Relevant bibliographies by topics / Scarlatti

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Scarlatti'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "Scarlatti"

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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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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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Schott, Howard. "Scarlatti." Musical Times 129, no. 1748 (October 1988): 539. http://dx.doi.org/10.2307/966704.

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Anderson, Robert. "Bravura Scarlatti." Musical Times 126, no. 1713 (November 1985): 676. http://dx.doi.org/10.2307/965052.

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Boyd, Malcolm, and D. Scarlatti. "Subversive Scarlatti." Musical Times 127, no. 1719 (June 1986): 341. http://dx.doi.org/10.2307/965086.

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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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Cross, Eric, and A. Scarlatti. "Scarlatti Opera." Musical Times 126, no. 1714 (December 1985): 735. http://dx.doi.org/10.2307/965207.

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Clark, Jane, and Malcolm Boyd. "Master Scarlatti." Musical Times 128, no. 1730 (April 1987): 209. http://dx.doi.org/10.2307/965426.

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Talbot, M. "Unknown Scarlatti." Early Music 33, no. 1 (February 1, 2005): 144–45. http://dx.doi.org/10.1093/em/cah059.

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Knights, F. "Scarlatti complete." Early Music 35, no. 4 (November 1, 2007): 651–52. http://dx.doi.org/10.1093/em/cam106.

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Dissertations / Theses on the topic "Scarlatti"

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Cirne, Luís Fernando Muniz. "Scarlatti e Beethoven: proximidades?" Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-24102014-104856/.

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A observação recorrente que alguns pianistas, professores de piano e compositores fazem sobre a presença da escrita de Domenico Scarlatti em alguns movimentos das Sonatas de Beethoven, sugere que há alguma relação estética entre estes compositores até então não devidamente esclarecida. A primeira questão que aparece é como Domenico Scarlatti pôde chamar a atenção de Beethoven, considerando que Scarlatti foi um compositor italiano que saiu de Nápoles para Lisboa e finalmente Madrid, onde compôs as suas 555 Sonatas para o teclado, dedicadas à sua empregadora, rainha Maria Bárbara da Espanha. Beethoven, nascido em 1770, um século após Scarlatti, de outro lado, permaneceu em Viena e arredores por praticamente toda a sua vida profissional. Este trabalho busca investigar proximidades estéticas entre a composição para teclado de Domenico Scarlatti contidas na edição de Carl Czerny e as 32 Sonatas para piano de Beethoven. Busca também esclarecer aspectos da biografia de Domenico Scarlatti e a trajetória das cópias manuscritas de suas 555 Sonatas pela Europa, uma vez que trazem inovações formais e estéticas para sua época. Parte destas Sonatas chegou à Viena através de duas coleções de cópias manuscritas, chamadas de coleção Viena I e Viena II. Através destes manuscritos e das cópias que foram feitas a partir deles, Carl Czerny realizou sua edição. Admite-se que Beethoven tenha tido alguma familiaridade com esta edição das Sonatas de Scarlatti, uma vez que Czerny foi, durante muitos anos, seu aluno e amigo próximo. A metodologia utilizada para aferir semelhanças entre Scarlatti e Beethoven se baseia em duas abordagens. A primeira fundamenta-se na análise comparativa tradicional - não automatizada - sobre procedimentos composicionais de ambos os compositores. A segunda utiliza-se de recursos computacionais para identificar e quantificar a presença de fragmentos melódicos extraídos das Sonatas de Scarlatti da edição de Czerny nas Sonatas de Beethoven, com auxílio da tecnologia do toolkit music21, software desenvolvido pelo Massachusetts Institute of Technology a partir de 2010 e disponível através da página de internet http://web.mit.edu/music21/. Seu uso, neste trabalho, aponta para novas possibilidades de abordagem na análise musical cujos resultados e conclusões são obtidos a partir de parâmetros distintos da análise musical tradicional. As análises comparativas tradicionais evidenciaram semelhanças importantes entre os procedimentos composicionais de Scarlatti e Beethoven como, por exemplo, o uso dos silêncios, das mudanças inesperadas de andamento e de caráter. A partir do software construído com a utilização do toolkit music21 para a busca dos fragmentos scarlattianos nas Sonatas de Beethoven, obteve-se resultados de grande relevância, identificando sequencias intervalares idênticas, encontradas nas Sonatas de Beethoven e não verificadas em Mozart, cujas Sonatas foram submetidas ao mesmo método.
A recurrent observation that some pianists, piano teachers and composers make about the presence of Domenico Scarlatti\'s writing in some movements of Beethoven Sonatas, suggests that there is some aesthetic relationship between these composers that was not properly clarified. The first question that appears is how Domenico Scarlatti music could draw the attention of Beethoven, considering that Scarlatti was an Italian composer who left Naples to Lisbon and finally Madrid, where he composed his 555 keyboard sonatas, dedicated to his employer, Queen Maria Barbara of Spain. Beethoven, born in 1770, a century after Scarlatti, on the other hand, remained in and around Vienna virtually his entire professional life. This research investigates aesthetic similiarities between Domenico Scarlatti keyboard Sonatas contained in Carl Czerny edition and the 32 piano Sonatas of Beethoven. It also intends to clarify aspects of Domenico Scarlatti\'s biography and the trajectory of his 555 keyboard Sonatas that bring formal and aesthetics innovations for his time. Part of these Sonatas has come to Vienna in two manuscript copy collections called Vienna I and Vienna II. Through these two manuscript collections and the copies made out of them, Carl Czerny organized his own edition of the Scarlatti Sonatas. It has been admitted that Beethoven was familiar with these Sonatas, considering his long friendship with Czerny. The methodology used to establish similarities between Scarlatti and Beethoven composition is based on two approaches. The first is founded on the traditional comparative analysis - not automated - on compositional procedures of both composers. The second approach makes use of computational resources to identify and quantify the presence of melodic fragments, extracted from Scarlatti Sonatas of Czerny edition, on Beethoven sonatas, with the aid of the toolkit music21, technology developed by MIT in 2010 and available on the internet page http://web.mit.edu/music21/. Its use in this work points to new possibilities for musical analysis whose results and conclusions are obtained from different parameters of traditional musical analysis. The traditional comparative analyzes has revealed important similarities between the compositional procedures of Scarlatti and Beethoven, for example, the use of silences, unexpected changes of timing and character. From the software built using the toolkit music21 to search for melodic fragments of Scarlatti Sonatas on Beethoven piano Sonatas, it has yielded results of great relevance, as the indentification of identical musical intervallic sequences, found in Beethoven Sonatas and not verified on Mozart, whose Sonatas were submitted to the same method
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Schacht-Pape, Ute. "Das Messenschaffen von Alessandro Scarlatti /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1993. http://catalogue.bnf.fr/ark:/12148/cb35619096b.

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Boulanger, Richard. "Les Innovations de Domenico Scarlatti dans la technique du clavier /." Béziers (BP 4049, 2 Pl. de la Révolution, 34325 Cedex) : Société de musicologie de Languedoc, 1988. http://catalogue.bnf.fr/ark:/12148/cb349402105.

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Hale, Harris Kimberly Coulter. "Poetry and Patronage: Alessandro Scarlatti, The Accademia Degli Arcadia, and the Development of the Conversazione Cantata in Rome 1700-1710." Thesis, Connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/Open/hale%5Fharris%5Fkimberly/index.htm.

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Quantz, Michael O. "Practical Aspects of Playing Domenico Scarlatti's Keyboard Sonatas on the Guitar, a Lecture Recital, together with Three Recitals of Selected Works by W.A. Mozart, M. Ponce, A. Vivaldi, J.S. Bach, J. Turina and Others." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277780/.

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The ornamentation in the keyboard sonatas by Domenico Scarlatti is investigated in light of evidence from late seventeenth and early eighteenth century Spanish treatises and collections. Additionally, calligraphic and statistical evidence from the earliest known manuscripts and printed source for the keyboard sonatas is explored. The study is focused on three ornaments--the appoggiatura, trill, and tremulo--and concludes that: the appoggiaturas in this repertoire were short unless cadential or present in a cantabile tempo, in which case they could be one-third to two-thirds the value of the resolution note; trills were begun on the main note unless preceded by a grace note; tremulo was usually an alternation of a main note with its lower neighbor note and this ornament is normally indicated at points of harmonic prolongation. The last chapter discusses general approaches to arranging these works for the guitar and the specific influence of ornamentation on the performance of the sonatas on guitar. Details from eight sonatas arranged for the guitar are used to exemplify the conclusions of the research.
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Navakaitė, Neringa. "Domenico Scarlatti kūrybos bruožai bei klavyrinių sonatų sandaros ir muzikos kalbos ypatumai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130822_133014-38005.

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Domenico Scarlatti (1685-1757) – vienas žymiausių Baroko epochos italų kompozitorių, klavesinininkų, vargonininkų, pedagogų ir atlikėjų. Jo klavesininė kūryba yra neabejotinas XVIII a. muzikinės kultūros fenomenas. D. Scarlatti kūryba susijusi su laikotarpiu, kada nuo polifoninio stiliaus pereita prie homofoninės muzikos kalbos braižo. Nors kompozitorius yra sukūręs įvairių muzikinių kompozicijų, tačiau reikšmingiausią kūrybos dalį sudaro klavesininės sonatos. Jos ir įamžino italų kompozitoriaus vardą muzikinės kūrybos istorijoje. Iš sukurtų apie 600 klavyrinių sonatų, šiuo metu atlikėjams yra prieinamos apie 500. D. Scarlatti savo sukurtas klavesinines kompozicijas pavadino „Essercizi per Gravicembalo“ (etiudai, pratimai, bipartitos klavesinui). Daugelis šių sonatų kompozitoriui praversdavo jo pedagoginiame darbe. Savo sukurtose sonatose D. Scarlatti techninius uždavinius derindavo su meniniu turiniu. Nors italų meistro klavyriniai kūriniai pavadinti sonatomis, tačiau, pagal jose esančius įvairiems žanrams būdingus bruožus, kompozicijas galime suskirstyti į svarbiausius mokyklinio repertuaro žanrus: polifoninės sandaros kompozicijas, etiudus, stambios formos tipo kūrinius bei įvairaus pobūdžio pjeses. Kompozitorius kaip tikras virtuozas ir revoliucionierius buvo daugelio naujovių savo klavesininėje kūryboje bei jos atlikime skleidėjas. Jo kūryboje užfiksuoti tokie pasiekimai kaip: žėrinčių gamų per kelias oktavas pasažai, įvairiausios faktūros arpeggio (trumpi ir laužyti)... [toliau žr. visą tekstą]
Domenico Scarlatti (1685-1757) – one of the most famous Baroque epoch italian composer, harpsichordist, organist, pedagogue and performer. His harpsichord creativity is undoubted XVIII century phenomenon of music culture. D. Scarlatti piano works are realted to the period, when homophonic music language came over polyphonic style. Though the composer created various kind of compositions, the most important part of creativity is the harpsichord sonatas. These pieces monumentalized the name of the italian composer into the history of music life. He created more than 600 harpsichord sonatas, but today there are only about 500 available to performers. D. Scarlatti‘s harpsichord compositions named by him self „Essercizi per Gravicembalo“ (etudes, exercises, bipartitas for harpsichord). Most of these sonatas were useful in composers pedagogic work. In his sonatas, D. Scarlatti has associated technical exercises with artistical matters. Piano pieces of the italian maestro were titled by the name of sonatas, but of the features existent in them, we can collect these compositions into most important genres in music school repertoire: polyphonic structure compositions, etudes, big forms type pieces and various kind of plays. The composer was a spreader of this many novelty in his harpsichord creativity work and in performing it like a really virtuoso and big revolutionist. His works include such achievements as: sparkling scale passages through several octaves, various kind of... [to full text]
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Willis, Christopher Timothy. "Performance, narrativity, improvisation and theatricality in the keyboard sonatas of Domenico Scarlatti." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/283830.

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Lee, Ji-Eun. "A comparison of the keyboard sonatas of Domenico Scarlatti and Antonio Soler." Master's thesis, University of Cape Town, 2000. http://hdl.handle.net/11427/7844.

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Bibliography: leaves 56-57.
The main objective of this study is to investigate the relationship between Domenico Scarlatti and Antonio Soler through a comparison of their backgrounds, a discussion of various influences on their works, and their placement within the historical context of the development of the keyboard sonata, Among their most prominent similarities are their inspirations found in the use of national Spanish elements in their compositions and also their modification of and experimentation with formal structure. Both composers' sonatas were composed using structural practices already in place. However, it was through experimentation and modifications, which resulted in increased virtuosity in others, that they bridged the gap between the Baroque and the Classical periods, and contributed profoundly to the development of the keyboard sonata.
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Abbassian-Milani, Farhad. "Zusammenhänge zwischen Satz und Spiel in den Essercizi (1738) des Domenico Scarlatti /." Sinzig : Studio, 1998. http://catalogue.bnf.fr/ark:/12148/cb39996118t.

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Francou-Desrochers, Maria-Alexandra. "Resituating Scarlatti in a nationalist context: Spanish identity in the «Goyescas» of Granados." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66645.

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Profound changes marked music in Spain towards the end of the nineteenth century. Casting aside Italian influences, which had governed many aspects of music in Spain up until then, Hispanic composers sought to redefine and regenerate the nation's musical identity. Taking as their model the so-called "Generation of '98," a literary movement that explored new ways of defining a "genuine" Spanishness, Spanish composers—chief among them Enrique Granados—took inspiration from pre-nineteenth-century musical figures, including, perhaps paradoxically, composers who came from outside the Iberian peninsula. This thesis demonstrates how the eighteenth-century Italian keyboardist-composer Domenico Scarlatti became an important symbol of "authentic" Spanish identity for fin-de-siècle composers in Spain. I show how Spanish composers claimed cultural ownership of Scarlatti and incorporated his keyboard idiom into their own works. I focus in particular on Granados' Goyescas: Los majos enamorados, a composition in which, I argue, Scarlatti's influence can be discerned (as yet no literature on this topic exists). I claim that Granados articulated a renewed conception of authentic Spanish identity through invoking Scarlatti in Goyescas.
De profonds changements marquèrent le nationalisme musical en Espagne au tournant du vingtième siècle. Mettant de côté l'influence italienne, qui avait gouverné plusieurs aspects de la vie musicale en Espagne, les compositeurs hispanophones cherchèrent à redéfinir et à régénérer l'identité musicale de la nation. Prenant comme modèle la génération de '98, (un cercle de jeunes auteurs en quête d'une nouvelle authenticité nationale), les compositeurs espagnols puisèrent leur inspiration dans le passé musical de la nation. Dans ce mémoire, je démontre que le claveciniste du dix-huitième siècle Domenico Scarlatti, malgré ses origines italiennes, devint un important symbole d'authenticité identitaire pour les compositeurs espagnols à la fin du dix-neuvième siècle. J'examine la manière par laquelle ces musiciens se sont approprié Scarlatti et ont incorporé son langage baroque dans leurs propres compostions. Je porte une attention particulière à Goyescas: Los majos enamorados, une œuvre d'Enrique Granados où l'on peut noter, selon moi, l'influence de Scarlatti. (Jusqu'à maintenant, aucune recherche n'a porté sur ce sujet). Je suggère qu'en invoquant Scarlatti, Granados souhaite articuler une conception renouvelée d'identité hispanique.
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Books on the topic "Scarlatti"

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Ife, B. W. D. Scarlatti. Sevenoaks, Kent: Novello, 1985.

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Ludlum, Robert. Affaren Scarlatti. Sweden: BW-Pocket, 1985.

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Elcograf, ed. Operazione Scarlatti. Milano: Piemme, 2015.

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Bassi, Adriano. Domenico Scarlatti. Ravenna, Italia: M. Lapucci, 1985.

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1945-, Zuber Barbara, Schenker Heinrich 1868-1935, and Böttinger Peter, eds. Domenico Scarlatti. München: Edition Text + Kritik, 1986.

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Cieli scarlatti. [Napoli]: Milena edizioni, 2016.

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Ludlum, Robert. The Scarlatti inheritance. London [etc.]: Grafton Books, 1985.

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Arixi, Biagio. Peccati scarlatti: Romanzo. Roma: Libreria Croce, 2009.

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Ludlum, Robert. L'heritage Scarlatti: Roman. Paris: R. Laffont, 1985.

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Ludlum, Robert. The Scarlatti inheritance. London: Orion, 2010.

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Book chapters on the topic "Scarlatti"

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Schrammek, Bernhard. "Alessandro Scarlatti." In Barockmusikführer, 395–98. Stuttgart: J.B. Metzler, 2001. http://dx.doi.org/10.1007/978-3-476-99520-9_101.

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Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Metzler Komponisten Lexikon, 675–78. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_263.

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Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Komponisten Lexikon, 530–32. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_268.

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Zuber, Barbara. "Scarlatti, (Giuseppe) Domenico." In Komponisten, 217–20. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02947-8_43.

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Henze-Döhring, Sabine. "Scarlatti, (Pietro) Alessandro Gaspare." In Metzler Komponisten Lexikon, 672–74. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_262.

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Henze-Döhring, Sabine. "Scarlatti, (Pietro) Alessandro Gaspare." In Komponisten Lexikon, 532–34. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_269.

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Otte, Andreas. "Domenico Scarlatti (1685–1757)." In Famous Composers – Diseases Reloaded, 65–75. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06671-9_3.

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Della Libera, Luca. "Music on commission." In The Roman Sacred Music of Alessandro Scarlatti, 129–43. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003252337-8.

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Della Libera, Luca. "The Roman scene." In The Roman Sacred Music of Alessandro Scarlatti, 13–38. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003252337-3.

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Della Libera, Luca. "Music for the Basilica of Santa Cecilia in Trastevere." In The Roman Sacred Music of Alessandro Scarlatti, 144–75. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003252337-9.

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Conference papers on the topic "Scarlatti"

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Hsieh, MingChih. "Music of Domenico Scarlatti." In 7th International Conference on Humanities and Social Science Research (ICHSSR 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210519.135.

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Halton, Rosalind. "Explorations around Bass Parts and Key Schemes: Recording the Cantatas of Alessandro Scarlatti." In Selected Proceedings of the 2009 Performer's Voice International Symposium. IMPERIAL COLLEGE PRESS, 2011. http://dx.doi.org/10.1142/9781848168824_0005.

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