Famous composers and their works, Vol. 1

by Unknown

The early efforts of Monteverde and Cavalli prepared the way for a later generation of composers, whose works are even now regarded as masterpieces of a style of composition none the less beautiful because no longer cultivated. The most prominent composers of the brilliant period which followed the inauguration of the monodic school were Carissimi, Colonna, Alessandro Stradella, Francesco and Luigi de Rossi, and, greatest of all, Alessandro Scarlatti, of whom a special biographical account is included in the present work. Giacomo Carissimi (born in 1604 at Monino, died in 1674 at Rome) devoted himself chiefly to the composition of sacred music. His works are characterized by sweetness and grace, combined with a richness of instrumental accompaniment very much in advance of the age. His chief compositions are the oratorios "Jefte" and "Iona." Giovanni Paolo Colonna (born in 1640 at Brescia, died in 1695 at Bologna) wrote sacred music of a massive, dignified character, and in every way worthy the school to which it belongs. The manuscript of an "offertorium defunctorum," by Colonna, for eight voices, is in the library of the Royal College of Music in London. This master trained a large number of talented pupils (the Bolognese school), among others, Clari, the composer of many fine works and especially of a collection of charming vocal duets and trios; Giovanni Bononcini, a rival of Handel, in London; and Perti, Aldovrandini, Passarini, Pasquale, and the celebrated composer and historian, Padre Martini.

Alessandro Stradella, whose name has been so frequently mentioned in connection with a fatal love-adventure, wrote many operas and oratorios. The aria "Pietà, signore," attributed to him, is not of his composition. For a long time it was thought to have been written by Alessandro Scarlatti; but it is evidently in the style of Francesco di Rossi, a canon of Bari, who died in 1688.

Rossi wrote the operas "Il Sejano," "Clorilda," "Mitrane." The beautiful aria "Ah! rendimi," well known to all singers, is from his opera "Mitrane." Luigi Rossi, of whose presence in Rome we hear as early as the year 1620, was also a very talented composer. His only known opera is "Il palazzo incantato." But none of these composers rivalled, either in talent or reputation, their great contemporary, Alessandro Scarlatti, who was born in 1659 at Trapani in Sicily and died in 1725 at Naples. He was a pupil of Carissimi. The secret of his great power lay in his recognition of the true value of counterpoint. He was wise enough to see that the art for which Peri and Monteverde had expressed their undisguised contempt, formed the technical basis of all true greatness in music. Scarlatti was considered the most learned musician, as well as the greatest genius of the age. His power of production was almost incredible. His first opera, "L'Onesta nell Amore" (1680), was followed by no less than a hundred and fourteen other operas. He is known to have written two hundred masses, and far more than that number of cantatas. Very few of these were printed, and the majority have been consequently lost. Signs of rapid progress are everywhere apparent in these operas,—most of all in the recitative and the form of the aria. Scarlatti is supposed to be the inventor of the recitative obligato (with accompaniment) and the da capo (repetition of a musical movement). His son, Domenico Scarlatti, of whom we shall have later to speak, became one of the greatest harpsicord players on record. Alessandro's greatest contemporaries in Germany were the older members of the Bach family, who steadily made advances in musical art, more especially in the higher branches of sacred music, culminating in the great Sebastian Bach.

BENEDETTO MARCELLO.

Reproduction of a lithograph portrait.

The followers of Scarlatti during the earlier years of the eighteenth century, claim our admiration, not so much on account of their inventive power, as on the ground that they made progress in matters of technical perfection. Nevertheless, the century gave birth to some composers whose genius was not merely great in comparison with the talent displayed by contemporary writers, but so truly great in itself that it seems impossible they should ever be forgotten.

Among the Italian followers of Scarlatti was the favorite pupil of Legrenzi, Antonio Lotti (1667-1740). He invested the form left by Scarlatti with a melodious grace so modern in character that some of his arias, e. g. "Pur dicesti," are still regarded as standard compositions. He wrote more than twenty operas. In 1756 he was elected maestro di capella at St. Mark's, and in the same year he was commissioned by the Venetian Republic to compose, in honor of the Doge's wedding the Adriatic, the famous "Madrigale per il Bucintoro," entitled "Spirito di Dio."

Antonio Caldara (1678-1736) was also a pupil of Legrenzi, at the time when Lotti studied with him. In 1714 he went to Mantua as maestro di capella, and later in the same capacity to Vienna. He wrote ninety-six operas, of which the most successful was "Temistocle." His finest composition is a Crucifixus for sixteen voices, still very often sung in prominent churches. Among Lotti's pupils was Baldassare Galuppi(1706-1786), who wrote fifty-four operas, and a great deal of delightful chamber-music.

Another pupil of Caldara, and a prominent figure in musical history, was Benedetto Marcello (1686-1739). He was a Venetian nobleman and musical amateur who, though possessing the musical ability of neither Lotti or Caldara, nevertheless succeeded, by hard work, by keen artistic zeal and by literary mastery, in winning fame for himself even outside his native country. His masterpiece, the paraphrases of fifty psalms set to music, at once brought him to the attention of all the prominent musicians of his time, and established his reputation. The library of St. Mark in Venice has a manuscript "Teoria musicale" by him; the court library has many autographs and other works of Marcello, including the cantatas "Addio di Ettone," "Clorie Daliso" and "La Stravaganza." Marcello's satirical pamphlet, "Il teatro alla moda," is a valuable source of information concerning society life in Venice toward the middle of the eighteenth century. Rossini borrowed one of the principal themes of his overture to the "Siege of Corinth" from Marcello's twenty-first psalm.