Alessandro Scarlatti

“ Leo and Scarlatti at their best have a solidity and dignity entirely wanting in Durante, and Alessandro Scarlatti at his worst is frivolous rather than sentimental. This type of music is characteristic of Durante as a man; intellectually uncultured, but sincerely devout. As a teacher he insisted on the strict observance of rules for which he either would not or could not give a reason, differing thus from Alessandro Scarlatti, whose first care was to develop his pupils’ talents according to their own individualities, regarding all rules as subservient to his exquisite sense of musical beauty. ”

“ It was Alessandro Scarlatti, however, who completely established the position of the aria in opera and defined its form. He himself was a noted singer and a teacher of singing, and he saw in the aria abundant opportunity for the display of pure vocal ability. His success in making music that enabled singers to reveal the beauties of their voices decided the direction in which Italian opera was to move until almost the present day, and led to the birth of a numerous body of composers upon whom I am fond of placing the title "Neapolitan school." ”

“ It must not be forgotten that Alessandro Scarlatti’s harpsichord toccatas, described in the previous chapter, are, in spite of a general heaviness, often enlivened by astonishing devices of virtuosity.
Scarlatti wrote between three and four hundred pieces for the harpsichord. The Abbé Santini [12] possessed three hundred and forty-nine. Scarlatti himself published in his lifetime only one set of thirty pieces. These he called exercises (esercizii) for the harpsichord. The title is significant. Before 1733 two volumes, Pièces pour le clavecin, were published in Paris ”

“ One of the airs occurring both in 'Agrippina' and the oratorio appears also in Alessandro Scarlatti's 'Pyrrhus,' given in London in December of the same year (1708) ; but it seems certain that it was introduced into Scarlatti's opera by the influence of some English amateurs who had seen 'Agrippina' in Venice. For the Roman academy of Cardinal Ottoboni Handel wrote an oratorio to a libretto by Cardinal Panfili, 'II Trionfo del Tempo e del Disinganno,' which was subsequently transformed into the English oratorio, 'The Triumph of Time and Truth,' performed 1757. ”

“ GROSSI, GIOVANNI FRANCESCO (?–1699) , one of the greatest Italian singers of the age of bel canto, better known as Siface, was born at Pescia in Tuscany about the middle of the 17th century. He entered the papal chapel in 1675, and later sang at Venice. He derived his nickname of Siface from his impersonation of that character in an opera of Cavalli. It has generally been said that he appeared as Siface in Alessandro Scarlatti’s Mitridate, but the confusion is due to his having sung the part of Mitridate in Scarlatti’s Pompeo at Naples in 1683. ”

“ It will be noticed that each of these great men speaks of a different race. We may consider Scarlatti first as spokesman in harpsichord music of the Italians, who at that time had made their mark so deep upon music that even now it has not been effaced, nor is likely to be. His father, Alessandro, was the most famous and the most gifted musician in Europe. From Naples he set the standard for the opera of the world, and in Naples his son Domenico was born on October 26, 1685, a few months only after the birth of Sebastian Bach in Eisenach. ”

“ SCARLATTI, Domenico, or, according to [1] Quadrio, Girolamo, son of Alessandro, born apparently in Naples, 1683, first learned from his father, and later from Gasparini. He has been called a pupil of Bernardo Pasquini, but that seems most improbable, seeing that Pasquini was of the school of Palestrina, and wrote entirely in the contrapuntal style, whereas Domenico Scarlatti's chief interest is that he was the first composer who studied the peculiar characteristics of the free style of the harpsichord. ”

“ SCARLATTI, Giuseppe, grandson of Alessandro, born at Naples 1712. Of his artistic life but little is known. He settled in Vienna in 1757, up to which date he had produced the following operas:—'Pompeo in Armenio' (Rome, 1747) ; 'Adriano in Siria' (Naples, 1752) ; 'Ezio' (Ib. 1754) ; 'Gli effetti della gran Madre Natura' (Venice, 1754) ; 'Merope' (Naples, 1755) ; 'Chi tutto abbraccia nulla stringe' (Venice, 1756) . ”

“ The Scarlatti style is a genuine product of the Italian musical emotion. The Italian is not born for heavy, contrapuntal, “vain ticklings of the ears”; nor, on the other hand, for too intimate effusions or symbolic mysteries. He is sensuous through and through; delight in playing and in sound is the very life of his music, as delight in outline and in colour is the very life of his painting. The intoxication of absolute tone runs through the masses of his churches, the operas of his theatre, the chamber-music of his salons. ”

“ Italian music has to French the relation which Bull has to Bird, or the virtuoso to the poet. In Scarlatti we seek in vain for any inner motive, nor do we feel any need of an emotional rendering on the part of the performer; his short pieces aim only [Pg 71] at sound effects, and are written merely from the love of brilliant clavier-passages, or to embody delicate technical devices. They are not denizens of Paradise, who wander, unconscious of their naked beauty, under over-arching bowers ”

“ The eminent antiquarian Villarosa ('Memorie dei compositori ... del regno di Napoli') states (without quoting his authority) that when Scarlatti moved with his family to Naples he was a celebrated singer and player on the harp and harpsichord. The first ascertained fact in his life is that he was commissioned to compose for Christina, Queen of Sweden, an opera 'L' Onestà nell' amore' performed in 1680 at her palace in Rome, and it is a probable inference that he was even at that time a composer of some mark. ”

“ He is said to have succeeded Scarlatti in 1725 at Sant’ Onofrio, and to have remained there until 1742, when he succeeded Porpora as head of the Conservatorio di Santa Maria di Loreto, also at Naples. ”

“ It was Scarlatti's good fortune to be active as a composer at the very time when the violin had received its finishing touches at the hands of the later Amati and Antonio Stradivarius. The first great violin virtuoso, Archangelo Corelli, had published his epoch-marking works during the last quarter of the seventeenth century. Scarlatti appears to have entered into the new musical [42] world thus opened with ever fresh enjoyment and a rare intelligence. ”

“ Scarlatti's first Opera, 'L'Onestà nell' Amore,' produced at Rome in the Palace of Christina, ex-Queen of Sweden, in 1680, was followed by 108 others, written from Rome, Vienna, Venice, and more especially Naples, which justly claims him as the founder of its admirable School. The most successful of them seem to have been, 'Pompeo' (Naples, 1684) ; 'La Teodora' (Rome, 1693) ; 'Pirro e Demetrio,' 'Il Prigioniero [4] fortunato,' 'Il Prigioniero superbo', 'Gli Equivochi sembiante,' 'Le Nozze col nemico,' 'Laodicea Berenice,' 'Il Figlio delle Selve' (Naples, 1694–1703) ”

“ Contemporary with Scarlatti was Francesco Gasparini, a Roman composer and harpsichord player of such eminence that Scarlatti sent his son Domenico, who afterwards became famous by his musical [19] achievements, to study with him. Gasparini wrote twelve cantatas,—not so scholarly but quite as popular as those by Scarlatti. As a return for the compliment which Scarlatti had paid him, Gasparini sent him a cantata, which was the signal for a lively cantata-correspondence between them, each trying to outdo the other. ”

“ What Frescobaldi was in the first half of the seventeenth century, that was Pasquini in the second half. In Italy, Austria, and France he was treated like a prince; and his tombstone bears the proud inscription, “Organist of the Senate and People of Rome.” With Scarlatti the art of clavier-playing reaches its height, and begins to decline. It is not clavierists but violinists, the wordless rivals of the singers, who have carried the type of Italian virtuosity into our own times—Corelli, Vivaldi, Locatelli, Tartini, Paganini. ”

“ Mitridate Eupatore, composed for Venice in 1707, contains music far in advance of anything that Scarlatti had written for Naples, both in technique and in intellectual power. The later Neapolitan operas (L’Amor volubile e tiranno (1709) ; La Principessa fedele (1712) ; Tigrane, 1715, &c.) are showy and effective rather than profoundly emotional; the instrumentation marks a great advance on previous work, since the main duty of accompanying the voice is thrown upon the string quartet, the harpsichord being reserved exclusively for the noisy instrumental ritornelli. ”

“ Here the surroundings of the bridle-road and foot-path were likewise picturesque, exhibiting rock plentifully amidst and beneath the foliage and herbage.
Here in the vale of the Humber stood a large Swiss-like structure of hewn logs, with two tiers of balcony on each of its sides. This was the house of Mr. John Scarlett. It was subsequently destroyed by fire. Near by were mills and factories also belonging to Mr. Scarlett. He was well connected in England; a man of enlightened views and fine personal presence. He loved horses and was much at home in the saddle. ”

“ The snake struck them both, and they died. In that Arab song she is supposed to sing several verses after the fangs struck her, but," Mr. Scarlett's voice trembled hoarsely, "I know that she had not time."
"You don't mean to tell us that this is the same one?" the Baron asked breathlessly.
"It is, sir. I wish it wasn't."
"But how did you get it?" he asked again.
"Let the gunner spin his yarn," I told him impatiently.
"Well," he went on, "it has always been worn by the chief wife of the Sultan of Khamia. It is her privilege to be the only wife who follows her husband at his death. ”

“ Who has taken him?"
"It is a lord—the Sotto-Prefetto—the hook-nosed gentleman with thin eyebrows; him they call Messer Alessandro. Castracane is tied like a netted calf—his hands behind him, and them to his neck. What's the good of his strength? He is as strong as the town bull; but if he writhes his hands he strangles, and if he thrusts his neck he chokes. Ecco!"
Silvestro was staring down into the valley. "Where is Messer Alessandro, Andrea? Tell me quickly, for I can save Castracane."
"He is eating with the hermit in the wood. But what can you do?" ”

“ The Scarlet Pimpernel is a man who has devoted his entire existence to the benefit of suffering mankind. He has but one thought, and that is for those who need him; he hears but one sound the cry of the oppressed. ”

“ In whatever guise the Scarlet Pimpernel presents himself before you—and he will present himself before you, or he is no longer the impudent and reckless adventurer I know him to be!—I feel that you at least will recognize him. ”

“ Even John's father, Mr. Reginald Scarlett, a K.C., and a man of a most decisive and emphatic bearing, felt John's difference.
John's appearance was unengaging rather than handsome—a snub nose, grey eyes, rather large ears, a square, stocky body and short, stout legs. He was certainly the most independent small boy in England, and very obstinate; when any proposal that seemed on the face of it absurd was made to him, he shut up like a box. ”

“ Such an interview, perhaps, would have been more terrible than even to meet him as she now did, with the hot, mid-day sun burning down upon her face, and lighting up its shame; with the scarlet token of infamy on her breast; with the sin-born infant in her arms; with a whole people, drawn forth as to a festival, staring at the features that should have been seen only in the quiet gleam of the fireside, in the happy shadow of a home, or beneath a matronly veil, at church. ”

“ The last Lord Scarlett, your elder brother, went to Australia because that actress he was madly in love with had a husband who popped up and made himself disagreeable. Oh, I can prove everything against you! And I know where the true Lady Scarlett is at this minute. You can prove nothing against me. You don't know where your son is, and you won't know until you hand that poor child from Australia over to Captain Burns and me. ”

“ Reginald Scarlett, K.C., would see his son off at the station; there was a special breakfast. Young John had more money in his pocket than he had ever dreamed that he would possess. Moreover, the day was glittering after a night of rain; a blue haze was over the Square, the fountain in the garden kicked the air with ecstasy, and its falling waters hummed in the heart of the garden trees. ”

“ Scarlett, you are well-born and—you are here in the circus with the rest of us. You know what we are—you know that two or three of us have seen better days,... that something has gone wrong with us to bring us here,... but we never speak of it,... and never ask questions.... But I should like to tell you about myself;... you are a gentleman, you know,... and I was not born to anything in particular.... I was a clerk in the consul’s office in Paris when Monsieur Tissandier took a fancy to me, and I entered his balloon ateliers to learn to assist him. ”

“ Here it is peaceful, but to the south of Arras it becomes sufficiently broad to give its name to the valley through which the Hun tried to drive last spring, when the waters of the Scarpe ran scarlet. The houses of the village stand at irregular intervals, divided from the road by a strip of common upon which geese graze. One reaches the common by little bridges which cross the Scarpe, which wanders singing, paralleling the highway. Nothing has been marred by shell-fire ”

“ I would be nice to her, and try to get myself invited often to Dun Moat. I would wander in the garden, where I must be seen by the Scarletts, and, as their presence in the “suite of the garden court” was no secret from me, it seemed that there would be no indiscretion in visiting Lady Scarlett. Once in that wing, it would go hard if I didn't get a peep at all its occupants!
I knew that the Scarletts kept up communication with the outer world, so far as getting food was concerned, through the old servant woman, whose name was Hedwig Kram. ”