Pietro Filippo Scarlatti, Italian organist and composer (d. 1750)

Pietro Filippo Scarlatti (5 January 1679 – 22 February 1750) was a distinguished Italian composer, organist, and choirmaster during the high Baroque period. Born into one of the most illustrious musical families of his era, he was the eldest son of the celebrated opera composer Alessandro Scarlatti, often hailed as the founder of the Neapolitan School of opera, and an elder brother to the renowned keyboard virtuoso and composer Domenico Scarlatti, famous for his keyboard sonatas. Pietro Filippo’s career, while often overshadowed by his more famous relatives, contributed significantly to the musical landscape of early 18th-century Italy, particularly in sacred and keyboard music.

Early Musical Career and Role as Choirmaster

Pietro Filippo Scarlatti began his formal musical career in 1705, at the age of 26, when he was appointed choirmaster (Maestro di Cappella) of the cathedral of Urbino. This was a prestigious position that involved not only composing new sacred music for liturgical services but also directing the choir and overseeing all musical aspects of the cathedral. Urbino, a historic city in the Marche region of Italy, possessed a rich cultural heritage, and its cathedral was a significant center for religious music. This appointment marked his first independent professional role, laying the groundwork for his subsequent career.

Transition to Naples and Court Service

Three years later, in 1708, a pivotal moment in Pietro Filippo’s career occurred when his influential father, Alessandro Scarlatti, brought him to Naples. Naples, at the time, was a vibrant European musical capital, particularly famed for its thriving operatic scene and the presence of numerous aristocratic patrons of the arts. Upon his arrival, Pietro Filippo secured the esteemed position of organist at the Neapolitan court. This role not only provided a stable income but also placed him at the heart of the city's musical elite, often performing for royalty and nobility. As a court organist, his duties would have included playing for court ceremonies, religious services, and possibly teaching members of the court.

Pietro Filippo's Only Known Opera: Clitarco

In 1728, Pietro Filippo Scarlatti saw the premiere of his only known opera, Clitarco, at the famed Teatro San Bartolomeo in Naples. The Teatro San Bartolomeo was one of the principal opera houses in Naples, renowned for staging new works by leading composers of the time. The premiere of an opera there was a significant event in any composer's career, signaling their mastery of dramatic music. Tragically, the full score of Clitarco has been lost to history, a common fate for many Baroque operatic works that were often performed only for a limited run and not widely published or preserved. This loss deprives modern audiences of the opportunity to fully appreciate Pietro Filippo's contribution to the operatic genre and compare it with the prolific output of his father and other contemporaries.

Other Principal Works: Cantatas and Keyboard Toccattas

Beyond his singular operatic venture, Pietro Filippo Scarlatti's compositional output largely comprises vocal and keyboard music. His principal surviving works include three cantatas, which are typically chamber vocal pieces for one or more voices with instrumental accompaniment, often telling a short narrative or expressing a particular emotion. These works showcase his skill in melodic invention and text setting. Additionally, he composed a multitude of keyboard toccatas. A toccata, from the Italian "toccare" (to touch), is a virtuosic piece for a keyboard instrument, often characterized by rapid, highly embellished passages, intricate counterpoint, and free-form sections. These toccatas highlight his prowess as an organist and his understanding of Baroque keyboard idioms.

The Significance of Luciano Sgrizzi's Recording

Notably, one of Pietro Filippo Scarlatti's keyboard toccatas gained wider recognition when it was recorded by the distinguished Italian harpsichordist and pianist, Luciano Sgrizzi (1910–1994). Sgrizzi was a celebrated interpreter of Baroque and Classical music, known for his historically informed performances and extensive discography. His decision to record a work by Pietro Filippo Scarlatti underscores the quality and historical interest of this particular toccata, bringing it to the attention of a broader audience and providing a rare audio example of Pietro Filippo's keyboard artistry.

Pietro Filippo Scarlatti died in Naples in 1750, the same year as Johann Sebastian Bach. While his musical legacy may not possess the vastness or groundbreaking impact of his father Alessandro, or the widespread popularity of his brother Domenico, Pietro Filippo was undeniably an accomplished musician who held significant ecclesiastical and court positions. His surviving cantatas and keyboard toccatas offer valuable insights into the musical practices and stylistic trends of the early 18th century, representing an important, though lesser-known, chapter in the illustrious Scarlatti family's musical heritage.

Frequently Asked Questions About Pietro Filippo Scarlatti

Who was Pietro Filippo Scarlatti?

Pietro Filippo Scarlatti was an Italian composer, organist, and choirmaster active in the early 18th century. He was the eldest son of the famous opera composer Alessandro Scarlatti and the brother of the renowned keyboard composer Domenico Scarlatti.

What was his most notable work?

His only known opera, Clitarco, premiered in Naples in 1728, though its score has unfortunately been lost. His other principal works include three cantatas and numerous keyboard toccatas, one of which was recorded by the esteemed harpsichordist Luciano Sgrizzi.

What roles did he hold during his career?

He began his career as choirmaster of the cathedral of Urbino in 1705. Later, from 1708 until his death, he served as an organist at the prestigious Neapolitan court in Naples.

Why is his opera Clitarco not well known today?

The score for Clitarco has been lost, which is a common occurrence for many Baroque operas that were often performed only a few times and not preserved through publication or widespread copying. This loss prevents modern study and performance of the work.