Despite certain unwarranted claims that have been made to the contrary, the Oratorios of Alessandro Scarlatti are all marked by radically different features.
lndeed, each of them has its own particularity as regards its main idioms and forms.
The thorough study of these qualities gave me the idea of arranging the overtures, as well as a few of the interludes, of some of the Oratorios, in such a way that, with their various stylistic links and complex expressive contrasts, they would form a most dramatic yet unified composition.
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