Place and treatment in history The dearth of hard facts Creative environment Real-life personality The panorama tradition Analysis of sonatas Improvisation Pedagogy Chronology Organology Style classification Style sources Influence Nationalism I Nationalism II Evidence old and newĢ6 29 32 34 36 38 40 41 43 45 49 54 55 57 61 68Īn open invitation to the ear: topic and genre A love-hate relationship? Scarlatti and the galant Iberian influence Topical opposition
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First published in print format 2003 ISBN-13 978-4-8 eBook (EBL) ISBN-10 4-X eBook (EBL) ISBN-13 978-0-3 hardback ISBN-10 0-6 hardbackĬambridge University Press has no responsibility for the persistence or accuracy of s for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate.ġ Scarlatti the Interesting Historical Figure 2 Panorama Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo Cambridge University Press The Edinburgh Building, Cambridge , United Kingdom Published in the United States by Cambridge University Press, New York Information on this title: © Cambridge University Press 2003 This book is in copyright. D E AN S U TCLI F F E St Catharine’s College, Cambridge He is also co-editor of the Cambridge journal EighteenthCentury Music, the first issue of which will be published in 2004.
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50 (1992) in the Cambridge Music Handbook series and editor of Haydn Studies (Cambridge 1998). He is author of Haydn: String Quartets, Op. dean sutc l i f f e is University Lecturer at the University of Cambridge and a Fellow of St Catharine’s College. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style. A principal task of this book, the first in English on the sonatas for fifty years, is to remove the composer from his critical ghetto (however honourable) and redefine his image. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti’s position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind.
Further, the lack of hard documentary evidence – of the sort normally taken for granted when dealing with composers of the last few hundred years – has hindered musicological activity. The sources of his style are often obscure and his immediate influence is difficult to discern. Scarlatti occupies a position of solitary splendour in musical history. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. T H E K E Y B OA D S O N ATA S O F D O M E N I C O S CA L AT T I A N D E I G H T E E N T H - C E N T U Y M U S I CA L S T Y L E
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