Concerto De' Cavalieri & Marcello Di Lisa - Alessandro Scarlatti: Opera Overtures and Concertos (2016) [CD Rip]
Artist: Concerto De' Cavalieri & Marcello Di Lisa
Title: Alessandro Scarlatti: Opera Overtures and Concertos
Year Of Release: 2016
Label: Deutsche Harmonia Mundi – 88985370012
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 54:02
Total Size: 317 MB
WebSite: Album Preview
Tracklist:Title: Alessandro Scarlatti: Opera Overtures and Concertos
Year Of Release: 2016
Label: Deutsche Harmonia Mundi – 88985370012
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 54:02
Total Size: 317 MB
WebSite: Album Preview
Alessandro Scarlatti (1660-1725)
Il prigioniero fortunato: Sinfonia:
01. I. Allegro
02. II. Adagio
03. III. Allegro
Sei Concerti in sette parti: No. 3 in F Major:
04. I. Allegro
05. II. Largo
06. III. Allegro
07. IV. Largo
08. V. Allegro
La caduta de' Decemviri: Sinfonia:
09. I. Allegro
10. II. Largo
11. III. Allegro
Sei Concerti in sette parti: No. 1 in F Minor:
12. I. Grave
13. II. Allegro
14. III. Largo
15. IV. Allemanda. Allegro
Sei Concerti in sette parti: No. 6 in E Major:
16. I. Allegro
17. II. Allegro
18. III. Largo
19. IV. Affettuoso
Scipione nelle Spagne: Sinfonia:
20. I. Allegro
21. II. Largo
22. III. Allegro
Sei Concerti in sette parti: No. 5 in D Minor:
23. I. Allegro
24. II. Grave
25. III. Allegro
26. IV. Minuetto
Sei Concerti in sette parti: No. 4 in G Minor:
27. I. Allegro ma non troppo
28. II. Grave
29. III. Vivace
La donna ancora è fedele: Sinfonia:
30. I. Presto
31. II. Largo
32. III. Allegro
Sei Concerti in sette parti: No. 2 in C Minor:
33. I. Allegro
34. II. Grave
35. III. Minuetto
L'amazzone corsara:
36. Act I Scene XII: Allegro
37. Act III Scene XXV: Allegro
Well aware of the historical need to document as comprehensively as possible all the genres in which Alessandro Scarlatti shone, Marcello Di Lisa and Concerto de’ Cavalieri dedicate the fifth stage in the Baroque Project to exploring the opera overtures of the Palermitan composer. These constitute distinct a stylistic ambience which does not represent Scarlatti as an inventor of forms, but clearly as a consummate arranger with a command of structure, opening the way to the worldwide success of the Neapolitan School. It is hardly surprising to find here no fewer than four world premiere recordings, nor ndeed to be struck by the superb musical quality of these hitherto hidden gems, as was only to be expected of one of the most sensitively inventive composers of all times.
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