Alessandro Scarlatti, Four Sonate a Quattro: two violins, viola and violoncello

- Halton, Rosalind

Venere, Adone, e Amore: serenatas and cantatas by Alessandro Scarlatti

- Halton, Rosalind

Louis Couperin and friends

- Halton, Rosalind

Rhythmic inequality (letter)

- Halton, Rosalind

Alessandro Scarlatti: Venere, Adone, et Amore: original version, Naples 1696 and revised version, Rome 1706

- 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

- Halton, Rosalind

Alessandro Scarlatti (1660 - 1725). Lucretia Romana: cantata for soprano and basso continuo

- Halton, Rosalind

Alessandro Scarlatti: solo serenatas

- Catsalis, Marie-Louise, Halton, Rosalind

Scarlatti father and son: a musical relationship

- Halton, Rosalind

Collaboration and the Italian solo cantata

- Halton, Rosalind, Simpson, Rowena, Sussex, Polly

'Senza cimbalo al tavolino': Alessandro Scarlatti and his 4 Sonate a quattro

- Halton, Rosalind

Alessandro Scarlatti and the Roman copies of his Neapolitan compositions: a source study of the serenata Venere, Adone, et Amore (1696)

- Halton, Rosalind

'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

- Halton, Rosalind

Sunday Live: Recital of Italian Baroque Music

- Halton, Rosalind

Birthday tribute or cantata contest: Alessandro Scarlatti's 'A Voi Che L'Accendeste'

- Halton, Rosalind

Nicola Porpora and the cantabile cello

- Halton, Rosalind

Night and dreams: text, texture, and night themes in cantatas by Alessandro Scarlatti

- Halton, Rosalind

From hailstones to hallelujah: the first Handel commemoration

- Halton, Rosalind