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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 (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. Engli

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2

Mikusi, Balázs. "Bartók and Scarlatti: A study of motives and influence." Studia Musicologica 50, no. 1-2 (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 mus

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3

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

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4

Anderson, Robert. "Bravura Scarlatti." Musical Times 126, no. 1713 (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 (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 (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 (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 (1987): 209. http://dx.doi.org/10.2307/965426.

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9

Talbot, M. "Unknown Scarlatti." Early Music 33, no. 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 (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,

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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 (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 resist

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14

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

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15

Hafner, Klaus. "Brahms and Scarlatti." Musical Times 131, no. 1763 (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 (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 (1994): 576. http://dx.doi.org/10.2307/1003314.

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18

Kemp, Lindsay. "Scarlatti in Sicily." Early Music XXIX, no. 2 (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 (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 (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 (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 par

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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 Sca

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23

Lang, Paul Henry. "Scarlatti: 300 Years on." Musical Times 126, no. 1712 (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 (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 (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 (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 (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 (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 (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 (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 (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 (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 (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 (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 (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

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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 (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 (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 (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 (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 (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 (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 (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 (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 relevan

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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 (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 f

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49

Lionnet, Jean, and Graham Dixon. "A Newly Found Opera by Alessandro Scarlatti." Musical Times 128, no. 1728 (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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