'Comedias armónicas a la usanza de Italia’: Alessandro Scarlatti’s music and the Spanish nobility c.1700
This article grew out of the discovery of a series of inventories that allow us to chart the arrival in Madrid in 1697 of a portrait of Alessandro Scarlatti attributed to Solimena, and to identify two further portraits of musicians associated with the composer.1 The article will show that there was...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2009 |
| País: | España |
| Institución: | Universidad Complutense de Madrid (UCM) |
| Repositorio: | Docta Complutense |
| Idioma: | inglés |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/132699 |
| Acceso en línea: | https://hdl.handle.net/20.500.14352/132699 |
| Access Level: | acceso abierto |
| Palabra clave: | 78.034.8 Alessandro Scarlatti Mecenazgo musical Música del barroco Cantatas Virreyes de Nápoles Música barroca 6203.06 Música, Musicología |
| Sumario: | This article grew out of the discovery of a series of inventories that allow us to chart the arrival in Madrid in 1697 of a portrait of Alessandro Scarlatti attributed to Solimena, and to identify two further portraits of musicians associated with the composer.1 The article will show that there was a cycle of reception of Neapolitan music by these virtuosos in Spain, a cycle that followed two phases: first, the diffusion of the fame of the musicians depicted in the portraits through the members of the aristocracy closest to Charles II, for example, the Count of Santisteban and the Duke of Sesto, general of the cavalry in Milan. The second phase, following the establishment of the Bourbon dynasty, involved the transmission to Madrid of the music as performed by the virtuosos in the portraits. The reception of this music is reflected in a number of surviving musical sources which will be identified and studied in detail here, with new evidence concerning their provenance. |
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