《Quartettino für drei Altblockflöten oder andere Melodieinstrumente und Basso Continuo》

Alessandro Scarlatti (1660-1730)

One of the most influencial composers of Baroque opera, Alessandro Scarlatti, has also been recognizedas the pioneer of the Neapolitan school of opera in the 18th century. Born and raised until the age of 12 in Palermo, Sicily, the Scarlatti family moved from the capital to Rome, Italy, a city of musical abundance, and where the young Scarlatti started to compose, held a position as a chapel master for half a century Quickly establishing an international reputation, Scarlatti was appointed maestro di capella to Queen Christina of Sweden. Being a prolific composer , his works include over one hundred operas, more than 30 oratorios, an array of cantatas, a multitude of hymns, madrigals, motets, and a variety of instrumental works Many references name Alessandro Scarlatti as the first composer of the closest work to a string quartet. The score of these two works, Quartettino für drei Altblockflöten oder andere Melodieinstrumente und Basso continuo (Little Quartet For Three Alto Recorders or Other Melodic Instruments and Basso Continuo) and Quartett F Dur für Blockflöte, 2 Violinen und Basso Continuo (Quartet in F Major For Recorder, Two Violins and Basso Continuo) are in the collection of the library of the University of Münster, hence the German title. While the exact dates of the compositions are unknown, it is certain that the instrumental music was not the mainstream in Scarlatti’s time, and that the idea for a fixed combination of instruments was not yet in existence. As a result, the quartets were not scored for two violins, a viola, and a cello, but rather for three instruments and a basso continuo. The first piece consists of four movements, with an first section unmarked, followed by the Allegro-Grave-Allegro movements. While the second and third solo parts are specifically scored for violin, no technical challenge is involved, except for a few fast passages. The second piece consists of three movements: Adagio-Allegro-Minuet. Embedded with light sixteenth notes, they make the Adagio both a delicate and elegant movement. In contrast to the free-flowing passion of the first movement, the Allegro opens with a mini fugue, in which a series of rapid melodies brightening and enlivening the mood. The final Minuet section moves to a neat and bouncy triple beat, and rhythmically dances toward the end. For this recording, two Brescian Maggini violins from 1610 and 1620 respectively are used on this piece, as well as a da Salò violin from 1580. The cello in the basso continuo section is also by Maggini, the "Chimay," crafted in 1610. The combination of works by the most representative Italian composer and violin makers of the 17th century provides the recording with an interesting connotation.