In earlier times, it was customary for children to follow in their father's footsteps. Handel was an exception, as he became a musician against the wishes of his father, who was a surgeon and barber. In contrast, both Bach and Scarlatti came from musical families. The name "Bach" usually brings to mind Johann Sebastian Bach, while "Scarlatti" is more nuanced. In the realm of keyboard music, Domenico is most often associated with him, although his father also composed for the harpsichord. Alessandro, on the other hand, is primarily associated with vocal works.
Little is known about Pietro Scarlata's background, although his wife, Eleanora d'Amato, was related to the Kapellmeister of Palermo Cathedral. This Kapellmeister was responsible for Passions, which may have influenced Alessandro's early musical style. Two daughters and a son became singers, while Francesco worked as a composer and violinist. Alessandro initially received instruction from relatives before being sent to Rome at the age of twelve. There, he may have been taught by the renowned composer Carissimi. These connections were likely facilitated by Marc'Antonio Sportonio, who maintained ties with the Scarlatti family.
Rome boasted a vibrant musical life in the 17th century. Scarlatti initially found employment in ecclesiastical institutions before becoming Kapellmeister in Naples. In Naples, he composed numerous operas and cultivated relationships with Roman patrons. Later, he moved to the court of the Tuscan prince. The political situation in Naples prompted his return to Rome, where he continued his work as a composer. Scarlatti died in Naples in 1725.
The connection between Scarlatti and Handel remains a matter of speculation, but they did share common patrons. Their compositions were performed concurrently. A manuscript even exists that links both composers. Remarkable similarities also exist between the texts of their works.
Although Alessandro Scarlatti's keyboard music has received less attention compared to his son's works, his compositions for these instruments remain enigmatic. His most important work is the Toccata per cembalo d'ottava stesa from 1723. A particular challenge lies in analyzing this work completely and accurately. A comparative study of his early and late compositions is especially revealing.