Domenico Scarlatti

La lunga consuetudine nell’uso del semitono cromatico discendente (derivato dai maqām arabi) assume valore di vera e propria sensibile discendente, nella musica dal primo rinascimento a tutto il barocco ed oltre. Ciò si concretizza con l’adozione del modo di MI, o modo Frigio, e dell’omonima cadenza. Il modo di MI contiene in sé un doppio centro di attrazione tonale, cioè quelle che potremmo anche definire due sensibili, una ascendente e l’altra discendente. La consuetudine di usare il semitono discendente con effetto risolutivo sembra essere all’origine di alcune soluzioni armoniche sorprendenti, nelle sonate di Domenico Scarlatti, dove infatti questo elemento è peculiare e determina nuove e singolari modulazioni, definite modulazioni per affinità di terza. Questo tipo di modulazioni è riscontrabile anche nella musica di Schubert.
Prendere coscienza di questi singolari aspetti armonici può essere di aiuto all’interprete per trovare soluzioni interessanti al fine di metterli maggiormente in risalto

A manuscript located in the Orfeó Catalá library and dated 1740 contains fifteen sonatas which form part of the London edition of Domenico Scarlatti's Essercizi (1739). Apart from the intrinsic value of this manuscript as witness of the diffusion in Spain of the sonatas entitled Essercizi at a date close to that of composition, examination has revealed important facts regarding the process of copying, the copyist and the place of origin of the manuscript itself. Analysis of the writing and of the musical variants offers new hypotheses as to the role of this manuscript, above all in comparison with coeval sources located in different archives (Arsenal, Münster, Biblioteca de Cataluña) and with contemporary editions (Roseingrave and French editions), particularly in connection with the London edition of Essercizi edited by Scarlatti himself.

The Ms. Cary 703, purchased by the Morgan Library of New York, has brought about the discovery of a few unknown sonatas attributed to Domenico Scarlatti as well as 29 unknown sonatas by Antonio Soler composed in his earlier years in Madrid and El Escorial, since the manuscript – although perhaps copied around the last third of the 18th century or a little earlier – includes works dated 1756, at least for a group of sonatas. The style of the works of Soler is here very close to Scarlatti’s, and the fact that the sonatas of both authors were copied together is proof of the high esteem that their music had at the time. This paper analyses all these new sonatas and presents several tables with the numbering and the possible pairing of the sonatas.

Teniendo en cuenta la autenticidad, la pertenencia al registro español y su ambigüedad tonal, se han listado un grupo de sonatas que se pueden considerar como 'españolas', debido a la influencia de la música popular andaluza presente en ellas.

In the 18th century, the introduction of new musical genres such as the sonata, the quartet or the quintet - largely linked to the nascent Classicism -, will be the origin of a repertoire that will have famous and internationally renowned representatives in the Iberian Peninsula, including authors from Italy. And one of the composers who practiced both styles (religious and instrumental) is Antonio Soler (1729-1783), known as 'Padre Soler', due to his status as a Jerome monk. However, the biography of this musician has been - and continues to be in many texts - full of errors and inaccuracies that must be corrected as soon as possible, so that the image of the musician comes as close as possible to reality (incorporating for this the data of the most recent research on the musician and his time).

Este artículo explica el proceso mediante el cuál se produjo la supresión de los villancicos de Navidad y Reyes en el mundo Ibérico y su sustitución por responsorios concertantes. El proceso se inicia en Portugal bajo el reinado de João V. Su hija Bárbara de Braganza consigue suprimirlos de la Capilla Real española en 1750 y a partir de ahí se va extendiendo a otras capillas reales, la Catedral de México y finalmente a las catedrales españolas. El artículo demuestra que la encíclica "Annus qui hunc" (1749) del papa Benedicto XIV jugó un papel fundamental en el proceso de supresión del villancico religioso en España, quizás a instancias de los propios reyes de España.

Keywords: Villancico, responsorio, cantata, Navidad, Fernando VI, Ilustración, música

Abstract:
The Libro di Sonate del signor Domenico Scarlatti is preserved in the Royal Conservatory of Music in Madrid under the sig. Ms 3/1408. Its importance lies in being a non autographed copy of the XVIII century,  written  in Spain most likely  in the whereabouts  of the Royal House. It provides high value as a textual source, since it incorporates thirty sonatas from Queen Maria Barbara of Braganza's Music Library. Significant variations with the former, will allow to question  several of the widespread topics on the musical practices by the times of the Napolitan musician. Besides, since it has clarified  the identity of Ignacia Ayerbe, whom the source is dedicated , it  has allowed to fix a possible date of preparation of the manuscript, and has provided information on the copist who fulfilled the work.

The essay shall strive to emphasize the significance—harmonic, structural, and metaphysical—of what might readily be considered one of the most remarkable harmonic procedures in Mozart. It appears in middle of Don Giovanni’s Sextet “Mille torbidi pensieri”. Here, we find the sudden and dramatic imposition of the parallel flatted seventh chord of the tonic, one of the composer’s more revelatory episodes. The spiritual associations of this descending, quasi-modal, parallel-motion-chord in this most unusual progression will be referenced through further manifestations in Mozart’s own work and compared with other, antecedent composers—most notably Bach—to reveal what I believe is a distinct aspect of the flat-seven harmony in the music of the eighteenth century.

The Sonates pour le clavecin […] Opera IV, published in 1751 by Boivin under the name of Domenico Scarlatti, have long been thought to represent a case of misattribution, as being not newly composed sonatas but rather transcriptions from opera arias. We have discovered, however, that the three printed sources of these sonatas differ remarkably in content. Only one of the three sources contains arrangements of opera arias by Francesco Mancini, Francesco Bartolomeo Conti, Alessandro Scarlatti, and Nicola Francesco Haym; the two others consist of seven sonatas for harpsichord by Domenico Scarlatti. The latter represent an authentic collection of the sonatas Opera IV by Scarlatti, which comprise the first printed edition of the sonatas K. 112, 53, 140, 101, 68 and 106.

»Homage Only to the Ear« – The Fantastic and Key Relations in Domenico Scarlatti’s Works – Proceeding from the rule of the octave and the associated system of standardized changes to the scales directly related to the starting scale, the 18th century saw the gradual and defin- itive expansion of the concept of key through new key relations that went beyond relation- ships of diatonic proximity. Against this background, one can view Domenico Scarlatti as an avant-gardist who especially advanced the exploration of the lower fifth, the presentation of maximum distances and the testing of new expressive means in an experimental fashion. Modulation here no longer serves the purely structural manifestation of multiplicity within the unity of the starting key, but rather, as an »autonomous artistic device« (Ludwig Holt- meier), itself becomes an object of compositional creativity and innovation. Characteristic Scarlattian means for shaping the fantastic can also be described in this context: the en- trance of (pseudo-)improvisatory elements like the licence for dissonance from Italian recit- ative accompaniment into composed music, surrounded by drifting, ›wandering‹ harmony and a strategy of sudden expressive intensification unique to Scarlatti.

Este estudo pretende mostrar que o romance Memorial do Convento (MdC, 1982), de José Saramago, contém vários memoriais: Por um lado, temos o bem conhecido memorial histórico-literário da construção do convento de Mafra, que centra a sua atenção naquelas circunstâncias e pessoas que a historiografia oficial silenciou. É um memorial que reescreve a história desde a perspectiva de todos os supostamente vencidos — homens e mulheres —, mas também desde o ponto de vista do povo, que age como colectivo histórico, como entidade trabalhadora e produtora de cultura, e a cuja história se pretende conferir memorabilidade. Tentarei mostrar que, além deste memorial histórico-literário, objecto principal da maioria dos estudos realizados até ao momento, existe ainda o denominaria o “memorial de Blimunda”, uma vez que permite esclarecer como nesta figura confluem todas as linhas de força da narrativa, e como ela, em última instância, resulta ser o engenho que garante o “funcionamento” da mensagem ético-política do romance. É um memorial que também realiza o balanço de uma economia do sacrifício, que é, em palavras de Jacques Derrida, “uma economia equívoca o suficiente para parecer integrar a não economia” e que, “na sua instabilidade essencial”, “parece ao mesmo tempo fiel e acusadora e irónica em relação ao sacrifício cristão” (1999: 148).  Este memorial profundo inclui as questões éticas relacionadas com a bondade, responsabilidade, fé e o segredo que caracterizam a figura da Blimunda, além de nos sugerir ler o MdC, também, como um irónico “livro comercial” que contém um balanço, subversivo, mas com uma aspiração inequivocamente ético-política, da economia do sacrifício desinteressado do discurso bíblico, e que o estudo pretende revisar a partir das análises realizadas por Jacques Derrida em Donner la mort (1999).

Palavras-chave: José Saramago. Memorial do Convento. Blimunda. Ética. Sacrifício.

Domenico Scarlatti é o título do livro-ensaio do escritor e realizador de cinema francês Martin Mirabel. Dado à estampa em Setembro de 2019 pela Actes Sud, o livro apresenta uma sucessão de episódios cronológicos que nos permite conhecer melhor a vida e obra de Domenico Scarlatti, o cravista virtuoso, compositor, maestro e pedagogo do tempo do Barroco que estadeou em Portugal por quase dez anos (1719-29). O volume entrecruza-se, naturalmente, com o último filme-documentário de Mirabel: Lucas Debargue: tout à la musique (2017). Prefaciado pelo crítico musical André Tubeuf (n. 1930) que lhe enfatiza o carácter doméstico, reservado, neurasténico, principesco e laborioso confortado pela timidez sonora do seu cravo (pp. 9-12), o livro é seguido de um prólogo (pp.13-14) e de uma subdivisão em três partes: I. “Comment devenir fils” (pp.15-54); II. “Comment devenir père” (pp.55-92); III. e “Comment devenir Esprit” (pp.93-129). Nos apensos finais, o autor expõe uma breve cronologia e um elenco de referências bibliográficas e discográficas em torno de Domenico Scarlatti, artista nascido a 26 de Outubro de 1685, na Via Toledo, em Nápoles, cidade à época sob domínio espanhol, sendo coevo directo de Bach e Haendel.

O livro é gráfico. O autor põe-se muitas vezes dentro dos acontecimentos e seduz-nos. Uma coeva Nápoles «[...] violente. Elle amplifie tout, la joie comme la tristesse. Cette vitalité, cette énergie, ce pôle d’activité ont plutôt tendance à inhiber Domenico [...]» (p. 22). Uma Veneza na qual Domenico se «[...] croise des chanteuses, des courtisanes, des nonnes, des comédiennes, des danseuses, des putains, tout ce monde dont les différences sont loin d’être évidentes en fonction des heures du jour et de la nuit [...]» (p. 28). Ou uma Lisboa, aquela em que chegara a 29 de Novembro de 1719, «attachée au Nouveau Monde par l’océan» e na qual «[l]a vie plus sauvage, les moeurs plus primitives et les passions plus violentes [...]» (pp. 38-39).(....)

The study of Domenico Scarlatti’s manuscript sources is one of the topics that has not been extensively aproached yet. Theories about the dissemination of this repertoire across Europe have been referred to works spread through the publishing market. This article is focused on the study of a scarcely known manuscript, the Paris Codex (F-Pa Ms 6784), which preserves some sonatas by Scarlatti that have been considered as a single set dated around the 19th-century. However, a codicological examination of this source discovers the appearance of three independent groups of sonatas, highlighting the oldest, associated with the engravers Claude Roussel (1655-172?) and his daughter, Louise (1700-1774). An evaluation through different methodological aproaches reaveals the original conformation of the codex, the making of the copy and the authenticity of the source. The philological analysis of these texts offers new hypotheses about the process of diffusion and transmission of the Scarlatti’s sonatas far from the courtly circles in which his musical activity was developed.

In his Grand Concertos, Op. 6 (1739), Handel not only drew extensively on Gottlieb Muffat's Componimenti musicali (15 borrowings), as has long been known, but also upon Domenico Scarlatti's Essercizi per Cembalo (at least 8 borrowings), published only a short time earlier. This article identifies for the first time the Scarlatti borrowings and their nature in the context of possible contacts or connections between the two composers, and compares the fundamental differences between their musical languages exhibited in the models and in Handel's reworkings.

Yaklaşık bir yüzyıllık Avrupa sanat tarihini kapsayacak bu araştırmada, Klasik müziğin oluşumunda etkin olan başlıca akımları ve bunlardan en genel hatlarıyla tanıtılacak Rokoko’yu inceleyeceğiz. Bu bağlamda, toplumsal, kültürel ve siyasal çalkantıların, nasıl olup da Avrupa’nın müzik merkezi sayılabilecek Viyana’yı öne çıkarttığını ve kısa yaşantısında bu şehir adıyla anılan Klasik Okulun günümüze değin uzanan müzik akımlarına nasıl yön verdiğini gözlemleyeceğiz.

Tarihin akışında bir sıralama takip etmekten ziyade, kapsamlı olarak inceleme yapmayı konu açısından daha uygun görüyorum. Araştırmamın belkemiğini oluşturacak taslak biçiminde, ele alacağım bölümleri şöyle düzenledim:

✤Rokoko ile Klasiğin tanımları ve bu akımların felsefeleri;
✤Kendilerinden önce gelen Barok döneminden nasıl ayrıştıkları;
✤Klasik müziği oluşturmada katkısı olan okulların başlıcaları ve kısaca tanımları;
✤18. Yüzyıl’da siyasal-toplumsal gelişmeler ve bireyin özgürleşmesinin sanatı etkileyişi;
✤Avrupa müzik tarihinde “Sonat Biçimi” ve oluşumu;
✤Scarlatti ile Haydn’ın – Rokoko ve Klasik arasındaki farklar bağlamında – hayatları, eserleri ve üslupları; ayrıca Romantik döneme geçişte Rokoko’nun ve Klasiğin önemi.

This article reviews Corelli’s life, the effect of his philosophy also his works on classical music; mainly due to composing style, technics and playing aspects. The study of history of sonata, common forms of classical music of the time also his leaders are pointed here.
در این گفتار گوشه‌هایی از زند‌گی آرکانجلو کورلی، تاثیر تفکر و آثارش بر موسیقی قرن هفدهم از نقطه نظر تصنيف، تكنيك و نوازند‌گی ویلن بررسی و تحلیل شده است. تاريخِ سونات، فرم‌های رایج در موسيقی قرن هفدهم و شخصيت‌های موثر در زندگی كورلی از دیگر رویکردهای این یادداشت است.