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Updated: June 13, 2025
While the compositions of Carissimi, Cavalli, Scarlatti, and Rossi were being played throughout Italy, the violin players of the Paris opera house enjoyed the singular privilege of being allowed to play in gloves.
It is only beginning to be realised, even by musical people, that the clavecin music of, for instance, Bach, loses at least half its charm, almost its identity, when played on the modern grand piano; that the exquisite music of Rameau and Couperin, the brilliant and beautiful music of Scarlatti, is almost inaudible on everything but the harpsichord and the viols; and that there exists, far earlier than these writers, a mass of English and Italian music of extreme beauty, which has never been spoiled on the piano because it has never been played on it.
A native of Cincinnati, she began her musical education under William Mason and S. B. Mills, finishing abroad with Reinecke and Liszt. At her début, in Leipsic, she scored a great success, and since then has been steadily before the public. Her compositions are mostly for piano, including some excellent Liszt and Scarlatti transcriptions.
Of secular composers his favourites were "the lucid Scarlatti, the luminous Bach." But the music that roused him to enthusiasm was Gregorian. He would have none other at St. Mary of the Lilies.
For many years Corelli remained at Rome, but at last he yielded to temptation and went to Naples, where Scarlatti induced him to play some of his concertos before the king. This he did in great fear, for he had not his own orchestra with him.
The more I know of Chopin, Beethoven, Scarlatti or Mendelssohn as men, and the more I know of the times in which they lived, the closer I feel to the manner in which they would have wished their compositions interpreted. Consider how markedly different are the individualities of Wagner and Haydn, and how different the interpretations of the works of these masters should be.
Such musicians as Do-menico Scarlatti in Italy and John Sebastian Bach in Germany had developed a wonderful degree of skill in treating the clavecin, or spinet, and the clavichord, and, if we may trust the old accounts, they called out ecstasies of admiration similar to those which the great modern players have excited.
We think this book will become a favorite with our people. It contains sketches, legends, and traditions of many of the great musicians. Bach, Gluck, Mozart, Mendelssohn, Pergolesi, Schubert, Scarlatti, Weber, Paganini, Gretry, Catalani, Malibran, Handel, Anderle, Haydn, Boieldieu, Cimarosa, Beethoven, Lully, Berger, etc., float pleasantly through its fanciful pages.
But the humour of Serse, diverting as it is to the modern historical student, is neither the musical nor the dramatic humour of 1737; the plot bears no resemblance whatever to the Neapolitan comic operas of Vinci and Pergolesi, but rather recalls the very early operas, based on Spanish comedies, composed by Alessandro Scarlatti in the 1680's.
Francesca Caccini was an exponent of the first growth of opera. After her comes a gap, and we find no women at work during the time of Scarlatti, for example, and few in the era when the early conventional opera saw its palmy days in the hands of Cimarosa and his compeers.
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