Overview
Domenico Scarlatti (1685–1757) was an Italian composer and virtuoso keyboardist, best known for his innovative and technically demanding keyboard sonatas. He was one of the foremost composers of the Baroque period and an influential figure in the development of keyboard music. Here is an overview of his life and contributions:
Early Life and Education
Birth: Scarlatti was born in Naples on October 26, 1685, the sixth of ten children to Alessandro Scarlatti, a renowned opera composer and a leading figure of the Neapolitan school.
Training: Scarlatti likely studied under his father, as well as other prominent musicians of the time, and demonstrated prodigious musical talent at an early age.
Career Highlights
Early Appointments:
In 1701, at age 16, Scarlatti became the organist and composer at the royal chapel in Naples.
Later, he worked in Venice, Rome, and other Italian cities, building his reputation as a skilled musician and composer.
Move to Iberia:
In 1719, he traveled to Lisbon to serve as the music master for Maria Barbara, the Portuguese princess. This marked a turning point in his career.
When Maria Barbara became Queen of Spain, Scarlatti followed her to Madrid, where he spent the remainder of his life.
Keyboard Sonatas:
Scarlatti is best known for his 555 keyboard sonatas, composed primarily for harpsichord. These works are celebrated for their inventive use of harmony, rhythm, and keyboard techniques.
The sonatas often feature Spanish and Portuguese folk music influences, showcasing lively dance rhythms and colorful melodic patterns.
Musical Innovation:
His compositions pushed the boundaries of keyboard performance with hand crossings, rapid scales, arpeggios, and unconventional modulations, influencing later composers such as Haydn, Mozart, and Beethoven.
Personal Life
Scarlatti was a humble and devout man who maintained a relatively quiet life despite his immense talent. His music gained broader recognition only after his death when his sonatas were published and admired in the 18th and 19th centuries.
Legacy
Scarlatti is considered a key transitional figure between the Baroque and Classical periods.
His keyboard sonatas are an enduring part of the repertoire, studied and performed worldwide for their technical brilliance and expressive depth.
Would you like to explore any specific aspects of his life or works?
History
Domenico Scarlatti’s life is a story of remarkable talent, innovation, and devotion to music, unfolding across some of the most vibrant cultural centers of 18th-century Europe. Born in Naples in 1685, the same year as Johann Sebastian Bach and George Frideric Handel, Scarlatti grew up in a musical household. His father, Alessandro Scarlatti, was a towering figure in Baroque opera, and young Domenico was immersed in music from an early age.
Trained in composition and keyboard performance, Domenico quickly distinguished himself as a prodigy. At just 16, he secured a position as the organist and composer of the royal chapel in Naples. However, it wasn’t long before his ambitions and talent led him beyond his native city. Seeking broader opportunities, Scarlatti traveled to Venice, where he mingled with the city’s flourishing musical elite, and later to Rome, where he gained renown for his skill as a harpsichordist and composer.
In Rome, Scarlatti served in the household of the exiled Queen Maria Casimira of Poland and composed operas and sacred music. Yet, his brilliance at the keyboard set him apart, earning admiration and challenging rivals, including a famous encounter with Handel. Though their styles were distinct, the two were equals in skill, and their friendly competition cemented Scarlatti’s reputation.
A turning point in Scarlatti’s life came in 1719 when he moved to Lisbon. There, he became the music teacher to Maria Barbara, the Portuguese Infanta, who would remain a central figure in his life. Under her patronage, Scarlatti thrived, and when Maria Barbara married the future King Ferdinand VI of Spain, he followed her to Madrid. It was in Spain that Scarlatti entered the most productive phase of his career.
While living in Iberia, Scarlatti immersed himself in the region’s vibrant musical traditions, drawing inspiration from Spanish and Portuguese folk music. His compositions began to reflect the lively rhythms, bold harmonies, and exotic scales of these traditions. He devoted himself to writing keyboard sonatas, crafting over 550 pieces that remain his most celebrated works. These sonatas, written primarily for the harpsichord, showcased his extraordinary ingenuity and pushed the technical limits of the instrument. From rapid arpeggios to intricate hand crossings, his music was both a delight to hear and a challenge to play.
Scarlatti lived a relatively quiet and private life, devoted to his music and his patrons. Though he composed other works, including operas and sacred music, it is his keyboard sonatas that secured his legacy. He passed away in Madrid in 1757, leaving behind a body of work that influenced generations of composers. Scarlatti’s music bridged the Baroque and Classical styles, blending structural clarity with emotional expressiveness and securing his place among the great composers of Western music.
Characteristics of Music
The music of Domenico Scarlatti is known for its originality, virtuosity, and innovative approach to composition, particularly in his keyboard works. Here are the key characteristics that define his style:
1. Keyboard Focus
Scarlatti’s legacy lies overwhelmingly in his 555 keyboard sonatas, primarily written for the harpsichord.
His sonatas are often compact, single-movement works structured in binary form, where two contrasting sections are developed and then balanced symmetrically.
2. Technical Innovation
Scarlatti’s sonatas are famous for their technical demands, including:
Rapid scales and arpeggios: Showcasing agility and precision.
Hand crossings: Frequent and dramatic, requiring the performer’s hands to leap across one another.
Extended leaps: Large intervals that test a performer’s dexterity.
Repetition of notes: Creating rhythmic intensity and vibrancy.
These techniques not only challenged performers of his time but also expanded the expressive potential of the keyboard.
3. Harmonic Boldness
Scarlatti often employed unexpected modulations and dissonances, creating surprises within his harmonic progressions.
He explored remote keys and bold harmonic shifts that were unusual for his era, providing a fresh, modern sound.
4. Rhythmic Vitality
His music often includes syncopations and rhythmic contrasts, adding energy and unpredictability.
Scarlatti was influenced by Iberian dance rhythms, which infused his sonatas with the spirit of folk dances like the jota and fandango.
5. Folk and National Influences
Living in Spain and Portugal for much of his career, Scarlatti absorbed elements of Iberian folk music:
Guitar-like strumming patterns are evoked in some sonatas.
Exotic scales, such as Phrygian modes, give his music a distinctive regional flavor.
Melodic ornamentation reminiscent of flamenco can be heard.
6. Clarity and Economy
Unlike the elaborate counterpoint of his Baroque contemporaries, Scarlatti often used simple, clear textures that focused on melody and accompaniment.
His music is highly expressive despite its relative brevity and structural simplicity.
7. Dynamic Expressiveness
Scarlatti made inventive use of the keyboard’s dynamic capabilities, even within the limited range of the harpsichord.
His music frequently contrasts playful, exuberant passages with lyrical, reflective moments.
8. Contrast and Drama
Scarlatti’s sonatas often juxtapose virtuosic brilliance with introspective charm within a single work.
He uses dramatic contrasts in texture, rhythm, and harmony to maintain interest and emotional depth.
9. Baroque to Classical Transition
While rooted in the Baroque idiom, Scarlatti’s sonatas anticipate elements of the Classical style:
They emphasize balance and clarity.
His exploration of form and expression foreshadows the works of later composers like Haydn and Mozart.
Conclusion
Domenico Scarlatti’s music combines technical mastery with emotional depth, blending the Baroque’s intricacies with forward-looking innovation. His sonatas remain a cornerstone of the keyboard repertoire, admired for their inventiveness, charm, and brilliance.
Relations to Other Composers
1. Alessandro Scarlatti (Father)
Relationship: Alessandro was Domenico’s father and a towering figure in Baroque opera. He was Domenico’s first music teacher and a major influence on his early development.
Impact: Alessandro’s focus on vocal music and his mastery of counterpoint and harmony likely shaped Domenico’s compositional foundation, even though Domenico ultimately chose a different path by focusing on keyboard music.
2. Arcangelo Corelli
Connection: While in Rome, Domenico worked in environments influenced by Corelli, who was active there earlier. Corelli’s emphasis on melody and harmonic clarity may have subtly influenced Scarlatti, but there is no evidence of direct interaction.
Overlap: Both contributed to the evolution of Baroque music in Rome, though Scarlatti’s fame grew more after Corelli’s time.
3. George Frideric Handel
Relationship: Scarlatti and Handel famously competed in a keyboard contest in Rome around 1708. According to accounts, Scarlatti was deemed superior on the harpsichord, while Handel excelled on the organ.
Mutual Respect: Scarlatti reportedly admired Handel greatly, even once exclaiming, “Handel is the greatest composer of all.” Despite their competition, the encounter reflects mutual recognition rather than rivalry.
4. Johann Sebastian Bach
Relationship: Scarlatti and Bach were contemporaries but there is no evidence they ever met. However, their birth in the same year (1685) has often invited comparisons.
Stylistic Differences: While both contributed significantly to keyboard music, Scarlatti’s focus was more on idiomatic harpsichord writing and Iberian influences, whereas Bach was rooted in German counterpoint and Lutheran traditions.
5. Maria Barbara of Portugal
Connection to Composers: Though not a composer, Maria Barbara, Scarlatti’s patron and student, played a pivotal role in his life. Through her, Scarlatti was introduced to the Spanish and Portuguese courts, where he absorbed the regional folk influences that define much of his music.
Indirect Influence: Scarlatti’s environment at the Spanish court would have exposed him to the works of other court composers, though their names are less prominent in the historical record.
6. Other Neapolitan Composers
Francesco Durante and Leonardo Leo: Scarlatti shared a cultural connection with these Neapolitan composers, as they all contributed to the flourishing of music in Southern Italy. However, there’s no documented evidence of direct collaborations or interactions.
7. Antonio Soler
Relationship: Soler, a Spanish composer and monk, was directly influenced by Scarlatti. Though they did not overlap significantly in time, Soler studied Scarlatti’s sonatas and adopted similar techniques in his own works, continuing Scarlatti’s legacy in Iberian keyboard music.
Summary
Scarlatti’s direct relationships with composers like Alessandro Scarlatti and Handel reflect a life shaped by familial mentorship and high-profile encounters. While his music diverged from his contemporaries like Bach and Handel, his innovative style laid the groundwork for future generations, influencing composers such as Antonio Soler and even Classical-era masters.
As a Keyboard Player
Domenico Scarlatti was not only a groundbreaking composer but also a virtuoso keyboard player renowned for his extraordinary skill and inventive technique. His abilities at the keyboard were integral to his legacy, shaping his compositions and influencing the evolution of keyboard performance.
Mastery and Virtuosity
Technical Prowess:
Scarlatti was celebrated for his unparalleled technical skill. He pushed the boundaries of keyboard playing with techniques that were revolutionary for his time. His sonatas often include rapid scales, arpeggios, hand crossings, and large leaps, all of which reflect his own abilities as a performer.
Contemporary accounts emphasize his fluidity and precision, which were essential for executing his complex and highly idiomatic keyboard works.
Hand Crossings:
One of Scarlatti’s signature techniques was the dramatic use of hand crossings, where one hand leaps over the other to play notes on the opposite side of the keyboard. This not only showcased his dexterity but also created unique textures and effects.
Rhythmic and Dynamic Playfulness:
His playing was marked by rhythmic vitality and expressive use of dynamics, bringing energy and color to his performances. Although the harpsichord has limited dynamic range, Scarlatti exploited its capabilities to create contrasts and nuances.
Innovations in Keyboard Technique
Unconventional Fingering:
Scarlatti’s sonatas often required performers to adopt innovative fingerings to navigate their technical demands. This encouraged players to rethink standard keyboard techniques.
Wide Range of the Keyboard:
Scarlatti made full use of the harpsichord’s range, exploring high and low registers more extensively than many of his contemporaries.
Imitation of Other Instruments:
Scarlatti’s keyboard playing often mimicked the sounds of other instruments, especially the Spanish guitar. His use of rapid repeated notes, trills, and strumming-like patterns reflected his immersion in Iberian musical traditions.
Recognition by Contemporaries
Competition with Handel:
The famous contest between Scarlatti and George Frideric Handel in Rome around 1708 demonstrated his reputation as a formidable keyboardist. While Handel was deemed superior on the organ, Scarlatti was considered unmatched on the harpsichord.
Admiration from Students and Patrons:
Maria Barbara of Portugal, later Queen of Spain, was not only his patron but also his devoted student. Her enthusiasm for his playing and teaching underscores his ability to captivate and inspire.
Performance Style
Expressive Freedom:
Scarlatti’s performances were likely characterized by an improvisatory flair, a quality mirrored in the spontaneous and inventive nature of his sonatas.
Connection to Dance:
His playing often reflected the lively rhythms and character of dances, especially those of Spanish origin, lending a unique vibrancy to his performances.
Legacy as a Performer
Scarlatti’s keyboard artistry left a lasting mark on the development of keyboard technique and composition. His emphasis on virtuosity and innovation influenced subsequent composers and performers, setting new standards for what was possible on the harpsichord and, later, the fortepiano.
Chronology
1685–1700: Early Life in Naples
1685: Born on October 26 in Naples, Italy, as the sixth child of Alessandro Scarlatti, a prominent opera composer, and Antonia Anzalone.
1690s: Likely received his early musical training from his father and other notable Neapolitan musicians.
1701: At 16, appointed as organist and composer at the Royal Chapel of Naples.
1701–1714: Early Career in Italy
1702: Traveled with his father to Florence and possibly other Italian cities, where he was exposed to diverse musical styles.
1705: Moved to Venice, reportedly studying and honing his skills as a keyboard player.
1708: Became maestro di cappella (music director) to Queen Maria Casimira of Poland, who was living in exile in Rome. During this time, he composed operas and sacred music.
1708 (or earlier): Participated in a famous keyboard contest in Rome with George Frideric Handel, gaining recognition as a harpsichord virtuoso.
1710–1714: Composed operas such as Tetide in Sciro (1712) and Amor d’un’ombra e gelosia d’un’aura (1714) during his tenure in Rome.
1714–1719: Transition and Growing Reputation
1714: Appointed maestro di cappella of St. Peter’s Basilica in Rome. He wrote more sacred music and operas during this period.
1715: Traveled to London briefly, where one of his operas, Narciso, was performed.
1719: Left Rome for Lisbon, Portugal, where he became music master to Maria Barbara, the Portuguese Infanta.
1719–1733: Lisbon Period
1719–1729: Lived and worked at the Portuguese court, teaching and composing. His focus shifted increasingly toward keyboard music during this time.
1728: Maria Barbara married Ferdinand, Crown Prince of Spain, securing Scarlatti’s continued patronage.
1729: Accompanied Maria Barbara and her husband to Seville for a brief period.
1733–1757: Madrid Period and Mature Works
1733: Settled in Madrid, Spain, where he remained for the rest of his life as court composer to Maria Barbara, now Queen of Spain.
1738: The first collection of his keyboard sonatas was published in London as Essercizi per gravicembalo.
1730s–1750s: Composed the majority of his 555 keyboard sonatas, showcasing his innovations in keyboard technique and incorporating influences from Iberian folk music.
1746: Ferdinand became King of Spain, further solidifying Scarlatti’s role in the court.
1754: Received a knighthood from Pope Benedict XIV, a rare honor for a composer.
1757: Death and Legacy
1757: Passed away on July 23 in Madrid, Spain, at the age of 71. Buried in Madrid, though the exact location of his grave remains unknown.
Posthumous Recognition: While his keyboard sonatas were appreciated during his lifetime, his fame grew significantly in the 19th and 20th centuries, cementing his status as a pivotal figure in keyboard music.
Key Phases in Summary
Neapolitan Beginnings (1685–1714): Early training, Italian operas, and his rise as a keyboard virtuoso.
Portuguese Period (1719–1733): Focused on teaching, court music, and developing his keyboard style.
Spanish Period (1733–1757): Prolific output of sonatas and assimilation of Iberian musical influences.
Notable harpsichord solo works
Domenico Scarlatti’s keyboard sonatas form the core of his contributions to harpsichord repertoire, with 555 sonatas showcasing his innovative style and virtuosity. These sonatas are single-movement works, most commonly in binary form. Here are some of his most notable and frequently performed sonatas, organized by their Kirkpatrick numbers (K):
1. Sonata in D Minor, K. 1
Characteristics: A lyrical and melancholy piece with elegant ornamentation.
Significance: Often played as an introduction to Scarlatti’s style, highlighting his expressive use of the harpsichord.
2. Sonata in D Major, K. 96
Characteristics: A bright, celebratory work with rapid scales and playful hand crossings.
Significance: A showcase of Scarlatti’s technical innovation and Iberian-inspired rhythmic energy.
3. Sonata in C Major, K. 159 (“La Caccia”)
Characteristics: Known for its lively hunting motifs, imitating the sound of horns and galloping.
Significance: Demonstrates Scarlatti’s skill in programmatic writing and ability to evoke imagery through music.
4. Sonata in F Minor, K. 466
Characteristics: Dark and introspective, with complex textures and poignant harmonies.
Significance: Exemplifies his mastery of expressive depth within the harpsichord’s limitations.
5. Sonata in E Major, K. 380
Characteristics: A popular, elegant sonata with lyrical melodies and balanced structure.
Significance: Frequently used as a recital piece due to its charm and technical accessibility.
6. Sonata in G Major, K. 427
Characteristics: Features rapid repeated notes and energetic rhythms, evoking Spanish dance traditions.
Significance: Highlights Scarlatti’s Iberian influences and rhythmic inventiveness.
7. Sonata in B Minor, K. 27
Characteristics: Mysterious and introspective, with flowing arpeggios and subtle harmonic shifts.
Significance: A favorite among performers for its emotional depth and beauty.
8. Sonata in C Major, K. 513
Characteristics: Incorporates strumming effects that imitate the Spanish guitar.
Significance: A quintessential example of Scarlatti’s integration of folk elements into his keyboard works.
9. Sonata in E Minor, K. 98
Characteristics: A dramatic, rhythmically complex work that alternates between lyrical and virtuosic passages.
Significance: Demonstrates Scarlatti’s ability to combine technical brilliance with emotional expressiveness.
10. Sonata in A Major, K. 208
Characteristics: A graceful and meditative piece, slower in tempo with elegant ornamentation.
Significance: Known for its serene beauty, it contrasts with Scarlatti’s more technically demanding sonatas.
General Notes on the Sonatas
Scarlatti’s sonatas often display guitar-like strumming effects, dance-inspired rhythms, and unexpected modulations.
They reflect virtuosity, improvisational flair, and an integration of Iberian musical traditions.
These works are celebrated as both technical studies for keyboard players and as standalone masterpieces of the harpsichord repertoire. Would you like recommendations on recordings or analysis of a specific sonata?
Notable Works
Operas
Scarlatti’s operatic output, largely from his early career in Italy, demonstrates his skill in vocal composition and his inheritance of his father Alessandro’s operatic style.
Ottavia restituita al trono (1703)
Details: One of Scarlatti’s earliest operas, performed in Naples.
Significance: Showcases his early exploration of dramatic expression and orchestration.
Tetide in Sciro (1712)
Details: An opera seria composed during his time in Rome.
Significance: Represents his ability to craft compelling vocal lines and engage with the operatic traditions of his era.
Amor d’un’ombra e gelosia d’un’aura (1714)
Details: A light-hearted opera (often categorized as an intermezzo) that demonstrates his skill in comic characterization.
Significance: Highlights his versatility and wit as an opera composer.
Sacred Music
Scarlatti’s sacred music includes choral and instrumental compositions written during his tenure in Rome and later.
Stabat Mater in C Minor (c. 1715)
Details: A work for ten voices and basso continuo.
Significance: Known for its profound emotional depth and intricate polyphony, it is one of Scarlatti’s most celebrated sacred works.
Missa quatuor vocum (Four-Voice Mass)
Details: A concise, elegant setting of the mass.
Significance: Demonstrates his mastery of vocal writing and counterpoint.
Salve Regina (various settings)
Details: Several settings of this Marian hymn survive, showcasing Scarlatti’s devotion and skill in sacred composition.
Significance: Combines lyrical expressiveness with structural clarity.
Chamber and Instrumental Works
Sinfonias
Details: Scarlatti composed several sinfonias, short orchestral works typically used as introductions to operas or standalone concert pieces.
Significance: These works reflect the transitional style between Baroque and Classical orchestral writing.
Sonata for Violin and Continuo in D Minor
Details: One of the few surviving instrumental chamber pieces.
Significance: Highlights his interest in melody and accompaniment beyond the keyboard.
Vocal Works
Cantatas
Details: Scarlatti composed numerous cantatas for solo voice and basso continuo, often exploring secular themes of love and longing.
Notable Examples: Clori, che m’ami and Bella dama di nome Santa.
Significance: These works illustrate his lyrical gift and affinity for vocal music.
Motets
Details: Scarlatti’s motets are smaller-scale sacred compositions for solo voices and continuo.
Significance: They demonstrate his skill in blending expressive solo writing with spiritual themes.
Overall Contribution Beyond Keyboard Music
While Scarlatti’s non-keyboard works are less celebrated than his sonatas, they provide valuable insight into his broader compositional range. His operas and sacred music reveal a deep understanding of the human voice, while his instrumental and orchestral works reflect the stylistic innovations of his time.
(This article is written by ChatGPT.)
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