Advances in Social Science, Education and Humanities Research, volume 554

Proceedings of the 7th International Conference on Humanities and

Social Science Research (ICHSSR 2021)

Music of Domenico Scarlatti

Innovation and Style of His Keyboard Sonatas

MingChih Hsieh 1,*

1
School of Music, Zhaoqing University, Guangdong, China
*Email: fhsieh1125@aol.com

ABSTRACT
Domenico Scarlatti (Napes, 26 October, 1685- Madrid, 23 July, 1757) is one of the most significant Italian music
composers in the eighteenth century late Baroque period. Although he is a prolific composer who has composed a
great deal of music in wide variety of forms and genres, he is best known for his 550 keyboard sonatas written mostly
for the harpsichords (although they are mostly played on modern pianos these days). His keyboard sonatas are single
movements, in binary or sonata allegro form, that show innovative virtuosic display on the keyboard with early classical
influence. Some of his most important musical attributes of the keyboard works include the influence of Portuguese
and Spanish folk music, the adoption of the early eighteenth century Galant style, the inspiration of guitar music by
using rapid notes being played repetitively, the revolutionary harmonic devices by using unresolved dissonant chords,
the usages of extreme dynamic contrasts, the technique of involving constantly hand-crossing over each other, and the
complexity of finger works by applying fast running notes of arpeggios moving back and forth from extreme register of
the keyboard. Except for his limited eighteenth-century English publications of his earlier sonatas and a few Continental
reprints, the bulk of his keyboard music was almost unknown beyond his immediate circle and exercised little direct
influence on these later generation Italian and German composers such as Carl Philipp Emanuel Bach (1714-1788),
Joseph Haydn (1732-1809), Muzio Clementi (1752-1832), Wolfgang Amadeus Mozart (1782-1791), and Ludwig van
Beethoven (1770-1827). It was not until the edition complied by the Italian pianist and musicologist Alessandro Longo
(1864-1945) that virtually all the keyboard sonatas became available to the world. Also in 1953, the American
musicologist Ralph Kirkpatrick (1911-1984) provided a complete list of works and renumbered the entire sonatas in the
chronological order of the printed and manuscript collections. Since almost three centuries after Scarlatti’s death, his
extremely large collection of high-quality keyboard sonatas have been considered one of the most important musical
achievements in the history of piano literature. In this article, we will discuss the music of D. Scarlatti based on the
following areas, Biography of Domenico Scarlatti, Background of His Keyboard Sonatas, The Analysis of The Sonata
L.483, and The Analysis of L.23.

Keywords: Domenenico Scarlatti, Baroque Music, Baroque Keyboard Music, Galant Style, Baroque Piano,
Sonatas, Binary Form, Sonata Allegro Form, 18th Century Music.

1. BIOGRAPHY OF DOMENICO Alessandro. At the age of sixteen, he was holding

important organ posts at the royal chapel in Naples, and
SCARLATTI
in 1704, he revised Carlo Francesco Pollaroli’s (1653-
Domenico Scarlatti (1685-1757) was born to a music 1723) Opera Irene (1694) for performance at Naples.
family in Naples, Kingdom of Naples, in 1685, the same Later he was sent to Venice to study with Francesco
year as Johann Sebastian Bach (1685-1750) and George Gasparini (1661-1727), and in 1709 he was in Rome,
Frideric Handel (1685-1759). He was the sixth of ten where he met G. F. Handel. The years until 1720 were
children of the composer and teacher Alessandro Scarlatti spent in that city as maestro di cappella to Queen Maria
(1660-1725), and his older brother Pietro Filippo (1679- Casimira of Poland (1641-1716) and later to the Vatican.
1750) also became a musician. Most likely Scarlatti By 1720, Scarlatti left Rome, took a short trip to London
received his early musical trainings under his father for a production of his opera Narciso at the King’s

Copyright © 2021 The Authors. Published by Atlantis Press SARL.

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Theater. After he returned from London, he settled in usually a slow sonata followed by a fast one. An
Lisbon as the maestro of royal chapel and music teacher additional 12 sonatas are to be put together in triptychs.
to the Portuguese Princess Maria Magdalena Barbara Kirkpatrick produced a new catalogue of Scarlatti’s
(1711-1758, later became Queen of Spain). When sonatas that uses K. numbers. Longo’s edition remains
Scarlatti’s royal student married the heir to the Spanish complete but is marred by the addition of the editor’s
throne in 1729, he accompanied her to Madrid, where he dynamics, phrasing, and other markings. Kirkpatrick
spent the rest of his life except for two short trips to Italy. edited only sixty of the sonatas, but his work is exemplary
[3].
It was for the Princess Maria Barbara that Scarlatti
composed the music for which he is remembered, the
more than 550 keyboard works that we know as sonatas. 2.2. Structure And Format of His Piano
The first appearance of these works was a publication of Sonatas
thirty of them as Essercizi Per Gravicembalo (Exercises
The majority of Scarlatti’s sonatas after 1754 are
for Harpsichord), the only collection of thirty piano
arranged in pairs, each pair, in effect, a sonata of two
sonatas, dedicated to king John V of Portugal (1689-
movements, always in the same key (though one may be
1750), and published in London on 3, February, 1738
major and the other minor), and sometimes similar in
during his lifetime. At this time Scarlatti was past fifty
mood, sometimes contrasted. The format of sonatas in
years of age, and recent research indicates that he wrote
two movements were adopted by Domenico Alberti
most of his keyboard works in his late sixties and early
(1710-40, the Italian composer associated with Alberti
seventies [1].
Bass) and many other Italian composers of the eighteenth
century, though there is no evidence that they took the
2. BACKGROUND OF HIS KEYBOARD idea from Scarlatti. In fact, as Scarlatti seems to have
SONATAS created his own keyboard idiom without models, so he
apparently had no successors, with the possible exception
The 550 sonatas for solo keyboard were originally
of a few Portuguese and Spanish composers. The
intended to be for harpsichord (although these sonatas
Essercizi Per Gravicembalo of 1738 and a few other
have been played mostly on modern pianos these days),
sonatas were known and admired in England in the
however, that a few of the works, such as K78, K81 and
eighteenth century, but very little of Scarlatti’s music
K88 through K91, are arranged for keyboard and a
circulated in France and practically none of it was known
second instrument. There are no original manuscripts of
in Germany or Italy [4].
these works. The most important sources, aside from the
early publication, are manuscript volumes in Venice All the Scarlatti sonatas are organized by means of
containing 469 sonatas, and fifteen of them are in Parma tonal relationships, into the standard late Baroque and
containing 463 sonatas [2]. Since only limited numbers early Classical binary pattern used for dance pieces and
of his piano sonatas were published during his lifetime, other types of composition: two sections, each repeated,
most of his sonatas were published irregularly in the three the first closing in the dominant or relative major, the
centuries since his death. second modulating further afield and then returning to
tonic. This is the basic scheme that underlines much
2.1. The Editions Of His Keyboard Sonatas instrumental and solo vocal music in the eighteenth
century. Scarlatti adopted the structure of binary form in
Various collections and reprints appeared in the his sonatas and gave the binary form a variety and
nineteenth century, but it was not until 1906 that expressive range that has made these works unique and
Alessandro Longo (1864-1945) edited the entire body of refined. Their originality and emotional range span every
his keyboard works, supplementing his work with a mood and temperament and often require all the talent
thematic index, thus, for a time Scarlatti’s sonatas were and skill the most virtuosic performer can deliver [5].
identified by L. numbers from Longo’s chronological
listing. Longo’s catalogue originated in his landmark 3. THE ANALYSIS OF THE SONATA
full publication of the works of Scarlatti in eleven L.483
volumes, grouping of 545 sonatas based on the keys but
splitting up Scarlatti’s sonata pairs and paying little This A-major sonata represents the typical late
regard to chronology and style. Baroque or early Classical Galant style, which the
In 1953, Ralph Kirkpatrick (1911-1984) published an aesthetics of arts were based on the elegance and
extremely important study on the life and works of simplicity of the textures [6]. This sonata exhibits many
Scarlatti. Kirkpatrick established the fact that Longo’s of the traits of the genre, it was written within the
chronology was inaccurate to an extent that obscured structure of binary form with dance-like character,
Scarlatti’s growth as a composer and compromised dull moderate tempo and homophonic texture. It is in two
appreciation of his stature. Kirkpatrick argued that 388 sections, each repeated, the first section has forty-four,
of the sonatas should be grouped in pairs in the same key, and the second has thirty-seven measures. The opening

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four-measure theme starts with three long repeated notes, The motive with dotted rhythm of the first theme
accompanied by the left hand with steady and even half shows distinctive connection to military march, the type
notes, and the bass line remains the same rhythmic of music typically played by horns at hunting activities in
pattern throughout the entire piece. The sonata the earlier European noble society [8]. The motive of the
demonstrates particularly strong influence of Spanish second theme contains an eighth followed by two
flavor in the usage of ornamentation and sometimes sixteenth and two eighth notes, that is a commonly used
surprising dissonance, reminiscent of the Spanish guitar rhythmic features in the music associated with horse-
(the distinctive evidence of composer’s thirty year riding scenes. The first theme has very little thematic
residency in Spain). Thus, like many Scarlatti’s keyboard relation with the second. The first theme in E-major
music been re-arranged to the scores of guitar, this sonata functioned as an introduction, is more simple and dance-
also has a guitar edition that becomes one of the most like, and the contrasting second theme in its dominant
popular works from the classical guitar repertoires. key (B-major), is rhythmically more agitated and
energetic.
Like most of the Baroque dance movement in binary
form, the modulation takes place to the dominant before The Development section is very short, and the main
the first part ends (it wasn’t until measure 11 for the E motive is derived from the second theme of the
major’s leading tone D sharp to be introduced by the left Exposition. Compare to the Exposition, the sixteen-
hand), and the second part modulates further a bit and measure developmental middle section is a short
then returns to the tonic. In this work, Scarlatti created transitional passage that is harmonically richer and
a very unique and colorful effect by using immediate darker and also musically more dramatic. In the sixteen
harmonic changes between major and it’s minor. The bars of the Development, the tonal key goes from the
alternation of sonority is between E-major and e-minor in dominant (B-major) to its relative minor (c-sharp minor)
the Exposition and is between A-major and a-minor in the and to f-sharp minor and finally arrives to the tonic key
second part. (E-major) where it skips the first and goes directly to the
second theme of the Recapitulation.
Compare to other composers in Baroque period such
as Bach, instead of using a strict polyphonic texture, The Recapitulation is basically identical to the
Scarlatti adopted a more simple elegant homophonic Exposition except it stays in the tonic key E major
texture with the manner of motive imitation, in this throughout. The ending is presented by a four-bar lyrical
specific example, the repeated notes become a center closing theme that has rapid scales of the sixteenth on top
motive that occurs many times throughout the entire accompanied by some steady march-like quarter notes
piece, often followed by the next motive that contains a from the lower register. If we compare the
pair of eighth notes and a quarter note. Also, Scarlatti Recapitulation to the Exposition, since the Recapitulation
pays close attention to the melodic details by adopting does not have the section of first theme as Exposition
syncopated rhythms to the right hand themes, which does, the Recapitulation seems relatively short and that
made the music more colorful and expressive. In terms of also prove the Recapitulation been treated as a sectional
performance tempo, although this was marked Allegro, in transition that serves the function of the modulation back
order to present the march with pastoral spirit, this should to the home keys as well as the coda to finish the piece.
not be played too fast.
If we compare the length of these three sections (the
Exposition has forty measures, the Development has
4. THE ANALYSIS OF THE SONATA L.23 sixteen and the Recapitulation has twenty-two), the
This E-major sonata is one of the most popular Exposition seems much longer than the other two, but if
works by Scarlatti, which is a representative of the we add the measure numbers of Development and
mature style of his writings. This piece is famous for its Recapitulation together, it would come to the total of 38.
hunting sprits or expression and was frequently That means the total length of the Development and
performed in public by Vladimir Horowitz (1903-1989, Recapitulation (38) is pretty similar to the length of the
Russian-born, one of the most prominent pianists in the Exposition (40). So from the perspective of the structural
twentieth century). Compare to L. 483, although this is proportion, it seems making more sense to label this work
still within the homophonic style, the texture of this as a binary form with two same-sized identical parts, but
sonata is much richer, and the structure is somehow more on the other hand, from a thematic development point of
experimental and more identical to what is fashionable in view, this work has almost all the distinctive features and
Classical period. The structure whether this work is in elements (diverse thematic materials with modulations)
binary or sonata allegro form can be a disputed issue. to be considered as a sonata allegro structure. Therefore,
However the evidence of the materials in its dominant the evidences indicate that this work was written in a
key being as unique and independent as the second theme more flexible binary form with a great deal of Classical
of sonata allegro form is clear [7]. influence.

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5. CONCLUSION [5] L. Caldo, The Development of the Idiomatic Piano

Language through Clementi’s Edition od D.
Scarlatti is a historically transitional figure between Scalatti’s Sonatas, Anuario Musical, 1972, pp. 123-
late Baroque and early Classical Period. His music 136.
combines the Baroque improvisation-like, highly
ornamented nature with the Classical principles in [6] M. Hinson, Guide to the Pianist’s Repertoire, 3rd
musical structure and texture. He is often compared edition, Indianna University Press, Bloomington
with J.S. Bach, the German master composer of his time. and Indianapolis, 2000, pp. 71-80.
Bach and Scarlatti are both emtremely influential [7] F. E. Kirby, Music in the Classical Period: An
composers in the Baroque but they have very different Anthology with Commentary, Shirmer Books, New
directions in musical careers as well as compositional York, 1979, pp. 89-92.
approches. Bach devoted most of his life writing religious
music for churches, that is more serious, harmonically [8] C. Rosen, The Classical Style: Haydn, Mozart,
complex and intellegent in its style. However, Scarlatti Beethoven, W. W. Norton & Company, New York,
composed mostly secular music for his upper-class 1972, pp. 145-152.
patrons, and the musical style tends to be more dramatic
[9] M. Uszler, S. Gordon, E. Mach, The Well-Tempered
and expressive that requires tremoudous amout of
Keyboard Teacher, Schirmer Books, New York,
virtuosity. Scarlatti’s music, compared to Bach, is more
appealing and appreciatable for the majority of the 1991, pp. 88-94.
audiences. Also, unlike most of the Baroque partitas or [10] L.J. Noyle, Pianists on Playing: Interviews with
suites that require at least twenty to thirty minutes to twelve concert pianists, The Scarecrow Press Inc.,
perform, most of Scarlatti sonatas are single-movement New York, 1987, pp. 45-51.
works, and can be easily selected from one to several
sonatas into a progam, that makes it much more convient
to be put together as a program for any musical occasions.
Although Scarlatti did not intentionally compose
music for teaching purposes, his piano sonatas are
extremely suitable to be used as teaching materials [9].
His sonatas are mostly short (from two to five minutes),
with difficulties range from moderate to more difficult,
and also with wide variety of categories or genres from
simple attractive dance music, lyrical song-like
movement, to more virtuosic showy pieces. In his piano
writing, they are techniqually accessible and ralatively
easier to be sight-read, that attract students in various
level and ages studying his music. His elegent and unique
musicality also make him the most popular and admirable
among Baroque composers. Although his musical
contribution might be underevaluated during his lifetime,
his musical impact as well as his genius musical
compositions have made him one of the greatest
composers in the history of music [10].

REFERENCES
[1] S. Gordon, A History of Keyboard Literature,
Shirmer Books, New York, 1996, pp. 35-41.
[2] D. J. Grout, C. V. Palisca, A History of Western
Music, 4th edition, W.W. Norton & Company, New
York,1988, PP. 59-70.
[3] D. M. Randel, ed. The New Harvard Dictionary of
Music, Harvard University Press, Cambridge, 1986,
pp. 63-69.
[4] R. Kirpatrick, Domenico Scarlatti, Revised Edition,
Princeton University Press, Princeton, NJ, 1983, pp.
145.

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