Domenico Scarlatti

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Biography

Born: Oct 26, 1685; Italy   Died: Jul 23, 1757; Spain   Period: Baroque
Domenico Scarlatti began his compositional career following in the footsteps of his father Alessandro Scarlatti by writing operas, chamber cantatas, and other vocal music, but he is most remembered for his 555 keyboard sonatas, written between approximately 1719 and 1757.

It is believed that Domenico received most of his musical training from family members, but his father was the dominant figure in his life. It was Alessandro who arranged Read more Domenico's first appointment, as organist and composer for Naples' Cappella Reale, and wanted him to continue with vocal music despite the enormous talent he had shown for keyboard music. Domenico was sent to Venice in 1705, where he met Handel, and in 1708 to Rome to become maestro di cappella to the exiled queen of Poland, Maria Casimira, and later, head of the Cappella Giulia. In these positions, he composed his operas and serenatas, and some sacred vocal works. It was also in Rome where he developed a friendship with the Portuguese ambassador, the Marquis de Fontes, which eventually led to Scarlatti's being appointed master of the royal chapel by João V of Portugal in 1719. Scarlatti was also teacher to the royal family, particularly princess Maria Barbara. Scarlatti had already written approximately 50 keyboard pieces before coming to Lisbon, but wrote many more for his students, which also included Carlos de Seixas. When Maria Barbara married Spanish prince Ferdinando, Scarlatti followed her to Spain. His first publication, 30 sonatas called "Essercizi," was issued in 1738 and sold throughout Europe. Although as King and Queen, Ferdinando and Maria Barbara introduced opera into Spain's cultural life, Scarlatti did not write any for them. However, he did assist in their private musical soirées, again writing cantatas and working with singers such as Farinelli. Scarlatti also continued to teach, and, in the last six years of his life, concentrated on organizing his sonatas in manuscripts. These one-movement sonatas are recognized as cornerstones of the keyboard repertoire, a bridge between the Baroque and the galant styles of keyboard writing. They demonstrate his facility in adapting rhythms found in contemporary Iberian popular music and his inventiveness in creating themes and developing interesting harmonies. Read less

Featured Domenico Scarlatti CDs & DVDs:

Murray Perahia Plays Handel And Scarlatti
Murray Perahia Plays Handel And Scarlatti
Release Date: 03/04/1997   Label: Sony  
Catalog: 62785   Number of Discs: 1
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Anthologie - Scarlatti: 56 Sonatas / Scott Ross
Anthologie - Scarlatti: 56 Sonatas / Scott Ross
Release Date: 04/28/1992   Label: Erato  
Catalog: 45422   Number of Discs: 3
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George Walker In Recital - Scarlatti, Beethoven, Et Al
George Walker In Recital - Scarlatti, Beethoven, Et Al
Release Date: 08/10/1995   Label: Albany Records  
Catalog: 117   Number of Discs: 1
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Scarlatti: Best Sonatas / Scott Ross
Scarlatti: Best Sonatas / Scott Ross
Release Date: 10/11/1991   Label: Erato  
Catalog: 45423   Number of Discs: 1
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Scarlatti: Stabat Mater, Salve, Sonatas / Grier, Et Al
Scarlatti: Stabat Mater, Salve, Sonatas / Grier, Et Al
Release Date: 06/08/2004   Label: Helios  
Catalog: 55172   Number of Discs: 1
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Work: Sonata for Harpsichord in E major, K 380/L 23

 

About This Work
This E major work, now one of Scarlatti's most popular keyboard compositions, was preserved in the fourth Venice volume of his sonatas, dated 1754. The composer probably wrote it a year or so before the date on the manuscript, though it is possible Read more it may actually have been written in 1754. Many believe it was around this time that Scarlatti had taken ill, owing to reports he was confined to his residence. He died in 1757, but nevertheless produced hundreds more keyboard sonatas in those last precious years. This E major effort, though marked Andante comodo, is much livelier than its tempo indication would normally suggest.

The Sonata opens hesitantly, the music wanting to lunge forward, it would seem, but held back by an inner tentativeness or timidity. After this clever start-and-stop playfulness, the music jumps to its feet and turns quite lively. Soon a festive dance theme, one of Scarlatti's best known, is presented in stately chords, imparting a truly regal elegance to the atmosphere. In the second half of the work, Scarlatti develops the material from the exposition, focusing mainly on the latter portion featuring the famous tune. As with the exposition, the development section is repeated and then the Sonata ends, leaving the listener with a most memorable five minutes.

-- Robert Cummings Read less

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Two Hands - Bach, Chopin, Etc / Leon Fleisher

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