Alessandro Scarlatti Greatest composer of the second half of the 17th century Date of Birth: 02.05.1660 Country: Italy

1. The Greatest Composer of the Second Half of the 17th Century
2. A Prolific Composer
3. Influence as a Teacher
4. A Lasting Legacy

The Greatest Composer of the Second Half of the 17th Century

Alessandro Scarlatti, the greatest composer of the second half of the 17th century and the founder of the Neapolitan school, was born on May 2, 1660, in Palermo, Sicily. He received his musical education under the guidance of Carissimi, although it is unknown how long he studied with him. However, there are indications that Scarlatti parted ways with his teacher in 1680. During his time in Rome, Scarlatti traveled to Vienna and Munich. Upon his return to Italy, he obtained the position of court Kapellmeister in Naples, which he held until his death.

A Prolific Composer

Scarlatti was an incredibly prolific composer. He wrote over a hundred operas, around 200 masses and 500 cantatas, seven oratorios, numerous motets, psalms, and spiritual concerts. Some of his sacred compositions, such as the "Miserere" and the double choir fugue "Tu es Petrus," written for the papal chapel, are still performed to this day. Scarlatti was renowned for his virtuosity on the harp and keyboard, as well as his singing abilities. His scholarly work includes the brochure "Discorso di musica" from 1717.

Influence as a Teacher

His pedagogical activities resulted in the education of a whole generation of remarkable composers who overshadowed their teacher. In his old age, Scarlatti was greeted with cold respect by the public, while they passionately praised the works of his talented protégés. Among his notable students were F. Durante, L. Leo, N. Logroscino, G. Greco, and others, including his son Domenico. Scarlatti is credited with establishing the structure of the Italian overture: allegro, andante, allegro, as well as the creation of the three-part aria.

A Lasting Legacy

Scarlatti passed away on October 24, 1725, in Naples. His compositional contributions hold immense significance in the history of musical art. He stands at the crossroads of two distinctly different musical eras: the polyphonic era and the homophonic era of opera development.