Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: June 13, 2025
Pleydon was lounging in a chair beyond her. She couldn't play but she was able, slowly, to pick out the notes of simple and familiar airs echoes of Gluck and blurred motives of Scarlatti. It was for herself, she explained; the sounds, however crude and disconnected, brought things back to her. What things, she replied to Pleydon's query, she didn't in the least know; but pleasant.
Handel must have known and comprehended Scarlatti's tendencies perfectly well: his rejection, therefore, of the principles that lead to them must have been deliberate. Scarlatti leads to Haydn, Haydn to Mozart and hence, through Beethoven, to modern music.
So very CLEVER, these people, weren't they! Corelli and the younger Scarlatti and all that crowd." Here he closed the score again. "But now LOOK! Do you want to know anybody here, or don't you? I've told them about you, and of course they're dying to meet you and hear you play. But I thought it best not to mention anything about about your being hard-up, and all that.
The Canon pushed a dish of chocolates in front of his youngest daughter to keep her quiet, and then plunged like a hero into the tendencies of modern music, which he deplored. He asked my opinion of Richard Strauss, a composer of whom he was profoundly ignorant. Scarlatti and Corelli tided us over dessert, and Purcell floated us tenderly into the drawing-room and coffee.
Or, rather perhaps I should say that music bifurcated with Handel and Bach Handel dying musically as well as physically childless, while Bach was as prolific in respect of musical disciples as he was in that of children. What, then, was it, supposing I am right at all, that Handel distrusted in the principles of Scarlatti as deduced from those of Bach?
The style of both words and music suggests that the whole cantata was thrown off, as Mainwaring suggests, on the spur of the moment, and this improvisation may well have taken place at one of the Arcadians' garden parties, for there is a well-known account of a similar improvisation by the poet Zappi and the composer Alessandro Scarlatti.
Handel had continued to develop his own style, based on the grand manner of old Scarlatti, but Handel's operas were practically unknown outside London and Hamburg; in Italy, Scarlatti's style had already become old-fashioned before his death in 1725, and opera was moving on towards the lighter and flimsier manner of Galuppi, who first came to London in this year of Serse, 1738.
So long as the tone quality, action and nature of the instrument sufficed for compositions of the type of those of Domenico Scarlatti, or François Couperin, or Rameau, there was little need for change, but as the more modern composers longed for new and more comprehensive effects, the piano-makers kept up with their desires and aims.
He arrived at Venice during the middle of the carnival, and was taken to a masked ball, and there played the harpsichord, still keeping on his mask. Domenico Scarlatti, the most famous harpsichord player of his age, on hearing him, exclaimed, "Why, it's the devil, or else the Saxon whom everyone is talking about!"
The dry declamation of the first Italian operas, however, was not supported by a sufficiently rich accompaniment to be enjoyable after the first sense of novelty had passed away; and even the gifted Monteverde's ingenious innovations in instrumental coloring and in the free use of expressive discords, could not ward off a second reaction, in favor of song pure and simple, which set in with Scarlatti, the founder of the Neapolitan school, whose first opera was produced a little over two centuries ago.
Word Of The Day
Others Looking