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Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the Eighteenth Century

Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the... A permanent move at the age of 34, from Italy into the private services of Princess María Bárbara in Portugal, later in Spain, allowed Domenico Scarlatti to escape fame and stylistic classification. In the absence of a convincing category for Scarlatti's music – post‐Baroque? pre‐Classical? galant? transitional? – the Scarlatti scholar W. Dean Sutcliffe resorts to the apt expression ‘mixed style’. But Sutcliffe acknowledges that ‘much about the Scarlatti sonatas demands to be considered in the light of the Classical style’, and so do I. In particular, the specific type of two‐part form that the composer employs in most of his 555 extant keyboard sonatas was hardly unique on the continent during his lifetime, and that form continued to appear long after it had yielded to what we today call ‘the Classical sonata’. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Music Analysis Wiley

Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ towards the End of the Eighteenth Century

Music Analysis , Volume 38 (3) – Oct 1, 2019

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Publisher
Wiley
Copyright
Music Analysis © 2019 John Wiley & Sons Ltd
ISSN
0262-5245
eISSN
1468-2249
DOI
10.1111/musa.12139
Publisher site
See Article on Publisher Site

Abstract

A permanent move at the age of 34, from Italy into the private services of Princess María Bárbara in Portugal, later in Spain, allowed Domenico Scarlatti to escape fame and stylistic classification. In the absence of a convincing category for Scarlatti's music – post‐Baroque? pre‐Classical? galant? transitional? – the Scarlatti scholar W. Dean Sutcliffe resorts to the apt expression ‘mixed style’. But Sutcliffe acknowledges that ‘much about the Scarlatti sonatas demands to be considered in the light of the Classical style’, and so do I. In particular, the specific type of two‐part form that the composer employs in most of his 555 extant keyboard sonatas was hardly unique on the continent during his lifetime, and that form continued to appear long after it had yielded to what we today call ‘the Classical sonata’.

Journal

Music AnalysisWiley

Published: Oct 1, 2019

References