NEOCLASSICISM
In 1706, while living in Rome between his two stints as maestro di cappella in Naples, Scarlatti was honored by election, along with the keyboard virtuoso and composer Bernardo Pasquini and the great violinist Arcangelo Corelli, to a very prestigious association of musical and literary connoisseurs known as the Arcadian Academy. It had been founded in 1690, the year following the death of Queen Christina, Scarlatti’s former patron, by former habitués of her salon. At its head was Pietro Cardinal Ottoboni, grandnephew of the reigning pope, Alexander VIII. For more than fifty years Cardinal Ottoboni was far and away the most lavish patron of opera in Rome. He was also an amateur librettist, whose texts, whatever their shortcomings, were eagerly set by composers in hopes of an extravagant production and an outstanding performance supervised by Pasquini and Corelli. Two of Scarlatti’s operas and several of his oratorios were set to Ottoboni librettos, including La Statira, the cardinal’s maiden operatic effort.
- Citation (MLA):
- Richard Taruskin. "Chapter 4 Class and Classicism." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Oct. 2019. <https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-04003.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 4 Class and Classicism. In Oxford University Press, Music In The Seventeenth And Eighteenth Centuries. New York, USA. Retrieved 21 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-04003.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 4 Class and Classicism." In Music In The Seventeenth And Eighteenth Centuries, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Oct. 2019, from https://www.oxfordwesternmusic.com/view/Volume2/actrade-9780195384826-div1-04003.xml
