The operas of Alessandro Scarlatti (1660-1725) contain a host of attractive arias unknown to singers and musicians. The music in this volume spans thirty-one years of Scarlatti's creative life. The first aria - dating from 1690 - represents the composer already at the peak of his professional career both as maestro di cappella to the Neapolitan viceroys and as chief opera composer in the city of Naples. The last two arias are taken from the opera Griselda performed in Rome in 1721 his final work of any importance.

Classics for Children Series-This standard Italian art song by Alessandro Scarlatti adheres exactly to the original piano and vocal lines. Jill Gallina has enhanced the arrangement with the addition of a second soprano and an alto vocal part that keep withthe inherent harmonies of the original. A beautiful selection for women's voices.

Audi Filia was written for the celebrations for St Cecilia’s Day in Rome in October 1720. It was originally part of a much larger mass setting for the event which is considered to be one of the finest pieces of music to survive from the Baroque era. This movement intended for the gradual is one of the more popular sections and is often performed as a stand-alone piece. It is scored for 2 Oboes Strings Organ and Soprano solo.Alessandro Scarlatti (1660-1725) was an Italian composer in the Baroque style who mostly wrote for choral groups. He is best remembered for his operas and oratorios but he also wrote several hundred chambercantatas for solo Voice.

Toccatas and various compositions (Biblioteca Nazionale di Torino, Fondo Foà-Giordano Mss. 394 and 401)
Editors: Andrea Macinanti, Francesco Tasini
Series: Alessandro Scarlatti. Complete Works for Keyboard
Publication Date: Second Edition 2007
Pages: pp. 120
There are very few modern editions available of keyboard music by Alessandro Scarlatti (Palermo, 1660 ? Napoli, 1725): two facsimiles of 18th century manuscripts ? one kept in Naples and the other in Modena ? and a few 20th-century editions which are difficult to obtain.
While manuscript sources are awkward to play from because of frequent imprecisions, modern editions are sometimes unreliable due to editorial intervention which, in some cases, modifies the original text. Two notable exceptions are constituted by J. S. Shedlock?s, as well as R. Gerlin ? C. Sartori?s editions, for their modern methodological approach. However, both of these editions were based on a single manuscript, without there having been a comparative analysis of the numerous existing sources of Scarlatti?s keyboard music.
This constitutes a severe restriction, because the analysis of individual manuscripts results in the realization that every single source has fundamental limitations: in the first place, none contains the entire corpus of his keyboard works, and, furthermore, none is devoid of errors. Only a comparative analysis of all sources justifies intervention in ambiguous passages, and at the same time indicates the criteria for not making arbitrary corrections in the case of durezze. In short, the comparison of variations in the text results in the choice of the best possible solution.
Thanks to the extensive research conducted by Andrea Macinanti and Francesco Tasini, the Urtext of the complete edition of Alessandro Scarlatti?s keyboard works will finally be available for both musicians and musicologists.

Domenico Scarlatti was the most gifted son of Alessandro Scarlatti the great master of Neopolitan opera and of the Italian solo cantata.

Par SCARLATTI DOMENICO. Audi Filia was written for the celebrations for St Cecilia’s Day in Rome in October 1720. It was originally part of a much larger mass setting for the event, which is considered to be one of the finest pieces of music to survive from the Baroque era. This movement, intended for the gradual, is one of the more popular sections and is often performed as a stand-alone piece. It is scored for 2 Oboes, Strings, Organ, and Soprano solo. Alessandro Scarlatti (1660-1725) was an Italian composer in the Baroque style, who mostly wrote for choral groups. He is best remembered for his operas and oratorios, but he also wrote several hundred chambercantatas for solo Voice. / Rép Classique / Répertoire / Conducteur

Par NORMAN HEIM. This collection of Baroque music is arranged for the intermediate-level clarinetist with the piano part being of equal difficulty. The music is taken from keyboard, song and chamber music sources and represents quality Baroque styles circa 1625 - 1775. Composers include Johann S. Bach, Jean P. Rameau, Alessandro Scarlatti, G. F. Handel, Domenic Scarlatti, Antonio Vivaldi, C. P. E. Bach, and Johann J. Froberger. This music can be played by clarinetists for church, festival, school and leisure occasions. The piano accompaniment is available as a free download. / Niveau : Intermédiaire / Classic - Solos / Recueil / Clarinette

This collection of Baroque music is arranged for the intermediate level clarinetist with the piano part being of equal skill level. The music is taken from keyboard song and chamber music sources and represents quality Baroque styles circa 1625 - 1775. Composers include Johann S. Bach Jean P. Rameau Alessandro Scarlatti G. F. Handel Domenic Scarlatti Antonio Vivaldi C. P. E. Bach and Johann J. Froberger. This music can be played by clarinetists for church festival school and leisure occasions. A separate clarinet solo pull-out part is included.

Par CARISSIMI GIACOMO. La Bibliothèque de Rochester, dans l'Etat de New-York, conserve sous la cote Vault M 1490 B 113 le manuscrit suivant: Recueil de Pièces choisies à une et deux flûtes C. Babel C. Babell 1698 Ces vingt-sept suites et sonates pour la flûte à bec, pour la plupart anglaises, ont été rassemblées par le bassoniste Charles Babell, dont l'activité est attestée de 1697 à 1714 au Queen's Theatre de Haymarket, ainsi qu'à celui de Drury Lane. Hawkins assure qu'il y aurait tenu le basson jusqu'à l'âge de quatre-vingts ans. Son fils William nous a laissé des Concertos in seven parts (opus 3, Londres, 1730) pour une ou deux flûtes à bec et cordes. La sonate de Carissimi, éditée ici pour la première fois, est la vingtième de ce recueil. Carissimi n'a pas laissé d'oeuvre instrumentale, et celle-ci semble bien être inédite. Giacomo Carissimi (1605-1674) a mené l'essentiel de sa carrière à Rome, comme maître de chapelle à l'église San Appolinare. A partir de 1656 il entra par ailleurs au service de la reine Christine de Suède en exil. Ses oeuvres - en particulier ses oratorios et ses cantates - ont suscité l'admiration de l'Europe entière. A travers ses activités de pédagogue et de compositeur, il a profondément influencé les générations suivantes, et on trouve son empreinte chez Charpentier, Alessandro Scarlatti, et même chez Haendel. Pierre Boragno / classique / Date parution : 2006-01-23/ Répertoire / Flûte à Bec et Basse Continue

With the new Urtext Primo series Wiener Urtext Edition intends to bridge the gap between studying a Piano method and taking additional lessons. Beginning with a performance level which is outlined by pieces such as Bach's Minuet in G (BWV Anh. 116) Mozart's Minuet in F (KV 5) or Schumann's Wilder Reiter (Op. 68/8) works by three different composers are selected for each volume in the series with the aim of offering Piano pupils (or even adults who want to resume Piano playing) a wide range of repertoire pieces on the basis of which they can enhance their technical and musical skills. The pieces' range of levels of difficulty is relativelynarrow so that the volume can be used continuously over a period of about two years. This is what distinguishes the Urtext Primo approach from almost all common anthologies. The selected repertoire takes into account not only pieces of the classic canon of lessons but also lesser known works which are in no way of less importance for Piano lessons. The Urtext Primo volumes are published in the internationally recognised standard of the Wiener Urtext editions. The explanations included in each volume shall help to deepen the knowledge of musical styles music history and piano playing. A repertoire chart at the end of each volume gives a rough overview of the levels of difficulty of the selected pieces. Volume 1 contains both frequently played educational works by Bach and lesser known pieces by Handel and Scarlatti Volume 2 compositions by Haydn and Mozart as well as musically and educationally attractive pieces by Cimarosa. Volume 3 (scheduled for publication in summer 2013) contains pieces by Beethoven Schubert and Hummel Volume 4 (scheduled for publication in early 2014) works by Schumann Brahms and Theodor Kirchner. Further volumes are being planned.

Gia il sole dal gange-An accessible arrangement of the Scarlatti aria for young choir. It includes both Italian and English texts and is an excellent introduction to music of the Baroque period.

and Keyboard (Cello ad libitum)-19 Variations on La Follia by Scarlatti for Treble Recorder (Flute) and Continuo.