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From serenata to opera stage: Giovanni Bononcini's serenata Amor per Amore (Rome, August 1696) as inspiration and source material for Il Trionfo di Camilla (Naples, December 1696)
- Halton, Rosalind
A voi che l'accendeste: for solo voice and continuo
'Choice things of value': the mysterious genesis and character of the VI concertos in seven parts attributed to Alessandro Scarlatti
- Halton, Rosalind, Talbot, Michael
'Senza cimbalo al tavolino': Alessandro Scarlatti and his 4 Sonate a quattro
Alessandro Scarlatti, Four Sonate a Quattro: two violins, viola and violoncello
Birthday tribute or cantata contest: Alessandro Scarlatti's 'A Voi Che L'Accendeste'
Concert for a New Era: Monody by Claudio Saracini (1624); Vivaldi, Sonata for flute, bassoon, and basso continuo
- Halton, Rosalind, Allan, Christopher, Hoadley, Ben, Walker, Sally
Sunday Live: Recital of Italian Baroque Music
Alessandro Scarlatti (1660 - 1725). L'Orfeo: cantata for voice (S), two violins, and basso continuo
Explorations around bass parts and key schemes: recording the cantatas of Alessandro Scarlatti
From hailstones to hallelujah: the first Handel commemoration
Alessandro Scarlatti: solo serenatas
- Catsalis, Marie-Louise, Halton, Rosalind
Collaboration and the Italian solo cantata
- Halton, Rosalind, Simpson, Rowena, Sussex, Polly
Nicola Porpora and the cantabile cello
Serenata in flux: the two versions of Venere, Adone, et Amore by Alessandro Scarlatti
Scarlatti father and son: a musical relationship
Alessandro Scarlatti and the Roman copies of his Neapolitan compositions: a source study of the serenata Venere, Adone, et Amore (1696)
Alessandro Scarlatti: Venere, Adone, et Amore: original version, Naples 1696 and revised version, Rome 1706
Performing proportion: crux awareness in Scarlatti interpretation
- Harper, Nancy Lee, Henriques, Tomás, Halton, Rosalind
Rhythmic inequality (letter)
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