THERE has never been in the musical history of the world such another blossoming into song as took place in Italy after the invention of the representative style. The great master, Monteverde, lived to see the opening of the first public opera houses, and by the end of the century there were theatres devoted to the musical drama in almost every city of Italy. Monteverde was succeeded by several composers, in part contemporaries of each other, among whom the most eminent names were those of Cesti, Lotti, and Legrenzi. All the tuneful instincts of the Italian nation came to expression in the new form of art, and the theatres vied with each other in obtaining the composition of new works by the best masters available. In these there were two national instincts operative: that for the drama, and that for tune. Hence we begin to find, very early in the development, the merely declamatory consideration which ruled Peri, and the additional element of musical characterization which led Monteverde into many new paths, giving place to the merely tuneful, and delaying the drama until an aria had time to fully complete itself.

In its earliest forms the aria gained in symmetry and tunefulness, without seriously hampering the dramatic movement. Soon, however, the voice began to attract attention to itself, and in the illustration of its previously forgotten talents the action of the drama was still further delayed.

Many illustrations of these generalized statements might be cited, but those following later are perhaps sufficient for showing the point which had been reached in the development when the great genius Alessandro Scarlatti appeared.

Born in Trajano, Sicily, and gifted with the music-loving organization of the Sicilians, Alessandro Scarlatti seems to have made his way to Rome at an early age. It is uncertain where he obtained his musical education. Some writers credit him to Pavian masters, others to Carissimi at Rome. It is quite likely that he may have received instruction at both places, while the greater part of his equipment as composer he may have acquired by his own exertions. Nothing at all is known of his first thirty years. But from the assertion of the Marquis of Villerosa (in his work upon the Neapolitan composers) that Scarlatti was a fine singer, a virtuoso upon the harp, and an excellent composer when he first came to Naples, we are at liberty to suppose that he gained a musical livelihood by exercising the first two of these talents. He must have made very thorough studies as composer, for there are several of his works (hereafter cited) which show that he was proficient in all the learning of the ecclesiastical schools.

At length, in 1680, he emerges from the obscurity through the performance of his first opera, "L'Onesta del' Amore," at the palace of the ex-queen of Sweden, Christina, in Rome. The work pleased, and the young composer seems to have been taken into the service of the queen, where he remained until her death, which took place in 1688. Nothing is known of this opera beyond the fact of its performance. Even the influence it may have had on the fortunes of the young composer is inferential, for there is no evidence that he may not have been in her employ previously. The next reliable glimpse we have of him is in the performance of his opera "Pompeo" in January, 1684.

Then for nine years we lose sight of him again until January, 1693, when an oratorio of his, "I Dolore di Maria, sempre Virgine," was written for the congregation of the "seven griefs," at San Luigi di Palazzo. In the same year, also, his opera of "Teodora" was played at Rome. Other indications combine to show that Scarlatti must have rapidly gained in popular estimation during these years, whose record for the present, at least, seems so hopelessly lost.

One year later, namely, on Jan. 6, 1694, Scarlatti was appointed musical director of the royal chapel at Naples, where his first work seems to have been the production of Legrenzi's "Odoacre," with certain adaptations and additions of his own. In a prefatory note to the published edition, Scarlatti says: "The airs rewritten by the editor are distinguished by an asterisk, to the end that their faults should not prejudice the reputation of Legrenzi, whose immortal glory is an object of the editor's unlimited respect." Nevertheless, it may be remarked in passing, this respect did not prevent him from making important changes in the work,—changes which he must have believed improvements, and likely to render the performances more successful. Apparently the modesty of the young composer was technical and verbal rather than anything deeper.

There is every indication that Scarlatti found the Neapolitan position very much to his taste. As yet we are without a carefully prepared biography, and little is known of this part of his career beyond the names and times of performance of the operas, which followed each other rapidly, at the rate of at least three a year during his entire productive career. Among those of the first ten years at Naples, the following are to be mentioned: "Pirro e Demetri," 1697; "Il Prigionero Fortunato," 1698; and "Laodicea e Berenice," 1701. During this period he was director of the conservatory of San Onofrio.

Here, moreover, he at least inspired the teaching of the voice, for it was at this school, under Scarlatti's direction, that many of the most eminent singers of the first quarter of the eighteenth century were educated. Among the names mentioned in this connection are those of Farinelli, Senesimo, and Mme. Faustina Hasse. It is probable that Scarlatti himself taught singing, in support of which reasons will be mentioned later.

At this time Naples was in considerable disturbance of a political kind, and in 1703 the situation became insupportable to Scarlatti, who thereupon turned his steps once more towards Rome, where he was appointed assistant musical director of Santa Maria Maggiore, in 1703. Four years later, upon the death of the musical director, Antoine Foggia, he was made full director. He was also made the musical director at the palace of the distinguished and magnificent Cardinal Ottoboni.

He had now come to the full measure of his powers and popularity. One of his celebrated works, "Il Caduta de Decemviri," was played in 1706; another, "Il Trionfo della Liberta," was played at Venice in 1707. He composed with the greatest spontaneity. Burney, the musical historian, mentions seeing the manuscripts of thirty-five cantatas by Scarlatti, which he composed at Tivoli, in the month of October, 1704, while on a visit to his friend, AndrÉ Adami, chaplain singer in the pontifical chapel. These works were dated, and the dates show that they were written at the rate of one a day. Quanz, the celebrated flute player, visited Naples in 1725, when Scarlatti was a very old man, and met him several times. He mentions a certain wealthy amateur who had collected four hundred manuscript compositions of Scarlatti.

It was during the Roman residence that the young Handel formed the acquaintance of the two Scarlattis, for the son Domenico was by this time the very first clavier virtuoso in Italy. Handel was so much interested that he accompanied the Scarlattis upon their return to Naples, where the master resumed his position as court musical director, in 1709. Handel remained in Naples, studying the cantata style of Scarlatti, until the spring of the following year.

In his later residence at Naples his activity continued, but the very names of many of his works are now lost. Among the most important of these may be mentioned the opera of "Tigrane," which was played in 1715. Another, "Griselda," was produced in 1721. In addition to the direction of the conservatory of San Onofrio, he appears to have taught musical composition at the two other conservatories, of Dei Poveri and Di Loreto. His activity as composer continued almost to the end of his long and honored life. He died Oct. 24, 1725.

The total number of Scarlatti's secular operas was more than one hundred and fifteen. He composed many oratorios, among which may be mentioned "I Dolore di Maria," "Il Sacrafizio d'Abramo," "Il Martirio di S. Teodosia," "La Concezzione della Beata Virgine," "La Sposa di Sacra Cantici," "S. Fillipo Neri," "La Virgine Addolorata," etc. There were about two hundred masses, and more than four hundred secular cantatas. The latter are semi-dramatic settings of short texts for a single voice, with accompaniments for clavier, or combinations of instruments for chamber use. The vast number of pieces of the latter class, together with many other compositions nearly allied to them (chamber duets for voice and light accompaniment, etc.), can only be regarded as having been occasioned by special circumstances in the way of facilities for performance. For it must be remembered that nearly all of these works demand of the singer a degree of virtuosity which was then extremely rare, and to be found perhaps scarcely at all outside the pupils of Scarlatti himself. The solution is to be found in the fact already mentioned that the master himself was a fine singer. Furthermore he had a daughter, La Flaminia, who seems to have been a singularly gifted creature. Bernardo de Domenice, in Vol. IV. of his "Vite d'Pittori, Scultori, ed Archetetti napolitain" (Lives of the Painters, Sculptors, and Architects of Naples), is quoted by Florimo, in his "La Scuola Musicale di Napoli" (Marano, 1880), as saying of Francesco Solimene, that he was a lover of music, and in the habit of spending much time at the house of Scarlatti, whose daughter La Flaminia was a wonderful singer, full of dramatic fervor and gifted with a magnificent voice. It would seem, therefore, that these works may have been composed primarily for his own satisfaction and for the pleasure of his own family circle.

In respect to the facility with which he composed, as well as in the agreeable manner of writing for the voice, Scarlatti was the true founder of later Italian opera, his principles of composition having been almost universally followed until past the middle of the present century. But unlike some of the modern Italians, Scarlatti's ease of production rested upon most thorough attainments in counterpoint and the technical mastery of material. His great masses are monuments of learning, and by good judges are counted worthy of being placed beside those most honored in the annals of ecclesiastical music. Among the most celebrated of these works are a four-voice requiem, an "Ave Regina CÆlorum" for two voices and organ, a great four-voice canon, a five-voice mass with orchestra, a great pastoral mass for two choirs, eleven voices, with orchestra and organ, and a famous motette, "Tu es Petrus," for two choirs. This was sung at the coronation of Napoleon I. by a choir of thirty papal singers, specially imported for the purpose.

The greater part of the works of Scarlatti are lost, or lie concealed in the archives of the religious houses for which many of them were composed. The archives of the Royal College of Music at Naples contain fifty works of his, among which there are seven of his operas.

It is by no means easy at the present day to discriminate between the musical reforms which Scarlatti actually invented himself, and those which tradition has somewhat generously attributed to him, but which were in fact the fortunate discoveries of earlier composers soon forgotten. Speaking in general terms, between Scarlatti and Monteverde a full century intervened, a century of such feverish musical activity as the world has scarcely ever seen equalled. Many gifted men took up the representative style where Monteverde left it, and small reforms were continually introduced. Scarlatti is credited with having made the aria more symmetrical by introducing the da capo after the middle part. He is also held by some to have invented, or greatly perfected, the Italian art of singing, and to have introduced running divisions for the display of the technique of the singers. In this point he is the forerunner of the later Italian composers. It is not at all easy to define the precise limitations between Scarlatti's work and that of the other composers, famous in their times, but now almost forgotten. Few of their works are now accessible, and the extracts in such collections as Gevaert's "Les Gloires de l'Italie" may have been edited with the additions required for modern ideas. But so far as I feel justified in drawing conclusions from the evidence accessible, the following are among the more important facts in the case:—

In Peri's "Eurydice" the aria occupies the smallest possible place. Giulio Caccini, his amateur co-worker, has an aria published in 1600 from "Nymphes des Ondes," called Fere selvagge che per monti errato, which is in the key of G, moderato, two periods, eight and six measures. The air by Peri, already mentioned, was sixteen measures, in sustained tones, symmetrical, and fulfilling the proper place of aria, which is that of emphasizing and idealizing an important moment in the drama. Gavaert's collection contains one by Marco Gagliano, a duet for two voices, Alma mea dove ten vai, which is in the key of D minor, and runs in thirds in the regulation Italian style. It is evident that here we have not to do with the representative style, but with a folks song more or less idealized. A cantata for solo voice, by Luigi Rossi, 1640, printed in Gevaert's collection, had the theme resumed after the middle part, in a manner quite equivalent to the da capo. This song also is notable for the amount of vocal running work which it contains (an interesting circumstance, considering the comparatively early period of its production after the discovery of the representative style); in this there are from eight to sixteen notes to a syllable, sixteenths in common time. Even the recitative in the dramatic part of this cantata has the pyrotechnic divisions. Cavalli, an aria from whose "Giasone" appears in Gevaert's collection (1649), seems to have held rather a meagre idea of the possibility of the aria. One of the more interesting of these early specimens is the aria or canzone, Farci pazzo da caterna, which is practically a duet with its own accompaniment, the voice answering the leading motive in the bass. It is somewhat defective in symmetry, but its general effect is admirable.

Scarlatti was far more richly endowed than these composers, both by nature and by art. In the Newberry Library, Chicago, there is one opera of Scarlatti's complete, "La Rosaura" (Edition of the German Society for Musical Research), which was probably produced between 1689 and 1692. As compared with the operas by Monteverde, the melody of this work is much more free. There is a largo prelude and aria of Climene in the second scene, with a string introduction, beautifully done. The violin part is very noble and effective. The second part of the aria is in A minor and other keys, ending in C minor, after which there is a da capo, bringing back the main aria. I know not whether this da capo was written by Scarlatti, or was an addition by the later editor; but inasmuch as the date of this opera so closely coincides with that of "Teodora" (1693), generally regarded as the first example of the da capo, this may well enough be an earlier case, unknown to the former writers. In the fifth scene there are some running divisions which are extended to considerable length, the word "spasso," for instance, having seven beats of common time, sixteenths. Throughout this work minor tonality preponderates very much, all the airs being in minor, and only one or two of the ritournelli being in major. Rosaura has a good air in the second act, and there is a remarkably fine piece of work for violin solo, lute, and 'cello, the cembale being silent.

M. FÉtis says that in "Il Cadute de' Decemviri," played in 1705, "All the airs have a sentiment corresponding with the words, and a taking originality. Many have a solo violin with two other violin parts. In the second act an air of touching expression is accompanied by violin solo, with obbligati 'celli, and bass alone. The piece is full of strange harmonies and bold modulations, and is of exquisite beauty."

It was Scarlatti's good fortune to be active as a composer at the very time when the violin had received its finishing touches at the hands of the later Amati and Antonio Stradivarius. The first great violin virtuoso, Archangelo Corelli, had published his epoch-marking works during the last quarter of the seventeenth century. Scarlatti appears to have entered into the new musical world thus opened with ever fresh enjoyment and a rare intelligence. FÉtis says that in "Laodicea e Berenice" (1701) he wrote an air with obbligato for violin and 'cello, the former having been intended for Corelli; but upon its proving impossible to secure Corelli, the air had to be given up because there was no violinist sufficiently skilled to play it.

In "Tigrane" (1715) the orchestra consisted of violins, violas, 'celli, basses, two horns, two oboes, which was an unprecedented number at that time. In "La Caduta de Decemviri" (1706) the air Ma, il ben mio che fa was accompanied by violins in four parts, with admirable effect. Obbligato solos are also frequent.

Scarlatti also made a mark as teacher of singing. By many he is regarded as the founder of the Italian art of singing. This may well enough have been the case. A great singer himself, a fine musician in every respect, and fully imbued with the concept of cantabile melody, as shown in the violin effects already mentioned as frequent in his operas, nothing could be more natural than that he should put the two ideas together, and seek to discover a method of training through which the human voice would be capable of similarly noble effects, with the added element of inherent vitality. According to tradition, he accomplished his task. At all events it was his pupil, Nicolo Porpora, who brought the art of sustained song to its highest perfection. Besides Porpora, who was perhaps his greatest pupil (and his eminent son, Domenico Scarlatti, who was great composer as well as virtuoso upon the clavier), the most celebrated of Scarlatti's pupils were Logroscino, Durante, and Hasse.

Considering the importance of the period when Scarlatti flourished, and his own prominence both in the eyes of his contemporaries and in the history of art, it is surprising that his biography has never been exhaustively written. Such a work, carried out in the spirit of Spitta's "Bach," would amount to a history of the creation and growth of Italian opera, and would be of vast interest.