The greater part of the works of Scarlatti are lost, or lie concealed in the archives of the religious houses for which many of them were composed. The archives of the Royal College of Music at Naples contain fifty works of his, among which there are seven of his operas.
[Illustration: Fac-simile autograph manuscript written by Scarlatti. Original is in the British Museum.]
It is by no means easy at the present day to discriminate between the musical reforms which Scarlatti actually invented himself, and those which tradition has somewhat generously attributed to him, but which were in fact the fortunate discoveries of earlier composers soon forgotten. Speaking in general terms, between Scarlatti and Monteverde a full century intervened, a century of such feverish musical activity as the world has scarcely ever seen equalled. Many gifted men took up the representative style where Monteverde left it, and small reforms were continually introduced. Scarlatti is credited with having made the aria more symmetrical by introducing the _da capo_ after the middle part. He is also held by some to have invented, or greatly perfected, the Italian art of singing, and to have introduced running divisions for the display of the technique of the singers. In this point he is the forerunner of the later Italian composers. It is not at all easy to define the precise limitations between Scarlatti's work and that of the other composers, famous in their times, but now almost forgotten. Few of their works are now accessible, and the extracts in such collections as Gevaert's "Les Gloires de l'Italie" may have been edited with the additions required for modern ideas. But so far as I feel justified in drawing conclusions from the evidence accessible, the following are among the more important facts in the case:--
In Peri's "Eurydice" the aria occupies the smallest possible place. Giulio Caccini, his amateur co-worker, has an aria published in 1600 from "Nymphes des Ondes," called _Fere selvagge che per monti errato_, which is in the key of G, moderato, two periods, eight and six measures. The air by Peri, already mentioned, was sixteen measures, in sustained tones, symmetrical, and fulfilling the proper place of aria, which is that of emphasizing and idealizing an important moment in the drama. Gavaert's collection contains one by Marco Gagliano, a duet for two voices, _Alma mea dove ten vai_, which is in the key of D minor, and runs in thirds in the regulation Italian style. It is evident that here we have not to do with the representative style, but with a folks song more or less idealized. A cantata for solo voice, by Luigi Rossi, 1640, printed in Gevaert's collection, had the theme resumed after the middle part, in a manner quite equivalent to the _da capo_. This song also is notable for the amount of vocal running work which it contains (an interesting circumstance, considering the comparatively early period of its production after the discovery of the representative style); in this there are from eight to sixteen notes to a syllable, sixteenths in common time. Even the recitative in the dramatic part of this cantata has the pyrotechnic divisions. Cavalli, an aria from whose "Giasone" appears in Gevaert's collection (1649), seems to have held rather a meagre idea of the possibility of the aria. One of the more interesting of these early specimens is the aria or canzone, _Farci pazzo da caterna_, which is practically a duet with its own accompaniment, the voice answering the leading motive in the bass. It is somewhat defective in symmetry, but its general effect is admirable.