/
Your selections:
Alessandro Scarlatti (1660 - 1725). L'Orfeo: cantata for voice (S), two violins, and basso continuo
- Halton, Rosalind
Introducing the online Early Music Directory of Australia
Alessandro Scarlatti, Four Sonate a Quattro: two violins, viola and violoncello
Venere, Adone, e Amore: serenatas and cantatas by Alessandro Scarlatti
Louis Couperin and friends
A voi che l'accendeste: for solo voice and continuo
Rhythmic inequality (letter)
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
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
Explorations around bass parts and key schemes: recording the cantatas of Alessandro Scarlatti
Alessandro Scarlatti (1660 - 1725). Lucretia Romana: cantata for soprano and basso continuo
Alessandro Scarlatti: solo serenatas
- Catsalis, Marie-Louise, Halton, Rosalind
Scarlatti father and son: a musical relationship
Domenico Scarlatti and his cantabile sonatas
Collaboration and the Italian solo cantata
- Halton, Rosalind, Simpson, Rowena, Sussex, Polly
'Senza cimbalo al tavolino': Alessandro Scarlatti and his 4 Sonate a quattro
Alessandro Scarlatti and the Roman copies of his Neapolitan compositions: a source study of the serenata Venere, Adone, et Amore (1696)
'Choice things of value': the mysterious genesis and character of the VI concertos in seven parts attributed to Alessandro Scarlatti
- Halton, Rosalind, Talbot, Michael
Serenata in flux: the two versions of Venere, Adone, et Amore by Alessandro Scarlatti
Are you sure you would like to clear your session, including search history and login status?