Scarlatti, Domenico 1685 - 1757
Author: Maruyama, Yoko
Last updated：February 29, 2012
Author: Maruyama, Yoko
Scarlatti: Sonatas for Keyboard – General Overview of the Works
Composition Dates and Sources
The autograph manuscripts of Scarlatti's 555 sonatas are lost, and the most important primary sources currently available are a considerable number of manuscript copies located in Venice and Parma. The complete 15 volumes of Venetian manuscripts, believed to have been owned by Queen Maria Barbara of Spain, contain 496 sonatas. Of these, 13 volumes with assigned numbers date from 1752-57, while the remaining two volumes date from 1742 and 1749. Similarly, the Parma manuscripts, also believed to have originated from Spain, consist of 15 volumes containing 463 sonatas and are considered important for including all the works from Volumes 1-13 of the Venetian manuscripts, as well as pieces not found in other primary sources (a facsimile edition was published under the supervision of Kirkpatrick). The handwriting in most of the Parma manuscript collection is the same as that in Volumes 1-13 of the Venetian manuscripts. Therefore, it is highly probable that the two manuscript collections are closely related. It should be noted that in the manuscripts, many works are paired by key, but it is uncertain whether these pairings were intended by the composer from the outset. The widely used Kirkpatrick numbering system is based on the estimated chronological order of composition according to the dates of the Venetian manuscripts, and the precise date of composition for each sonata remains unknown. However, it is believed that Scarlatti's prolific compositional activity began at least after he was appointed maestro di cappella at the Portuguese court and started giving keyboard lessons to Princess Maria Barbara and Prince Ferdinand. The creation of this vast body of works is largely attributed to his lifelong service to Maria Barbara. According to conventional theory, the works included in the 1742 Venetian manuscripts are early compositions, and their lower technical demands were intended for the instruction of the Princess and Crown Prince. Furthermore, the 1742 manuscript collection includes works that can be performed as solo sonatas, consisting of a basso continuo and a solo melodic voice, and stylistically, the influence of violin technique, which he may have studied in Venice, has been noted.
On the Scores
Due to the absence of autograph manuscripts and textual discrepancies among the main sources, the reconstruction of a 'definitive' text remains challenging. Representative complete editions of the sonatas published since the 20th century include the complete edition edited by Alessandro Longo, also known by the Longo numbering, and the editions edited by Kenneth Gilbert and Emilia Fadini, both of which adopt the Kirkpatrick numbering. The Longo edition has received much criticism, including the editor's subjective grouping of works and deficiencies regarding the sources. The Gilbert edition is based on the Venetian manuscript collection and features a highly insightful preface detailing source interpretations and other matters. The Fadini edition, published since 1978, is highly regarded for its detailed comparison of sources, but as of 2012, it remains incomplete. Thus, researchers are still attempting to resolve issues surrounding the sources.
Characteristics of Compositional Style
Most of Scarlatti's sonatas are in binary form. While the tonal structure—modulating to the dominant in the first half (or the relative major in minor-key works) and returning to the tonic in the second half—is common, the bold modulations and harmonic richness leading to the target key are often noted as distinctive features.
His compositional technique is rich in methods that defy audience expectations. Besides the bold modulations mentioned above, sudden general pauses, the rejection of regular sequences (e.g., by adding or subtracting measures during repetitions), and cross-relations to resolution notes often make easy prediction impossible. These can be said to be the elements that make his music extraordinary.
Above regarding the above, there is a point to note concerning performance. In a considerable number of sonatas among the main manuscripts, an arc line is drawn from the end of the first half to the beginning of the second half. This arc line indicates that during the repetition of the first half, the final few measures that close the first half should be omitted, and the music should proceed directly to the beginning of the second half. Scarlatti often avoids faithful repetitions of phrases as might be expected, instead omitting the cadence of the preceding phrase in the repetition to introduce a new section. This ensures an unconventional and seamless flow in the music. And when transitioning from the end of the first half to the second half, the omission of the first half's ending, as indicated by the arc line, achieves a fluid transition. In many traditional published editions, including those by Longo and Kirkpatrick, the meaning of this arc line has often been overlooked. In contrast, the Gilbert edition reproduces this arc line, and performers are strongly encouraged to refer to it.
The high technical difficulty is also one of the characteristics of his sonatas. The works from the period following the Essercizi, known as the 'flamboyant period' (works included in the 1749 manuscripts), are representative of this, strongly demonstrating his prowess as a keyboard virtuoso. Acrobatic keyboard idioms such as unnaturally frequent and sustained hand-crossing, wide-ranging arpeggios, and continuous leaps requiring rapid position shifts have long attracted the attention of researchers. Furthermore, since technical figures are often not merely acrobatic gestures but have a rational relationship with form and harmony, performers will likely require analytical skills in addition to technical proficiency.
On Ornamentation
Scarlatti's ornamentation style is said to derive from the Italian ornamentation practices of the late 17th century. Referring to Gilbert's observations, several points regarding ornamentation indications should be noted:
- First, 'tr' and '∼' used interchangeably by the copyists in the main sources are considered synonymous.
- While the realization should be judged from the context, in the case of short trills, if no upper auxiliary note is notated, it can generally be interpreted as starting from the main note.
- Furthermore, trills, especially when used as ornamentation for ascending melodic lines, often indicate a mordent starting from the lower auxiliary note (e.g., K. 17, measure 11).
- The interpretation of 'Tremulo', 'Trem', and 'Tre' is difficult, but given their regular alternation with 'tr.' (or '∼') in K. 175, it is safe to assume that 'Trem(ulo)' and 'Tr.' have different meanings.
- Gilbert also suggests the possibility of interpreting them as a mordent with a lower auxiliary note.
- He specifically holds the view that when they are attached to ascending scales or isolated notes, it is clearly appropriate to interpret them as mordents.
The realization of ornamentation indications is a difficult issue on which researchers often disagree, but performers should strive to choose appropriate interpretations while considering the compositional context.
Author : Jitsukata, Kosuke
Last Updated: January 1, 2010
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Author : Jitsukata, Kosuke
Born in Italy in the same year as J.S. Bach and Handel. His father was Alessandro Scarlatti, a composer regarded as important for founding the Neapolitan School. The first half of his musical career, beginning in his youth, was primarily dedicated to operas and sacred music. His "Sonatas," numbering over 500, are etudes composed in the latter half of his life for the educational purposes of Portuguese Princess Maria Barbara (later Queen of Spain). He developed highly innovative keyboard performance techniques for his time, such as rapid repeated notes and large leaps. Scarlatti's "Sonatas" were primarily conceived for the harpsichord, and when performed on a modern piano, a certain sensibility for "translating" them into piano music will be required. Furthermore, as most are short, single-movement pieces, they are often performed as encore pieces by pianists.
Works(558)
Piano Solo
sonata (556)