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Journal articles on the topic 'Scarlatti'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 March 2023

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1

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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2

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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3

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

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4

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

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5

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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6

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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7

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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8

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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9

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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10

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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11

Morales. "I Maratón Global Scarlatti: «Scarlatón»: 1 de diciembre de 2006." Revista de Musicología 29, no. 2 (2006): 703. http://dx.doi.org/10.2307/20798209.

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12

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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13

Quadrio, Miguel-Pedro. "Da literatura como resistência eloquente: a tradução de Prometeu acorrentado sob a ditadura de Oliveira Salazar." Caligrama: Revista de Estudos Românicos 23, no. 2 (August 31, 2018): 199. http://dx.doi.org/10.17851/2238-3824.23.2.199-215.

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Este artigo incide sobre a tradução em língua portuguesa de Prometeu acorrentando que Eduardo Scarlatti publicou em Lisboa, em 1942. Atribui-se particular relevância a este texto por se considerar que, através dele, Scarlatti não pretendeu apenas apresentar mais uma versão de um texto canónico. Pela análise dos paratextos, das escolhas tradutológicas e remetendo-se para a reflexão crítica e teórica que anteriormente desenvolvera-se, verifica-se que a opção de Scarlatti correspondeu ao desejo de dotar a cultura portuguesa de um texto literariamente qualificado, pensado não só como ato de resistência à opressão salazarista, mas também como manifesto estético que impulsionasse a renovação do anémico sistema teatral. Assim, defende-se a condição de intelectual engajado de Scarlatti (BOURDIEU, 1991), sublinhando-se a constituição de uma linhagem de resistência que determinará mudanças culturais profundas em Portugal.

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14

McKay, Elizabeth. "Brahms and Scarlatti." Musical Times 130, no. 1760 (October 1989): 586. http://dx.doi.org/10.2307/965573.

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15

Hafner, Klaus. "Brahms and Scarlatti." Musical Times 131, no. 1763 (January 1990): 10. http://dx.doi.org/10.2307/965615.

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16

Schott, Howard, and Igor Kipnis. "The virtuoso Scarlatti." Musical Times 134, no. 1800 (February 1993): 98. http://dx.doi.org/10.2307/1002426.

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17

Smith, Richard Langham, L'Europa Galante, Fabio Biondi, Nicholas McGegan, and Emma Kirkby. "Alessandro Scarlatti: Maddalena." Musical Times 135, no. 1819 (September 1994): 576. http://dx.doi.org/10.2307/1003314.

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18

Kemp, Lindsay. "Scarlatti in Sicily." Early Music XXIX, no. 2 (May 2001): 321–22. http://dx.doi.org/10.1093/earlyj/xxix.2.321.

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19

Bolton, Kate. "Scarlatti in Sicily." Early Music XXVIII, no. 1 (February 2000): 149. http://dx.doi.org/10.1093/earlyj/xxviii.1.149.

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20

Hollick, D. "Scarlatti and Soler." Early Music 39, no. 2 (April 7, 2011): 289–91. http://dx.doi.org/10.1093/em/car035.

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21

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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22

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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23

Lang, Paul Henry. "Scarlatti: 300 Years on." Musical Times 126, no. 1712 (October 1985): 584. http://dx.doi.org/10.2307/964911.

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24

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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25

SLOANE, CARL. "Initials in Scarlatti manuscripts." Early Music XXVIII, no. 2 (May 2000): 330–31. http://dx.doi.org/10.1093/earlyj/xxviii.2.330.

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26

Kroll, Mark. "More on Francesco Scarlatti." Early Music 34, no. 1 (February 1, 2006): 180. http://dx.doi.org/10.1093/em/cah222.

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27

Willis, C. "Scarlatti, father and son." Early Music 36, no. 1 (February 1, 2008): 123–25. http://dx.doi.org/10.1093/em/cam134.

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28

Koster, J. "Scarlatti and his keyboards." Early Music 37, no. 2 (April 23, 2009): 345–46. http://dx.doi.org/10.1093/em/cap019.

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29

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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30

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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31

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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32

Cross, Eric. "Scarlatti and Vivaldi vocal works." Early Music XXXI, no. 1 (February 2003): 142–44. http://dx.doi.org/10.1093/earlyj/xxxi.1.142.

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33

Pagano, Roberto. "The little-known Francesco Scarlatti." Early Music 33, no. 3 (August 1, 2005): 549–50. http://dx.doi.org/10.1093/em/cah139.

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34

Doderer, G. "Scarlatti and the Portuguese connection." Early Music 36, no. 1 (February 1, 2008): 159–60. http://dx.doi.org/10.1093/em/cam156.

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35

Sloane, C. "Scarlatti and Iberian harpsichord making." Early Music 36, no. 3 (August 1, 2008): 512. http://dx.doi.org/10.1093/em/can072.

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36

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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37

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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38

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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39

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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40

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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41

BOYD, MALCOLM. "Scarlatti and the fortepiano in Spain." Early Music XXIV, no. 1 (February 1996): 189—c—190. http://dx.doi.org/10.1093/earlyj/xxiv.1.189-c.

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42

Sutherland, David. "Scarlatti and the fortepiano in Spain." Early Music XXIV, no. 1 (February 1996): 190—a—190. http://dx.doi.org/10.1093/earlyj/xxiv.1.190-a.

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43

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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44

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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45

Griffin, Thomas. "The Operas of Alessandro Scarlatti . Donald Jay Grout . The Operas of Alessandro Scarlatti. VIII, Tigrane . Michael Collins ." Journal of the American Musicological Society 39, no. 1 (April 1986): 186–91. http://dx.doi.org/10.1525/jams.1986.39.1.03a00060.

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46

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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47

Yáñez Navarro, Celestino. "La existencia en España de una tercera gran colección de sonatas de D. Scarlatti copiada por el escriba de los Manuscritos de Venecia (Libros I-XIII) y Parma (Libros I-XV)." Anuario Musical, no. 73 (December 18, 2018): 167. http://dx.doi.org/10.3989/anuariomusical.2018.73.11.

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En el Archivo de Música de las Catedrales de Zaragoza (EZac) se guarda un importante corpus de sonatas de D. Scarlatti constituido por seis manuscritos del siglo XVIII cuyo origen se localiza en la Capilla Real y que pertenecieron a José de Nebra, el compositor español más relevante de la corte en tiempos del compositor italiano. Dos de estos manuscritos formaron parte, a su vez, de una tercera gran colección de sonatas cuya elaboración se inició con anterioridad a la copia de los volúmenes que hoy se conservan en Venecia y Parma, y corrió también a cargo del escriba principal. Dada la relevancia de las conclusiones obtenidas en mi tesis doctoral, puede afirmarse que el fondo documental de Zaragoza es un referente internacional de primer orden para continuar avanzando en el estudio de la música para teclado de D. Scarlatti.

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48

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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49

Lionnet, Jean, and Graham Dixon. "A Newly Found Opera by Alessandro Scarlatti." Musical Times 128, no. 1728 (February 1987): 80. http://dx.doi.org/10.2307/964778.

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50

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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