Catholic Encyclopedia (1913)/Alessandro

Scarlatti

Born in Sicily, either at Trapani or at Palermo, in 1659;
died at Naples 24 Oct., 1725; buried there in the musi-
cians’ chapel of the Church of Montesanto. On his tomb-
stone he is called musices instaurator maximus, which title
he deserves in that he originated the classical style of the
eighteenth century, and gave a high development to con-
certed instrumental music. the scenes of his activity were
alternately Rome and Naples. His first opera (1679), “Gli
Equivoci nel Sembiante” was performed at the palace of
Queen Christina of Sweden, who lived in Rome after her
abdication and conversion to the Catholic Church. Five
years later we find him in Naples, where he obtained the
position of Maestro di capella to the Viceroy. He re-
mained there for about eighteen years.
After a short stay at Florence, he returned to Rome
(1702), where he was made assistant maestro and after-
wards maestro at S. Maria Maggiore. In 1708 or 1709
he returned to Naples and lived there for ten years. He
lived in Rome from 1718 until 1721, thence proceeding
to Naples, where he died in 1725. His fertility of pro-
duction is astonishing. He wrote more than a hundred
operas (of which less than half are extant). It is said that
he composed two hundred Masses, which is questionable,
as but few survived him; he left several Oratorios, the
best of which are “Agar ed Ismaele”, “La Vergine ad-
dolorata”, and “S. Filippo Neri"; many motets and innu-
merable chamber-cantatas and serenatas. Moreover he
shows great capacity in his compositions for the organ,
the cembalo, and other instruments. Not all his religious
music is for liturgical use; but many of his compositions,
although in his days the Palestrinian-style was fast de-
clining, are written in severe and noble polyphony. We
may quote here his mass for Cardinal Ottoboni (edited by
Proske), his “Missa ad usum Cappellae Pontificiae” (re-
cently found by Giulio Bas in the library of the Academy
of S. Cecilia at Rome, and published by L. Schwann
at Dusseldorf), his famous “Tu es Petrus” performed in
Paris by the Roman singers at the coronation of Napoleon
I (printed by Ricordi of Milan).
His great distinction in the musical world was to have laid
the foundation for the new style, afterwards brought to
perfection by the most famous composers, not only of the
Neapolitan school, which was in great part formed by his
influence (Leo, Durante, Pergolesi), but also of Germany
(Haydn, Mozart, and Beethoven). Domenico Alessan-
dro’s eldest son was born at Naples 26 Oct., 1685 (in
the baptismal register he is called Giuseppe Domenico),
and died in 1757. The esteem in which Alessandro was
held, may be seen from the fact that Domenico’s godfa-
ther was the Duke of Addaloni, and his godmother the
Princess of Colobrano. Domenico made himself famous
by his great skill on the harpsichord. Ricordi of Milan
has published his works for the clavicembalo, in six vol-
umes, under the supervision of Alessasdro Longo (1906).
The manuscripts of these are chiefly in the library of S.
Marco at Venice. The compositions are not of equal
merit. His genius often seems to forecast the style of
the next century. For a few years (1715-1719) he was
choirmaster in S. Peter’s Rome; during four years (1721-
1725), he was engaged at the Court of Lisbon; for twenty-
five years he was at Madrid (1729-1754), but spent the
last years of his life again in Naples, where he died. Of
Francesco, brother of Alessandro, we know that in 1684
he became violinist in the royal chapel at Naples, that fif-
teen years later his oratorio, “Agnus occisus ab origine
mundi”, was sung in Rome, and that in 1720 he gave a
concert in London, where Domenico was staying at the
same time. Giuseppe Scarlatti was either grandson or
nephew of Alessandro (nipote can have the two mean-
ings). Born at Naples 1712, he died in Vienna, 1777
where he was considered a distinguished composer. He
left several operas.
DENT, A. Scarlatti: His Life and Works (London, 1905);
GROVE, Dictionary of Music and Musicians (London, 1880);
THIBAUT, Die Reinheit der Tonkunst, 123.
A. Walter.

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