Curated by Dinko Fabris and Paologiovanni Maione
Contributions by Sheveloff J., Halton R., Maione P., Nocerino F., Lippmann F., Eckersley K., Fabris D., Lattarico J.F., Franchi S., Rostirolla G., De Brito M.C., Doderer G., Dominguez J.M., Sutcliffe W.D., Fadini E., Tufano L., Hammond F., Pagano R.
ISBN 978-88-89491-12-6 | 2010


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The musical and human personality of “Mimo” Scarlatti, crushed by the cumbersome figure of his father Alessandro, the first Italian opera composer of authentic European stature, once again acquires a new centrality. As well as reflecting on the significance of a unique compositional experience in the history of music (the author of almost 600 harpsichord sonatas dedicated almost exclusively to a single, exceptional pupil), the book is the culmination of all the studies conducted so far on the musician and an opportunity to launch new and original research itineraries that can help to dispel old prejudices. The whole of Domenico Scarlatti’s artistic experience, including his contradictions, can be summed up in the famous letter he wrote to Domenico Scarlatti: musica e storia maggiordomo del re di Spagna in 1752, five years before his death, in which he invited the future Duke of Alba to preserve “the ancient loose parts” of his compositions in the score “so that many modern theatrical composers may observe and take advantage (if they wish) of the true mode and the true law of writing in counterpoint, which I observe in few today”. 


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