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Updated: June 13, 2025
The only other opera performed was Narciso, by Domenico Scarlatti, which was even less successful than the others. Chrysander seems to suggest that Scarlatti came to London with the idea of being a rival to Handel, but it is much more likely that Handel himself persuaded the Academy to invite the friend of his youth. The season ended on June 25.
Presently another masquerader came into the room, walked up to the instrument, and called out: "It is either the devil or the Saxon!" This was Scarlatti, who afterward had with Handel, in Florence and Rome, friendly contests of skill, in which it seemed difficult to decide which was victor.
This was a circumstance now, alas! sufficiently uncommon, for he had nearly all his meals served for him in his own rooms. Constance, who was once more downstairs, sat playing at the pianoforte, performing chiefly melodies by Scarlatti or Bach, of which old-fashioned music she knew her husband to be most fond.
Mikuli says that, carefully arranged according to their difficulty, Chopin placed before his pupils the following compositions: the concertos and sonatas of Clementi, Mozart, Bach, Handel, Scarlatti, Dussek, Field, Hummel, Ries, Beethoven; further, Weber, Moscheles, Mendelssohn, Hiller, Schumann, and his own works.
Lucia began with Scarlatti and Bach; wandered off through Schumann into Chopin, a moonlit enchanted wilderness of sound; paused, and wound up superbly with Beethoven, the "Sonata Appassionata." And as she came back to him over the green lawn she seemed to Jewdwine to be trailing tumultuous echoes of her music; the splendour and the passion of her playing hung about her like a luminous cloud.
His pupil, Alessandro Scarlatti, founder of the Neapolitan school and practically the musical dictator of Naples, from 1694 to 1725, was an incredibly prolific composer in almost every known species of musical form. His many improvements in vocal and instrumental music operated greatly to the advantage of the oratorio.
But it seems almost certain that Scarlatti was the first to use accompanied recitative, a powerful means of dramatic expression in the hands of all who followed him, while his genius advanced the science of instrumentation to a point hitherto unknown.
Then one composed by Alessandro Scarlatti, or that of Felice Anerio, used to be sung on holy thursday: but these were eclipsed by the Miserere, composed in 1214 by Tommase Bai a Bolognese, director of the choir of S. Peter's.
Nothing, it appeared, could be farther apart than the muffled furious strains escaping in bursts through the opened windows beyond and the still apparition from the tranquility of his Eastlake house. He would have said, unhesitatingly, that the formal melody of the eighteenth century, of Scarlatti and harpsichords, was the music that best accompanied Cytherea.
But I do not greatly care about gnosis, I want agape; and Beethoven's agape is not the healthy robust tenderness of Handel, it is a sickly maudlin thing in comparison. Anyhow I do not like him. I like Mozart and Haydn better, but not so much better as I should like to like them. Handel and Domenico Scarlatti
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