey, and enduring musical legacy. Born on October 26, 1685, in Naples, Italy, Domenico Scarlatti hailed from a family steeped in musical tradition. His father, Alessandro Scarlatti, a prominent composer of the Baroque era, recognized his son's prodigious talent at a young age and nurtured it. Under Alessandro's guidance, Domenico received comprehensive musical training and excelled in various instruments, including the harpsichord and the organ.
Scarlatti - Vivaldi - Concerto Grosso in F minor - Music | History
The Sinfonie di concerto grosso (R.533/1 to 12) is the title of twelve works for flute, strings and basso continuo by Alessandro Scarlatti, composed in Naples from June 1, 1715 - the same year as the performance of his opera Tigrane, one of his greatest successes, and his oratorio La Santissima Trinità.
In 1715, at the age of fifty-five, Scarlatti was at the height of his career and creativity, with extraordinary fertility in all the vocal genres of his time. Yet, he called himself a "glory in decline" (letter to Ferdinando de' Medici). If he chose to write a collection of twelve instrumental works, it was perhaps with a view to publication. He also composed toccatas and variations for the keyboard, an ensemble of six Concerti grossi (published in London in 1740), as well as seven sonatas for flute, two violins and continuo, dated the year of his death.
The twelve Sinfonie of 1715, which are part of this series of instrumental works, are preserved in a single manuscript, now in London. It bears the following words: cominciate al Po Giuno 1715 (begun on June 1, 1715) On the other hand, no completion date is indicated. The orchestra also includes a viola, like a desire to cover the sound spectrum of the large orchestra. Each Sinfonia also includes a cello part distinct from the continuo.
The title appears only on the header of the first Sinfonia. The second is entitled Concertata con li ripieni, but the others have no title. Four are real concertos grossos with another solo instrument in addition to the recorder: a second flute (Nos.1 and 5), one trumpet (No. 2), one oboe (No.4) while eight are concertos for solo recorder, where the instrument shines especially in slow movements and joins the tutti in fast movements, each bringing its own colours to the ensemble's texture.
All the Sinfonie are in five movements, except for Nos. 4 and 9. The 4th is deprived of a fast introductory movement and the 9th is added a minuet. The first movement is fast and usually ends on the dominant. The second is an Adagio transition, usually to a 3
4 time. The third is a fugue (sometimes with two themes), generally the most accomplished movement. This is followed by another transition Adagio, which leads to a rapid dance movement or a march that concludes the composition.
The last Sinfonia is the only one with a title, "The Genius", which means "the charming, the brilliant" or most probably "the favorite" like the concerto RV277 by Vivaldi.
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