Domenico Scarlatti, Master of Music

Boyd, Malcolm

doi:10.2307/941527

Notes

1988

DOI: 10.2307/941527

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Domenico Scarlatti, Master of Music

Malcolm Boyd¹

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“…Francesco Gasparini (1661–1727) has been proposed as Scarlatti's probable teacher in Rome or in Venice, where he may also have been introduced to Vivaldi and definitely met Handel; see Boyd (, pp. 15, 100 and 163).…”

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“…For a full account of the primary sources for most of Scarlatti's sonatas, copied in Spain between 1742 and 1757 and taken by his friend the castrato Farinelli from Spain to Italy, see Boyd (, ch. 8, ‘Keyboard Works’).…”

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“…For an overview of the reception (and lack thereof) of Scarlatti's music, see Boyd (, ch. 10, ‘Scarlatti's Reputation and Influence’, pp.…”

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Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the Eighteenth Century

Schmalfeldt¹

2019

Music Analysis

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A permanent move at the age of 34, from Italy into the private services of Princess María Bárbara in Portugal, later in Spain, allowed Domenico Scarlatti to escape fame and stylistic classification. In the absence of a convincing category for Scarlatti's music – post‐Baroque? pre‐Classical? galant? transitional? – the Scarlatti scholar W. Dean Sutcliffe resorts to the apt expression ‘mixed style’. But Sutcliffe acknowledges that ‘much about the Scarlatti sonatas demands to be considered in the light of the Classical style’, and so do I. In particular, the specific type of two‐part form that the composer employs in most of his 555 extant keyboard sonatas was hardly unique on the continent during his lifetime, and that form continued to appear long after it had yielded to what we today call ‘the Classical sonata’. The composer's musical ‘escape mechanisms’ – surprising delays of expected outcomes by way of evaded cadences and ‘one‐more‐time’ repetitions – can be ‘sighted’ in much repertoire towards the end of the eighteenth century, especially in the music of Mozart. Just the same, no amount of comparison of Scarlatti's music with that of later composers can diminish his ‘Spanish’ flamboyance, his penchant for the juxtaposition of wildly different ideas within a single movement – in short, his unparalleled, signature contributions to keyboard music.

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Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the Eighteenth Century

Schmalfeldt¹

2019

Music Analysis

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A fresh look at Domenico Scarlatti's Essercizi per gravicembalo, and the 'tremulo di sopra'

Sloane

2007

Early Music

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From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics

Manuel¹

2002

Journal of the American Musicological Society

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This essay explores the sense of dual tonicity evident in a set of interrelated Spanish and Latin American music genres. These genres include seventeenth-century Spanish keyboard and vihuela fandangos, and diverse folk genres of the Hispanic Caribbean Basin, including the Venezuelan galerón and the Cuban punto, zapateo, and guajira. Songs in these genres oscillate between apparent “tonic” and “dominant” chords, yet conclude on the latter chord and bear internal features that render such terminology inapplicable. Rather, such ostinatos should be understood as oscillating in a pendular fashion between two tonal centers of relatively equal stability. The ambiguous tonicity is related to the Moorish-influenced modal harmony of flamenco and Andalusian folk music; it can also be seen to have informed the modern Cuban son and the music of twentieth-century Cuban composer Amadeo Roldán.

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Domenico Scarlatti, Master of Music

Cited by 3 publications

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Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the Eighteenth Century

Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the Eighteenth Century

A fresh look at Domenico Scarlatti's Essercizi per gravicembalo, and the 'tremulo di sopra'

From Scarlatti to “Guantanamera”: Dual Tonicity in Spanish and Latin American Musics

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