Alessandro Scarlatti

Harpsichord and Organ Music

Donald Grout's widely praised edition of the work of a key figure in the history of opera provides the most reliable version of the score for each opera, appending a translation of the libretto. These volumes are "at once practical and unquestionably scholarly" in the words of Opera Journal. A tale of love and honor in the opera seria tradition, Tigrane was first performed at Naples in 1715. This edition of it will please performance groups and music historians alike. Donald Jay Grout is Given Foundation Professor of Musicology Emeritus, Cornell University; Michael Coffins is Professor of Music, North Texas State University. Operas already available: Eraclea, Marco Attilia Regolo, Griselda, The Faithful Princess, Massimo Puppieno, La Caduta de' Decemviri, and Gli Equivoci nel Sernbiante.

The Operas of Alessandro Scarlatti, Volume VIII: Tigrane

from Endimione e Cintia ; for soprano and trumpet

Vaga Cintia

The faithful princess

serenata a 3

Venere, Amore e Ragione

Pietro Ottoboni

La Statira

Domenico Scarlatti

Michele Esposito

Girolamo Frescobaldi

From Italy's major 17th- and 18th-century composers, this compilation features 49 pieces by Pasquini, Rossi, Frescobaldi, Durante, Zipoli, Martini, Galuppi, Clementi, and Alessandro Scarlatti and his son, Domenico.

49 works by Frescobaldi, Scarlatti, Martini and others

Early Italian keyboard music

La Principessa Fedele Faithful Princess

Silvio Stampiglia

Eraclea

Marco Attilio Regolo

La Caduta (1697) is a pivotal work, bridging Scarlatti's middle and late stylistic periods. It is the first of several collaborations with librettist Silvio Stampiglia, whose characteristic intermingling of serious and comic elements is particularly effective here. In her Introduction, Williams discusses the opera itself and performance practices.

La Caduta de Decemviri

The Operas of Alessandro Scarlatti

Aurelio Aureli

Massimo Puppieno

Domenico Filippo Contini

Gli equivoci nel sembiante

Web page: https://www.areditions.com/rr/rrb/b175.html The term serenata a voce sola, until recently subsumed within the genre of the cantata, was a title used with assurance by poets, composers, and scribes of the seventeenth century. Found in sources by both Roman and Neapolitan copyists, these previously unpublished works by Alessandro Scarlatti represent a unique and richly imaginative fusion of two serenata traditions that form Scarlatti¿s stylistic heritage: the Roman style, especially of Stradella, and the Neapolitan tradition of the solo serenata of the 1670s¿1680s. Instead of the dramatic large-scale entertainments usually associated with the serenata, these are intense soliloquies for the connoisseur of music and poetry: scored mostly for a concertino of two violins and bass, composed within a framework of recitatives/ariosos and arias, and exhibiting immense originality in structure and musical imagery. The evocation of night, dreams, and unfulfilled love forms their subject matter. Seven of these undated works clearly belong to Scarlatti's seventeenth-century output, including two with continuo only. Two can be dated to ca. 1704/1705, great works with which Scarlatti bid farewell to the genre of the solo serenata. An unattributed Roman work forming part of the Münster archive of Scarlatti¿s serenatas is included in an appendix.

Solo serenatas

Alessandro Scarlatti

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