A chronological order for the keyboard sonatas of Domenico Scarlatti, 1685-1757 / Matthew Flannery.
| Author/creator | Flannery, Matthew |
| Format | Book |
| Publication Info | Lewiston, NY : Edwin Mellen Press, ©2004. |
| Description | viii, 258 pages : illustrations ; 24 cm. |
| Subjects |
| Series | Studies in the history and interpretation of music ; v. 109 Studies in the history and interpretation of music ; v. 109. ^A231525 |
| Contents | Preface / by Stephen Dydo -- Foreword -- Introduction. A question of scale: microcosmic versus macrocosmic analysis -- The primary sources. A few details of the Parma-Venice transcription process -- How do sequence differences among the sources affect pattern integrity? -- The Flannery catalog. A few details of translating between Kirkpatrick and Flannery -- Background to the analysis of chronological order. Existing proposals for organizing the sonatas -- Chronological descriptions of local sequence phenomena. Doubts about the evidence for chronological order ; Chronological order and Scarlatti's work habits ; Biographical information and sonata groups -- A few distinctions and qualifications. Three qualifications. The premise ; The condition ; The limitation -- Phase I sonata groups (1-4). Sonata groups: an overview -- Sonata groups: defining criteria -- Phase I sonata groups. Sonata group 1: K 58-94 (Fl 1-36) ; Sonata group 2: K 31-42 (FL 37-48) ; Sonata group 3: K 1-30 (Fl 49-78). A note on the sequence position of sonata group 3 -- Sonata group 4: K 43-57 (Fl 79-93). A note on sequencing sonata groups 1-4 -- Phase II sonata groups (5-8). Sonata group 5: K 96-140 (Fl eq 94-138) ; Sonata group 6: K 141-147 (Fl 139-145) ; Sonata group 7: K 148-155 (Fl 146-153) ; Sonata group 8: K 156-187 (Fl 154-185). A note on Scarlatti and the piano -- Phase III sonata groups (9-17). Sonata group 9: K 188-220 (Fl eq 186-eq 219) ; Sonata group 10: K 221-239 (Fl 220-236) ; Sonata group 11: K 240-264 (Fl 237-263) ; Sonata group 12: K 265-286 (Fl eq 264-eq 285) ; Sonata group 13: K 287-288 (Fl 286-287) ; Sonata group 14: K 289-303 (Fl 288-302) ; Sonata group 15: K 304-313 (Fl 303-312) ; Sonata group 16: K 314-336 (Fl 313-339) ; Sonata group 17: K 337-355 (Fl 340-eq 354) -- Phase IV sonata groups (18-26). Sonata group 18: K 358-373, 414-417 (Fl eq 355-374) ; Sonata group 19: K 374-421, 356-357, 430 (Fl 375-421). A note on the sequence location of Sonatas K 356-357 -- Sonata group 20: K 422-440 (Fl eq 422-eq 439) ; Sonata group 21: K 441-459 (Fl 440-458) ; Sonata group 22: K 460-487 (Fl 459-486) ; Sonata group 23: K 488-500 (Fl 487-499) ; Sonata group 24: K 501-519 (Fl 500-518). A note on diversity and integration in Group 24 sonatas -- Sonata group 25: K 520-531 (Fl 519-530) ; Sonata group 26: K 532-555 (Fl 531-554) -- Contingent broad-scale occurrence patterns (1-14). The three types of occurrence pattern -- Historically referential occurrence patterns. Occurrence pattern 1: the four phases and Scarlatti's musical development ; Occurrence pattern 2: the low-numbered locations of baroque-style pieces ; Occurrence pattern 3: from minor to major mode ; Occurrence pattern 4: a rising use of new style key signatures? ; Occurrence pattern 5: sonata compasses expand over the sequence. Summary of occurrence pattern 5 ; A note on organology: pianos, harpsichords, compasses ; A note on Scarlatti's style: radical versus conservative ; Summary of Part B -- Interrelated occurrence patterns. Occurrence patterns 6 and 7: transpositions and recompositions decline over the sequence, their inverse relationship to sonata compasses ; Occurrence patterns 8, 9, 10: andantes, cantabiles, and their relationship ; Occurrence pattern 11: the central gap ; Occurrence patterns 12, 13, 14: presto, vivo, and their relationship -- Independent broad-scale occurrence patterns (15-26). Occurrence pattern 15: the gaps in prestos and vivos combined ; Occurrence pattern 16: handcrossings ; Occurrence pattern 17: tremolos ; Occurrence pattern 18: acciaccaturas. A note on the sequence location of Sonatas K 414-416 (Fl 361-363) ; Occurrence pattern 19: 5-4 harmonies ; Occurrence pattern 20: allegrissimos ; Occurrence pattern 21: minuets ; Occurrence pattern 22: fugues ; Occurrence pattern 23: long-duration sonatas ; Occurrence pattern 24: allegrettos ; Occurrence pattern 25: unusual tempo indications ; Occurrence pattern 26: rhythm sonatas ; Occurrence patterns 27-28: sonata combinations, deconfigured combinations -- |
| Contents | Two additional occurrence patterns: combinations and their deconfigurations (27, 28). Occurrence subpattern 27a: single sonatas. Occurrences of single sonatas in Venice 1749 and Parma I-III (1-3). The terminal clustering of single sonatas in the sources ; Two potential anomalies in analyzing single sonatas ; The unusual character of couplet-like pieces -- Occurrences of single sonatas in Parma IV-XV (4-15) ; Summary of the subpattern of single sonatas -- Occurrence subpattern 27b: types of sonata combination. The external retroactive combinations of Venice 1749, Parma I-III ; The external concurrent combinations of Parma IV (4) ; The internal concurrent combinations of Parma V-XV (5-15). As combining became more complicated, it became more efficient: a paradox? -- Concluding thoughts on combinations -- Occurrence pattern 28: combination deconfigurations. A secondary change in the deconfiguration rate -- Summary of patterns 27 and 28 -- Some chronological implications of the totality of patterns. Broad-scale patterns and chronological order -- Intermediate-scale patterns and chronological order. The chronological implications of sonata groups ; The mingling of diverse patterns in sonata group 22 ; The convergence of multiple patterns at Sonatas K 264 and 265 ; Subgroups observe the boundaries of their group -- Detailed-scale patterns and chronological order. The chronological implications of transitional sonatas ; The integrated boundaries of combinations and sonata groups ; The detailed-scale chronological implications of the sonata order in sonata group 22 ; Members of sonata groups should be contemporaneous -- Order and disorder. Types of arrays. Random arrays ; Simple arrays ; Complex arrays. A caution -- Simple arrays, further considered. Summary of the methodological weaknesses of retroactive sequence arrangements -- Complex arrays, further considered -- A methodological background for chronological order in Parma. Sequence order explanations and methodological protocols ; A premise common to the theses of chronology, organology, late combining ; The chronological thesis versus other chronological proposals ; Summary points -- Conclusion -- Appendix I: Flannery catalog of Scarlatti's sonatas with Kirkpatrick equivalents -- Appendix II: Kirkpatrick numbers in Parma's order. |
| Abstract | This work proposes a solution to what is often considered the central problem facing Scarlatti scholarship, determining the chronological order of his keyboard sonatas. In the data-poor arena of Scarlatti research, this work, avoiding a primarily musicological or organological approach, analyzes large-scale patterns of musical characteristics over all (or parts) of a sonata sequence founded primarily on the Parma manuscript. As a result of an extensive application of this analytic approach to the sequence, this work notes that many sequence patterns seem to be chronologically structured, that none seem anti-chronological, and that a few mirror historical changes in the music of Scarlatti's time. These phenomena and other observations delimit something like a general history of Scarlatti's musical development enriched further by a variety of localized events. Among some 26 patterns observed in the sequence are a systematic rise in Scarlatti's use of the major mode, stepped increases in sonata compass that seem to accord with the sequential availability of larger keyboards, and both an increase in the rate at which the sonatas were combined into sets of two or three works and the use by Scarlatti of progressively complex techniques for doing so. This work also sketches a methodological background for the chronological proposal, including a discussion of why chronological order seems a superior interpretation of the sequence compared to the thought that it may have been reorganized, whether at random or by specific criteria. This study also discusses such subjects as the probable location of the 30 essercizi within the sonata sequence, the likely mis-location of several other sonatas, implications of chronological order from organology, a broadly dated window for the latter part of the sequence, the relationship between conservative and radical elements in Scarlatti's compositions, a late-sequence change in his approach to writing slow sonatas, and the interplay of structural integration and musical diversity in the later sonatas. It presents a new catalog of the sonatas that, while substantially congruent with Kirkpatrick's, proposes modifications to his ordering of the first hundred sonatas as well to a few other but smaller regions of the sequence. |
| Bibliography note | Includes bibliographical references (pages 247-250) and index. |
| LCCN | 2004053878 |
| ISBN | 0773463364 |