Grove's dictionary of music and musicians

SCAELATTI SCBNA 247
Asturias, whose name is on the ^title-page,
ascended the throne. In the Fetis collection
is a Paris edition, 'Pifeces pour le clavecin,'
two vols., published by Mme. Boivin (who died
Sept. 1733) and Le Clerc.i '42 Suits 2 of
Lessons ' were printed by John Johnson (at the
Harp and Crown, Cheapside), London, under
the supervision of Scarlatti's Mend Eoseingrave
(between 1730 and 1737, when Eoseingrave
went out of his mind). In 1762 John Worgan
obtained the sole licence to print certain new
works by Domenico Scarlatti, and published
them (at J. Johnson's, facing Bow Church,
Cheapside). These were twelve sonatas, most
of them new to England. Czemy's edition
(Haslinger, Vienna, 1839), containing 200
pieces, was re-edited (Paris, Saner, Girod) and
revised by Mme. Farrenc from Eoseingrave's
edition, and MSS. then in possession of Eimbault.
There are also 130 pieces in Farreno's
'Tr&or des Pianistes ' (1864); sixty Sonatas
are published by Breitkopf ; and eighteen pieces,
. grouped as Suites by von Biilow, by Peters.
[Tausig arranged several of the sonatas to suit
the requirements of modem pianists, but the
greatest boon to lovers of Domenico Scarlatti is
the publication of a complete edition of his
sonatas by Eicordi & Co. under the editorship
of Signer Alessandro Longo. Six volumes,
containing 300 pieces in all, appeared in 1906,
and are to be continued by a further series.
The above article has been corrected by reference
to a review of this edition written by Mr. E. J.
Dent, and published in the Monthly Musical
Hecord, Sept. 1906.] Besides these famous
works and the operas, among which last are to
be included contributions to various pasticcios,
Domenico Scarlatti wrote a Stabat Mater for
ten voices and organ, and a ' Salve Eegina ' for
a single voice, stated to be his last composition,
r. G.
—«eSSLATTI, Francesco, a brother of
Alessandro. A mass and Dixit Dominus by
him, a 16, are in the Bodleian Library, Oxford,
dated 1702 and 1703 respectively. He was
for twenty -six years maestro di oappella at
Palermo (1689-1715), and in 1719 came to
London with his nephew Domenico, giving a
concert of his own compositions, Sept. 1, 1720.
A Miserere a S is in the Court library at Vienna,
and some opera airs and cantatas in the Fitzwilliam
Museum, Cambridge, and elsewhere.
(See the Qvxllen-Lexikon.) M.
SCAELATTI, Giuseppe, son of Domenico,
was bom at Naples, according to Paloschi in
1712, according to Florimo in 1718. At one
time he seems to have been maestro at Pavia,
and in the text-book of 'I portentosi effetti,'
revived at Berlin, in 1763, he is styled maestro
di cappella in Naples. He settled in Vienna in
1757, before which date he had produced the
following operas:— 'Merope,' Rome 1740 (repeated
at Naples
'
1755) Dario,' Turin, 1741 ;
;
'
'Pompeo in Armenio,' Eome, 1747 ;
Adriano
in Siria,' Naples, 1752 ; 'Ezio,' Naples, 1754 ;
' I portentosi effetti della natura,' Venice, 1754 ;
'Antigone,' Milan, 1756; 'Chi tutto abbraccia
nulla stringe,' Venice, 1756. In Vieniia
he brought out at the court theatre : II mercato
'
di malmantile' and 'L' isola disabitata,'
1757 ;
'
La serva scaltra,' 1759 ;
'
Issipile ' and
'La Clemenza di Tito,' 1760; 'Artaserse,'
1763; 'Li stravaganti, ' 1765; 'La moglie
padrona, '1768. He died at Vienna, August 1 7,
1777. 0. F. p. ; with additions from the
Quellen-Lexikon.
SCAELATTI, Pietko, was probably a nephew
of Domenico and was, according to Florimo,
maestro di cappella in Naples. In 1728 his
opera Clitarco ' ' was given at the theatre of
San Bartolomeo (a MS. of the work is at Monto
Cassino, in which there are intennezzi by
Hasse.) M.
SCENA (Gr. Ski;v^ ; Lat. Scena ; Ital. Scena,
TecUro, Palco ; Ger. Biihne, Aufiritt ; Fr. Seine,
Thidtre ; Eng. Seene, Stage). A term, which,
in its oldest and fullest significance, applies
equally to the stage, to the scenery it represents,
and to the dramatic action which takes place
upon it. Hence, the long array of synonyms
placed at the beginning of this article.
I. Classical authors most frequently use the
word in its first sense, as applying to that part
of a Greek or Eoman Theatre which most nearly
answers to what we should now call the stage ;
and the classical tendencies of the Eenaissance
movement led to its similar use in the 16th
century.
II. In its second sense, the word is commonly
applied, in England, to those divisions of a
drama which are marked by an actual change
of scenery ; a method of arrangement which is
even extended to English translations of foreign
works.
III. In the Italian, German, and French
theatres, the word is more frequently used, in
its third sense, to designate those subordinate
divisions of an act^ which are marked by the
entrance or exit of one or more members of
the Dramatis Personae ' ; a new scene being
always added to the list when a new character
appears upon or quits the stage, though it be
only a messenger, with half-a-dozen words to
say or sing.
IV. In a more limited sense, the term Scena
is applied by operatic composers to an accompanied
recitative, either interspersed with
passages of rhythmic melody, or followed by a
regular Aria. In the former case, the word is
generally used alone—and always in its Italian
form : in the latter the composition is sometimes
called 'Scena ed Aria.' Less Irequehtly, the
^
No. 10 In ToL li. is an oi^n fugue b7 Alessandro Scarlatti.
3 Which are not ' Snites,' but single moTementa.
3 Ital. Atto; Ft. Acts ; Oer. Aitfiatg—^ allusloa to the raising of
the curtain.