Alessandro, one of the greatest among musicians, was born at Trapani, in Sicily, in 1659, and died at Naples, on 24th October 1725, aged sixty-six years, as is shown by the inscription on his tomb in the church of the Carmelites of Monte-Santo. Who were his early instructors in music is not known. It seems hardly possible that he should have studied under Carissimi, at Rome, as has been so often said; because when Scarlatti was fifteen years old, Carissimi was ninety-four. Scarlatti visited Rome in 1680, but it is not probable that Carissimi was then living. In that year, his first opera, L'Omoet Nell' Amore, was performed at the court of Christina of Sweden. It has been said that another opera of his was performed in the same year at the court of Munich; but it appears that no opera of Scarlatti's was performed there before 1721. His opera, Pompeo, was performed at the court of Naples on 30th January, 1684. After that we learn nothing of his proceedings until 1693, when he composed the oratorio, I dolori di Maria sempre Vergine, and the opera, Theodora, performed at Rome. In this opera he gave the first example of a da capo; a form adopted by other composers, and employed for many years afterwards. He introduced another novelty, i.e., orchestral accompaniments to the recitatives; and he also gave a separate design to the accompaniments of the airs. It appears that, in 1694, he held the office of chapel master-royal at Naples. His opera, Pirro e Demetrio, performed at Naples in 1697; II prigioniero fortunato, in 1698; and especially Laodicea e Berenice, 1701, established his reputation. On 31st December 1703, Scarlatti was called to assist Foggi, chapel-master of Santa Maria Maggiore, at Rome; and in May 1707 succeeded that eminent musician. He held also the office of music-director to Cardinal Ottoboni, who seems to have obtained for him the decoration of Knight of the Golden Spur. At that time the new political condition of Naples induced Scarlatti to return thither in 1709, after resigning his appointments in Rome. Among the operas which he produced at Naples was II Tigrane, performed in 1715; and in a note subjoined to the argument of the drama, Scarlatti states that he had then composed 106 operas for different Italian theatres. He afterwards composed eleven others, besides several oratorios, and a great deal of church music. In Tigrane he formed new orchestral instrumentations, unknown till then. Scarlatti composed a vast number of cantatas, most of which remain in manuscript. He taught by turns in the conservatories of Sant' Onofrio, Dei Poveri di Gesù Cristo, and Santa Maria di Loreto. The famous Durante was one of his pupils, and arranged several of Scarlatti's cantatas as duets in a most masterly manner. Mirecki published these arrangements, along with Clari's duets and trios, at Paris. Scarlatti's genius and fertility were extraordinary. His invention was rich and bold, his learning great, and his style pure. His modulations, often unexpected, are never harsh, and never difficult for the voice. Besides the music above-mentioned, Scarlatti composed the following pieces for the chamber. Twenty madrigals; a serenata for four voices; two serenate for five voices; madrigals for two voices; fourteen chamber duets, for study; two books of toccate, for the harpsichord or organ. A specimen of Scarlatti's vocal music is given by Burney, in the fourth volume of his History of Music; and another by Padre Martini, in the second volume of his work on counterpoint. Clementi, in his Selection of Practical Harmony, 3 volumes, gives specimens of instrumental music by Alessandro and Domenico Scarlatti.

Domenico, son of Alessandro Scarlatti, was a very distinguished composer, and one of the ablest harpsichord players in Europe. He was born at Naples in 1685. and studied at first under his father, and afterwards under Gasparini, at Rome. In 1709, he met with Handel, at Venice, and was delighted with the surprising improvisations of that great master. At Rome, he composed a great number of excellent cantatas, and wrote also for the church. On 1st January 1715, he was appointed chapel-master of St Peter's, in the Vatican, but quitted that post in August 1719, when he went to London, in order to compose an opera, and to accompany on the harpsichord at the Italian Opera. He there produced Narciso on the 30th May 1720; and next year set out for Lisbon. The king of Portugal engaged him, and treated him very liberally. In 1726, he returned to Naples, but finding his great instrumental talent of small advantage to him in Italy, he accepted, in 1729, an offer from the court of Spain to give lessons to the Princesses of the Asturias, whom he had formerly taught at Lisbon, as Princess of Portugal. At Madrid he enjoyed great advantages, which were continued to him by Ferdinand VI., in whose service he remained till his death in 1757. He published two sets of sonatas for the harpsichord, dedicated to the Princesses of the Asturias, besides other sonatas. His sonatas are remarkable for invention, for graceful melody, and skilful construction. The number of his sonatas is wonderful. The Abate Santini, at Rome, had collected 349 of Domenico Scarlatti's sonatas for harpsichord and organ, and yet had not obtained all that he had written. Clementi, in the second volume of his Selections, gives two fugue specimens of Domenico Scarlatti's music, one of them the celebrated Cat's Fugue. (o. p. 6.)