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Journal articles on the topic 'Domenico Scarlatti'

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Published: 4 June 2021
Last updated: 25 April 2022

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1

Turner, A. G. L. "Domenico Scarlatti." Musical Times 126, no. 1714 (December 1985): 712. http://dx.doi.org/10.2307/965190.

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2

DECKER, TODD. "‘SCARLATTINO, THE WONDER OF HIS TIME’: DOMENICO SCARLATTI’S ABSENT PRESENCE IN EIGHTEENTH-CENTURY ENGLAND." Eighteenth Century Music 2, no. 2 (September 2005): 273–98. http://dx.doi.org/10.1017/s1478570605000382.

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Domenico Scarlatti played a consistently significant role in English musical life from 1738 to the end of the century, even though he never travelled to England. His ‘absent presence’ was mediated by the eighty-three Scarlatti sonatas available in print in the eighteenth century. Scarlatti’s ‘English’ sonatas – defined here as those pieces available in print or manuscript to an eighteenth-century English player – display common compositional traits, in particular the frequent use of virtuoso techniques that appeal to the eye as well as the ear, such as crossed-hand passagework and leaps. English professional keyboard players used these visually virtuoso sonatas to establish their credentials in a competitive market, and the performance of this repertory – the most difficult in print – remained a benchmark for skilful execution at the keyboard to the end of the century. The performance venues for Scarlatti sonatas are difficult to document outside of anecdotal evidence drawn from personal accounts such as those by Charles and Fanny Burney. I provide new documentary evidence for semi-public performances of Scarlatti sonatas by Charles Jr and Samuel Wesley in the 1770s and offer further evidence that Scarlatti’s music held its place during a period of profound change in musical style and taste. Even as his sonatas were published and played to the end of the century, Scarlatti was frequently invoked in writings on music and aesthetics. His shifting position as exemplar or bad example is demonstrated in texts by Charles Avison, William Crotch, Uvedale Price, Sir John Hawkins and Charles Burney. Much like Arcangelo Corelli, another Italian with a strong absent presence principally mediated by print, Domenico Scarlatti had a powerful and lasting impact in England. This article presents an eighteenth-century portrait in absentia of the ‘English’ Scarlatti, suggesting how this elusive figure might be moved out of courtly isolation and into the thick of the eighteenth-century musical marketplace.
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3

SHEVELOFF, JOEL. "Domenico Scarlatti: Tercentenary Frustrations." Musical Quarterly LXXI, no. 4 (1985): 399–436. http://dx.doi.org/10.1093/mq/lxxi.4.399.

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4

Hammond, Frederick, and Malcolm Boyd. "Domenico Scarlatti, Master of Music." Notes 44, no. 3 (March 1988): 476. http://dx.doi.org/10.2307/941527.

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5

Schott, Howard. "Domenico Scarlatti Festival in Boston." Early Music XXVI, no. 4 (November 1998): 699–700. http://dx.doi.org/10.1093/earlyj/xxvi.4.699.

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6

Johnsson, Bengt. "unbekannte Sonate von Domenico Scarlatti." Die Musikforschung 34, no. 3 (September 22, 2021): 309–10. http://dx.doi.org/10.52412/mf.1981.h3.1650.

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7

Mikusi, Balázs. "Bartók and Scarlatti: A study of motives and influence." Studia Musicologica 50, no. 1-2 (March 1, 2009): 3–27. http://dx.doi.org/10.1556/smus.50.2009.1-2.1.

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The long-held notion that Bartók’s style represents a unique synthesis of features derived from folk music, from the works of his best contemporaries, as well as from the great classical masters has resulted in a certain asymmetry in Bartók studies. This article provides a short overview of the debate concerning the “Bartókian synthesis,” and presents a case study to illuminate how an ostensibly “lesser” historical figure like Domenico Scarlatti could have proved important for Bartók in several respects. I suggest that it must almost certainly have been Sándor Kovács who called Scarlatti’s music to Bartók’s attention around 1910, and so Kovács’s 1912 essay on the Italian composer may tell us much about Bartók’s Scarlatti reception as well. I argue that, while Scarlatti’s musical style may indeed have appealed to Bartók in more respects than one, he may also have identified with Scarlatti the man, who (in Kovács’s interpretation) developed a thoroughly ironic style in response to the unavoidable loneliness that results from the impossibility of communicating human emotions (an idea that must have intrigued Bartók right around the time he composed his Duke Bluebeard’s Castle ). In conclusion I propose that Scarlatti’s Sonata in E major (L21/K162), which Bartók performed on stage and also edited for an instructive publication, may have inspired the curious structural model that found its most clear-cut realization in Bartók’s Third Quartet.
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8

D'Ávila, Humberto. "Domenico Scarlatti e a Cultura Portuguesa." Revista Música 3, no. 2 (November 1, 1992): 105. http://dx.doi.org/10.11606/rm.v3i2.55043.

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O Libro di Tocate per Cembalo do Instituto Português do Patrimônio Cultural - IPPC (FCR 194.1), onde se copiam 60 sonatas, é por si mesmo um exemplar único no espólio do compositor Domenico Scarlatti e até agora desconhecido. Ao se proceder ao cotejo do incipit de cada peça com o das Sonatas reconhecidas do mestre napolitano, de todas as sonatas compiladas, uma havia, a nº 25 da série, que não coincidia com qualquer outra, era desconhecida e podia, pois, considerar-se inédita. O achado era de festejar, pois se verificava no próprio ano de 1985, o dos centenários do nascimento de Bach, Händel e Scarlatti. Ademais da inclusão da sonata inédita, na tonalidade de lá maior, preferida do autor, contém outras informações que acrescentam o seu valor documental.
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9

Martínez. "DOS OBRAS INÉDITAS DE DOMENICO SCARLATTI." Revista de Musicología 8, no. 1 (1985): 51. http://dx.doi.org/10.2307/20794968.

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10

Sutherland, David. "Domenico Scarlatti and the Florentine Piano." Early Music XXIII, no. 2 (May 1995): 243–57. http://dx.doi.org/10.1093/earlyj/xxiii.2.243.

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11

Halton, Rosalind. "Domenico Scarlatti and his Cantabile Sonatas." Musicology Australia 25, no. 1 (January 2002): 22–47. http://dx.doi.org/10.1080/08145857.2002.10415993.

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12

Bent, Ian. "Heinrich Schenker, Chopin and Domenico Scarlatti." Music Analysis 5, no. 2/3 (July 1986): 131. http://dx.doi.org/10.2307/854183.

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13

SHEVELOFF, JOEL. "Domenico Scarlatti: Tercentenary Frustrations (Part II)." Musical Quarterly LXXII, no. 1 (1986): 90–118. http://dx.doi.org/10.1093/mq/lxxii.1.90.

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14

Schott, H. "Report. Domenico Scarlatti Festival in Boston." Early Music 26, no. 4 (November 1, 1998): 699–700. http://dx.doi.org/10.1093/em/26.4.699.

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15

SHUKLA, SARASWATHI. "DOMENICO SCARLATTI (1685–1757) ZONES: DOMENICO SCARLATTI Lillian Gordis (harpsichord) Paraty 919180, 2019: one disc, 82 minutes." Eighteenth Century Music 17, no. 2 (September 2020): 287–90. http://dx.doi.org/10.1017/s1478570620000214.

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16

Álvarez. "UNA NUEVA SONATA ATRIBUIDA A DOMENICO SCARLATTI." Revista de Musicología 11, no. 3 (1988): 883. http://dx.doi.org/10.2307/20795261.

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17

Morales. "DOMENICO SCARLATTI, ENRIQUE GRANADOS Y EL CLAVE." Revista de Musicología 42, no. 1 (2019): 131. http://dx.doi.org/10.2307/26661396.

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18

DE PASCUAL, B. K. "DOMENICO SCARLATTI AND HIS SON ALEXANDRO'S INHERITANCE." Music and Letters 69, no. 1 (January 1, 1988): 23–29. http://dx.doi.org/10.1093/ml/69.1.23.

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19

Cuervo Calvo, Laura. "El avance hacia la idiomatización del lenguaje pianístico a través de la edición de Clementi de las sonatas de D. Scarlatti (1791)." Anuario Musical, no. 72 (January 22, 2018): 123. http://dx.doi.org/10.3989/anuariomusical.2017.72.04.

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Muzio Clementi es el editor de la primera publicación hasta ahora conocida para piano de las sonatas de Domenico Scarlatti: Scarlatti’s Chefs d’Oeuvre, for the Harpsichord or Piano forte [1791]. Esta obra contiene diez sonatas impresas del músico napolitano escogidas por Clementi de manuscritos del siglo XVIII a los que tuvo acceso. También contiene una sonata de Antonio Soler y otra sonata anónima. La importancia de esta fuente radica en que posibilitó la difusión de una selección de sonatas de Scarlatti que antes solo eran accesibles a una minoría: Kk 378, 380, 490, 400, 475, 381, 206, 531, 462, 463; y además, que debido a numerosas revisiones editoriales específicas llevadas a cabo por Clementi para ser interpretadas al piano, presenta cambios significativos en el texto musical respecto a los manuscritos equivalentes. A través del estudio de estas revisiones editoriales, se pretende aportar información sobre la práctica interpretativa de los instrumentos de tecla de finales del siglo XVIII, sobre las características de los pianos ingleses para los que Clementi realizó dicha revisión y sobre el avance del lenguaje idiomático específico del piano en esa época.
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20

HALTON, ROSALIND, and MICHAEL TALBOT. "‘CHOICE THINGS OF VALUE’: THE MYSTERIOUS GENESIS AND CHARACTER OF THE VI CONCERTOS IN SEVEN PARTS ATTRIBUTED TO ALESSANDRO SCARLATTI." Eighteenth Century Music 12, no. 1 (February 17, 2015): 9–32. http://dx.doi.org/10.1017/s1478570614000335.

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ABSTRACTThe VI Concertos in Seven Parts published by Benjamin Cooke under Alessandro Scarlatti's name in 1740 have long been suspected of being either arrangements or works by a different composer. Close study of the sources, some of which have only recently come to light, shows them to be arrangements of sonate a quattro, four composed by Alessandro Scarlatti and two by his younger brother Francesco. The unacknowledged compiler and arranger of the set was almost certainly Charles Avison, who in addition made a significant compositional intervention. The publication of the concertos formed part of a pioneering strategy on Cooke's part whereby he acquired, and under the protection of a royal privilege engraved, significant works in manuscript owned (but not composed) by individual musicians within his circle. Among the latter was John Christopher Pepusch, whose role in the first publication of Domenico Scarlatti's sonatas k31–42 is described for the first time.
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21

Ester-Sala. "DOS SONATAS DE DOMENICO SCARLATTI: UN TEMA ABIERTO." Revista de Musicología 12, no. 2 (1989): 593. http://dx.doi.org/10.2307/20795342.

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22

Boyd, Malcolm, and Carole F. Vidali. "Alessandro and Domenico Scarlatti: A Guide to Research." Notes 51, no. 1 (September 1994): 116. http://dx.doi.org/10.2307/899193.

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23

Capdepón Verdú, Paulino. "Música de tecla en la España del siglo XVIII: Domenico Scarlatti y el padre Antonio Soler." Cuadernos de Estudios del Siglo XVIII, no. 21 (October 5, 2017): 7–34. http://dx.doi.org/10.17811/cesxviii.21.2011.7-34.

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El presente artículo se centra en la música española del siglo XVIII,que vive una de las etapas más brillantes de su historia. A ello contribuyó sin duda el esplendor logrado por la música de teclado, que alcanzó un extraordinario grado de desarrollo desde la llegada a España del compositor napolitano Domenico Scarlatti (1685-1757), maestro de clave de la reina de España Bárbara de Braganza. Scarlatti ejerció una influencia decisiva en la implantación del género sonata monotemática en un solo tiempo y en la introducción del estilo galante. Precisamente fue uno de los alumnos predilectos de Scarlatti, el padre Antonio Soler (1729-1783), el continuador de la obra scarlattiana en el ámbito de la sonata de tecla. Maestro de clave del infante don Gabriel y maestro de capillaorganistadel monasterio real de El Escorial, su proximidad a la corte permitió almonje catalán conocer las principales novedades musicales propiciadas por la estancia en España de compositores italianos como el propio Scarlatti o Boccherini. Sin embargo, Soler supo evolucionar y otorgar su propio estilo a su producción para teclado: en la última etapa de su producción artística incorporó varios movimientos a sus sonatas, lo que sitúa al compositor español en la órbita de Haydn y Mozart. En este artículo, después de una introducción sobre la música española del siglo XVIII en general y de la música de teclado en particular, se estudian las trayectorias vitales de ambos compositores, así como sus respectivas aportacionesal ámbito de la sonata de tecla, que constituyen una de las cimas artísticas de la música española del siglo XVIII.PALABRAS CLAVE: Siglo XVIII. Tecla. Estilo galante. Sonata. Scarlatti. Soler. Corte de Madrid. Monasterio de El Escorial.
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24

Sloane. "ALGUNAS NUEVAS REFLEXIONES SOBRE LAS SONATAS DE DOMENICO SCARLATTI." Revista de Musicología 24, no. 1/2 (2001): 107. http://dx.doi.org/10.2307/20797690.

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25

van der Meer, John Henry. "The Keyboard String Instruments at the Disposal of Domenico Scarlatti." Galpin Society Journal 50 (March 1997): 136. http://dx.doi.org/10.2307/842568.

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26

Duarte, Sónia. "RECENSÃO AO LIVRO-ENSAIO Domenico Scarlatti de Martin Mirabel, 2019." ARTis ON, no. 10 (December 29, 2020): 203–6. http://dx.doi.org/10.37935/aion.v0i10.279.

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27

Pedrero-Encabo. "EN TORNO A LA DIFUSIÓN TEMPRANA DE SONATAS DE DOMENICO SCARLATTI." Revista de Musicología 42, no. 2 (2019): 571. http://dx.doi.org/10.2307/26869428.

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28

Sankey, John, and William A. Sethares. "A consonance-based approach to the harpsichord tuning of Domenico Scarlatti." Journal of the Acoustical Society of America 101, no. 4 (April 1997): 2332–37. http://dx.doi.org/10.1121/1.418212.

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29

Menchelli-Buttini, Francesca. "Alessandro and Domenico Scarlatti. Two Lives in One - By Roberto Pagano." Journal for Eighteenth-Century Studies 33, no. 2 (June 2010): 273–75. http://dx.doi.org/10.1111/j.1754-0208.2008.00095_2.x.

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30

Demeilliez, Marie, and W. Dean Sutcliffe. "The Keyboard Sonatas of Domenico Scarlatti and Eighteen-Century Musical Style." Revue de Musicologie 92, no. 1 (January 1, 2006): 214. http://dx.doi.org/10.2307/20141653.

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31

Eckersley, Kate. "Some Late Chamber Cantatas of Domenico Scarlatti: A Question of Style." Musical Times 131, no. 1773 (November 1990): 585. http://dx.doi.org/10.2307/966181.

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32

MacKay, James S. "Formal Mixture in the Sonata-Form Movements of Middle- and Late-Period Beethoven." Articles 31, no. 1 (June 7, 2012): 77–99. http://dx.doi.org/10.7202/1009287ar.

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Modal mixture is defined as a local colouration of a diatonic progression by borrowing tones or chords from the parallel major or minor tonality. In his efforts to expand tonal resources, Beethoven took this technique further: he borrowed large-scale tonal processes from a composition’s parallel tonality, a technique that I term formal mixture. After tracing its origin to certain works by J. S. Bach, C. P. E Bach, Domenico Scarlatti, and Joseph Haydn, I demonstrate how Beethoven built upon his predecessors’ use of the technique throughout his career, thereby expanding and diversifying the tonal resources of late classical era sonata forms.
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33

Yáñez Navarro, Celestino. "Obras de Domenico Scarlatti, Antonio Soler y Manuel Blasco [¿de Nebra?] en un manuscrito misceláneo de tecla del Archivo de Música de las Catedrales de Zaragoza." Anuario Musical, no. 67 (December 30, 2012): 45. http://dx.doi.org/10.3989/anuariomusical.2012.67.137.

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El Archivo de Música de las Catedrales de Zaragoza custodia una relevante colección de manuscritos de música de tecla del siglo XVIII. El presente artículo trata por vez primera una de dichas fuentes, miscelánea (E-Zac, A-1 Ms.1), en la que aparecen, junto a numerosas obras anónimas y copias de composiciones de autores destacados del ámbito local e internacional, obras de compositores activos en la corte de Madrid durante los dos últimos tercios del siglo XVIII, tales como Domenico Scarlatti, el padre Antonio Soler, Manuel Blasco [¿de Nebra?], acaso José de Nebra, fray Joaquín Asiaín, [¿Juan de? ] Sesé y José Moreno y Polo. El manuscrito es especialmente interesante no sólo porque compila tres adagios inéditos de Manuel Blasco que hoy se editan, sino por incorporar algunas sonatas de Scarlatti y Soler con llamativas variantes con respecto a las versiones consideradas autorizadas o de referencia, lo cual otorga un valor añadido a este tipo de recopilaciones –sólo hasta ahora “secundarias”–, sin duda destinadas al uso por parte de los organistas activos en el ámbito eclesiástico.
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34

Kroll, Mark. "The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style (review)." Notes 61, no. 1 (2004): 145–47. http://dx.doi.org/10.1353/not.2004.0103.

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35

CLARK, JANE. "FARINELLI AS QUEEN OF THE NIGHT." Eighteenth Century Music 2, no. 2 (September 2005): 321–33. http://dx.doi.org/10.1017/s147857060500031x.

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The popular conception of the eighteenth century as The Age of Reason has perhaps obscured the values cherished by many people at the time. The strength of its ‘legitimist political movements’ is hard for a modern mind to grasp. Even harder is the ‘political fantasy’ of the ‘renewed empire’ prophesied by Virgil. But these ideas were very real to the eighteenth-century mind. To this must be added the sacred nature of the ancient Orders of Chivalry and their origins in the Crusades, as well as their connections with the Templars and ancient Freemasonry. All this must be taken into account when considering Farinelli, his patrons and his colleague Domenico Scarlatti.
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36

Álvarez. "CONMEMORACIÓN DEL TRICENTENARIO DE DOMENICO SCARLATTI EN ESPAÑA (Madrid, noviembre-diciembre de 1985)." Revista de Musicología 9, no. 1 (1986): 337. http://dx.doi.org/10.2307/20795056.

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37

Owczarek-Ciszewska, Joanna. "Hammer mechanism instruments and their role in shaping the composition style of pieces written for keyboard instruments in the period of 1730-1780, part 1." Notes Muzyczny 1, no. 9 (June 20, 2018): 43–64. http://dx.doi.org/10.5604/01.3001.0012.9898.

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The article constitutes the first part of a cycle devoted to keyboard instruments with hammer mechanism made between 1730 and 1780. The author’s intention is presenting a wide perspective of selected topics on keyboard instrument making in the 18th century and the influence of how instruments were made on music practice at that time. The aim seems justified due to scarce publications on this subject available in Polish, among other reasons. The first chapter briefly outlines general aspects of the 18th century music culture which was the background of the development of instrument making. As far as the theory of aesthetics was concerned, despite the predominance of vocal and instrumental music which used lyrics and their meaning, it was the period when rapid development of purely instrumental genres such as symphony or instrumental concerto took place. Also the popularisation of public and concert life, as well as home music-making gave an impulse for the development of instrument making. The second chapter touches on the invention of Bartolomeo Cristofori, its earlier reception and the role of Domenico Scarlatti in the popularisation of that instrument. Attempts to construct a keyboard instrument with a mechanism making the strings vibrate by striking them date back to the 15th century. However, the turning point in the history of all family of string keyboard instruments was only when in 1698 Cristoforti constructed a technically advanced hammer action mechanism, with enabled nuancing piano e forte dynamics on the traditional cembalo. Probably, among first promoters of the new instrument was Scarlatti and it was through him that grand pianos appeared on Portuguese and Spanish courts. Despite certain stylistic features proving that he was inspired by the capacities of the new instrument, there is no explicit evidence that Scarlatti’s Sonatas were meant for the piano. Nevertheless, the name pianoforte (piano e forte) does appear on title pages of works written by two other composers of that time, i.e., Lodovico Giustini and Sebastián de Albero, and their pieces have been briefly analysed at the end of the article.
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38

Koster, J. "Towards an optimal instrument: Domenico Scarlatti and the new wave of Iberian harpsichord making." Early Music 35, no. 4 (November 1, 2007): 575–604. http://dx.doi.org/10.1093/em/cam092.

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39

Ife, B. "The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style. By W. Dean Sutcliffe." Music and Letters 88, no. 4 (September 17, 2007): 655–58. http://dx.doi.org/10.1093/ml/gcm037.

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40

Pedrero-Encabo. "LOS 30 ESSERCIZI DE DOMENICO SCARLATTI Y LAS 30 TOCATAS DE VICENTE RODRÍGUEZ: PARALELISMOS Y DIVERGENCIAS." Revista de Musicología 20, no. 1 (1997): 373. http://dx.doi.org/10.2307/20797425.

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41

IFE, BARRY. "FESTIVAL INTERNACIONAL DE MÚSICA DE TECLA ESPAÑOLA: SYMPOSIUM ON DOMENICO SCARLATTI MOJÁCAR, 14–15 JUNE 2019." Eighteenth Century Music 17, no. 1 (February 12, 2020): 154–57. http://dx.doi.org/10.1017/s1478570619000241.

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42

SCHMALFELDT, JANET. "Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the Eighteenth Century." Music Analysis 38, no. 3 (September 17, 2019): 253–96. http://dx.doi.org/10.1111/musa.12139.

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43

Bradley-Fulgoni, Peter. "Beethoven's new order." Architectural Research Quarterly 14, no. 4 (December 2010): 380–82. http://dx.doi.org/10.1017/s1359135511000236.

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The facts of thematic life are that every manifestation of a theme tends to divide into two parts. This is irrespective of whatever tonality is employed. In the West, even the simplest diatonic melody (that is one which we perceive to be in a tonality derived from major and minor scales) does this. For example there is a ‘natural’ tendency to gravitate between one note (the tonic) and another note a fifth higher or a fourth lower (the dominant); but such a modulation is not necessary to qualify part of a theme as a different phrase in the musical sentence; there may simply be a moment where the music pauses, reaching a recognisable point before moving to another independent fragment. Moreover, in sophisticated examples of bipartite form, such as the sonatas of Domenico Scarlatti, the duality is engendered not so much by a single theme as by an ensemble of aspects to the initial material, which in their turn form a group by themselves - a section - and where the borders between such sections are not always clearly definable.
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44

LOMBARDÍA, ANA. "FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’." Eighteenth Century Music 17, no. 2 (September 2020): 177–99. http://dx.doi.org/10.1017/s147857062000007x.

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ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.
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45

Sutcliffe, W. D. "Ordering Scarlatti's strange world: Matthew Flannery, A chronological order for the keyboard sonatas of Domenico Scarlatti (1685-1757) (Lewiston, NY: Edwin Mellen, 2004), $119.95 / 74.95." Early Music 34, no. 2 (May 1, 2006): 298–301. http://dx.doi.org/10.1093/em/cal008.

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46

Talaya. "MEMORIA CON LAS ÚLTIMAS VOLUNTADES DE DOMENICO SCARLATTI, MÚSICO DE CÁMARA DE LA REINA MARÍA BÁRBARA DE BRAGANZA." Revista de Musicología 21, no. 1 (1998): 155. http://dx.doi.org/10.2307/20797493.

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47

Sloane, Carl. "Comments on “A consonance-based approach to the harpsichord tuning of Domenico Scarlatti” [J. Acoust. Soc. Am. 101, 2332–2337 (1997)]." Journal of the Acoustical Society of America 103, no. 3 (March 1998): 1680. http://dx.doi.org/10.1121/1.421261.

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48

Sankey, John, and William A. Sethares. "Response to “Comments on ‘A consonance-based approach to the harpsichord tuning of Domenico Scarlatti’ ” [J. Acoust. Soc. Am. 103, 1680 (1998)]." Journal of the Acoustical Society of America 103, no. 3 (March 1998): 1681. http://dx.doi.org/10.1121/1.421262.

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49

IFE, BARRY. "DOMENICO SCARLATTI (1685–1757), ED. ÁGUEDA PEDRERO-ENCABO TRES SONATES INÈDITES PER A CLAVICÈMBALBarcelona: Tritó, 2011 pp. 44, ismn 979 0 69204 677 6." Eighteenth Century Music 10, no. 1 (February 6, 2013): 144–46. http://dx.doi.org/10.1017/s1478570612000498.

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50

D'ALVARENGA, JOÃO PEDRO. "‘TO MAKE OF LISBON A NEW ROME’: THE REPERTORY OF THE PATRIARCHAL CHURCH IN THE 1720S AND 1730S." Eighteenth Century Music 8, no. 2 (July 25, 2011): 179–214. http://dx.doi.org/10.1017/s1478570611000042.

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ABSTRACTThe elevation of the Portuguese Royal Chapel to the rank of Patriarchal Church in 1716 was part of a larger process of ‘Romanization’ – that is, of assimilation and adaptation of Roman models within Portuguese music and culture. This involved the training of numerous chaplain-singers and young Portuguese composers in Rome, as well as the importation of chant books, ministers, singers and even the maestro di cappella of the Cappella Giulia, Domenico Scarlatti. According to the anonymous ‘Breve rezume de tudo o que se canta en cantochaõ, e canto de orgaõ pellos cantores na santa igreja patriarchal’ (Brief summary of all that is sung in plainchant and polyphony by the singers at the holy Patriarchal Church) – a document written at some point between 1722 and 1724 – the repertory of the Patriarchal Church was a varied mixture of works by thirty-two identified composers, mostly Italian and Portuguese, from a period ranging from the sixteenth century to the early eighteenth century. Some of the repertory for Holy Week is also extant in three large choirbooks prepared by a copyist from the Patriarchal Church in 1735 and 1736 for use in the Ducal Chapel in Vila Viçosa. These include ‘modern’ additions to late sixteenth-century and seventeenth-century pieces and also some curious reworkings, made with the purpose of adjusting older works to newly ‘Romanized’ performance conditions and aesthetic ideals. The sources examined in this article thus show that Portuguese ‘Romanization’, far from being a simple transplantation of ideas and practices from the centre to the periphery, was a dynamic process of acculturation and adaptation rooted in emerging forms of historical consciousness.
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