Domenico Scarlatti / by Ralph Kirkpatrick.
| Author/creator | Kirkpatrick, Ralph |
| Format | Book |
| Publication | New York: Thomas Y. Crowell Company, [1968] |
| Description | xviii, 485 pages : illustrations, facsimiles, music, portraits ; 20 cm. |
| Subjects |
| Series | Apollo editions ; A-200 Apollo editions ; A-200. ^A646411 |
| Contents | The fledgling. Naples ; Birth ; The Scarlatti family ; The conservatories ; Alessandro's teaching ; Domenico's first employment ; Political uncertainty ; First voyage ; Rome ; Florence and Ferdinando de' Medici ; Cristofori's instruments ; Domenico's first operas ; Departure from Naples -- The young eagle. Alessandro's letter ; Venice ; Music and masquerades ; The conservatories ; Gasparini ; The Venetian opera ; First account of Domenico's harpsichord playing ; Roseingrave ; Friendship with Handel -- Roman patrimony. Queen Cristina and her circle ; Cardinal Ottoboni ; Pasquini ; Corelli ; Arcadia ; Maria Casimira of Poland ; Capeci, Juvarra, and Domenico's operas ; Church and theater. The Vatican ; The Portuguese embassy ; Roman theaters and Domenico's last operas ; Emancipation ; The mythical London voyage ; Departure -- Lisbon patriarchy. Lisbon ; Joao V. ; Royal chapel ; Maria Barbara ; Don Antonio ; Seixas ; Alessandro's death ; Domenico's marriage ; Royal weddings -- The Spanish scene. Seville ; Felipe V and Isabel Farnese ; Fernando and Maria Barbara ; Aranjuez, La Granja, Escorial ; Madrid ; Juvarra and the royal palace ; Arrival of Farinelli ; Madrid opera ; Scarlatti's knighthood ; Essercizi per Gravicembalo ; Scarlatti's portrait ; Death of Catalina Scarlatti ; Death of Felipe V -- The reign of the Melomanes. Accession of Fernando and Maria Barbara ; Scarlatti and Farinelli ; Palace opera ; Embarkations at Aranjuez ; Harpsichord sonatas ; Scarlatti's second marriage and family ; Amiconi's portrait ; Scarlatti's only surviving letter ; Royal chapel ; Soler ; Scarlatti's reputation outside Spain ; Forebodings of the end ; Scarlatti's testament and death ; Death of Maria Barbara, of Fernando VI ; New regime and Farinelli's departure ; Posterity -- Royal sonatas. The Queen's and other manuscripts ; The missing autographs ; The designation sonata ; The pairwise arrangement ; Chronology of the sonatas ; Early works, background of Scarlatti's keyboard style ; The earliest pieces ; The fugues ; Early sonatas ; The Essercizi ; The flamboyant period and the easy pieces ; The middle period ; The late sonatas -- Scarlatti's harpsichord. Farinelli's and the Queen's instruments ; Conclusions as to Scarlatti's harpsichord ; The early pianoforte ; Scarlatti's organ music ; Scarlatti's harpsichord playing ; Scarlatti's keyboard technique ; Harpsichord as bounded by the organ, guitar, and orchestra ; Shadings of harpsichord sound ; Imitations of other instruments ; The influence of Spanish guitar -- Scarlatti's harmony. Consistency of Scarlatti's harmonic style ; Basic triads and three-chord analysis ; Inversion and fundamental bass ; Remaining elements of harmonic vocabulary, peculiarities of seventh chords ; Cadential vs. Diatonic movement of harmony ; Vertical harmonic intensities ; Essential peculiarities of Scarlatti's treatment: dropping and adding of voices, transposition of voices, harmonic ellipse, pedal points both real and understood ; Harmonic superstition ; Contractions and extensions ; Longo's "corrections" and Scarlatti's intentions ; Equal temperament and key system ; Soler's rules for modulation ; Temporary and structural modulation -- The anatomy of the Scarlatti's sonata. The varied organism of the Scarlatti sonata ; Definition ; Identification and function of its members, the crux ; The opening ; The continuation ; The transition ; The pre-crux ; The post-crux ; The closing ; The final closing ; The excursion ; The restatement ; Main types of form ; The closed sonata ; The open sonata ; Exceptional forms ; Tonal structure ; Treatment of thematic material, the three main traditions ; The interplay of forces that shape the Scarlatti sonata -- The performance of the Scarlatti sonatas. Attitude of the performer ; Scarlatti's text ; Registration and dynamics ; Tempo and rhythm ; Phrasing, articulation, and inflection ; Expressive range -- Appendices. Appendix I. The Scarlatti family. Notes on the Scarlatti family ; The Scarlatti family tree -- Appendix II. Documents, chronologically arranged, concerning Domenico Scarlatti and his offspring -- Appendix III. Documents concerning instruments. Cardinal Ottoboni's instruments ; Inventory of Queen Maria Barbara's instruments ; Provisions of Farinelli's testament concerning music and instruments ; Indications for registration in Scarlatti's organ pieces -- Appendix IV. Ornamentation in Scarlatti. Sources of information ; The appoggiatura ; The short appoggiatura ; The long appoggiatura ; The trill ; The tied trill ; The trill with termination ; The upper appoggiatura and trill ; The lower appoggiatura and trill ; The rhythmic values of the trill ; The tremulo ; The remaining ornaments not indicated by signs: the mordent, the turn, the slide, the acciaccatura, arpeggiation ; Additions to Scarlatti's text ; Peculiarities of rhythmic notation -- Appendix V. Keyboard works. Principal manuscript scores ; Note on miscellaneous manuscripts of secondary importance ; Eighteenth-century editions ; The editions of Czerny, Longo, Gerstenberg, and Newton -- Appendix VI. Vocal music. Operas ; Oratorios, serenades, and other occasional pieces ; Partial list of chamber cantatas and arias attributed to Domenico Scarlatti ; Church music -- Appendix VII. Miscellaneous, doubtful, and spurious works. Miscellaneous works attributed to Domenico Scarlatti ; Spurious keyboard works ; Spurious vocal works. |
| Bibliography note | Includes bibliographical references (pages 429-439) and index. |
| LCCN | 68029620 |