Public Library, Frick Art Reference Library,īibliotheque Nationale Venice, Biblioteca Nazionale Marciana Museum, Library of the Royal Fitzwilliam Museum Paris,
Library, Library of the Yale School of Music Washington, Li-īrary of Congress Cambridge, Harvard College Library The printed page as by historical accident are the direct emanations of Scarlatti's person.įor the materials of this book libraries and their staffs: Very nature will always be as absent from Harmony, form, and performance, attempts Portion attempts to outline the portrayal of Scarlatti's of surrounding personages Life by that and places, so the musical part, by ininterpretive comment, discussions of the special
Antonella prota giurleo series#
Vising, that in writing I could only discuss certain aspects of Scarlatti'sĬonsider this book not really a portrait of Scar-īut only a series of contributions to a portrait, a portrait that I realized that to a picture of a musical personality I could never bring verbal completeness, In connection with the musical portion, I Have often found myself batting the misleading Peatedly I have realized that what I have written about a piece distorts or limits subsequently realized that verbal discussion of poetical Tween an attempt to unite them and a decision to separate them. Protection at all against the ability to write On paper their fundamental character and the underlying principles Again, but not for theĬhronological series of the sonatas, supplementing PREFACE The summer of 1949 was spent in Rome wrestling with the problems of writing and organization of the musical portion. Forīe spared from practicing and rehearsals, transcribing PortugueseĪnd Spanish documents, and making what was nearly the Portugal that autumn added further material. This I completed during theīiographical portion of the book and in assimilating the terial I The harpsichord sonatas, designed as a basis for the musical Return to Europe in 1947 produced a drastic and decisive In the biographical portion of the book, not so Were occupied with the assimilation and organization ofĮver, I put together a draft of the biographical portion of the book,īased on the surprisingly large body of material it Next years, apart from the frequent and long interruptions The available travel journals of eighteenth-centuryĪnd copied-out excerpts of which the amount Of 1943 in acquiring the necessary general
Portuguese, and Spanish history, and biographical To be seen as far as possible to be firmly attached to an I wished this background and these personages by Ing any notion of Scarlatti as a person, or of the nature of hisĪttempt to draw a portrait in which the shadowy and almostīackground and by those personages known to have been associated with him. The paucity of factual and biographical information After preliminary cataloguing and orientation, including a study and IĮvaluation of all that had already been written, I fully realized I conceived of the book as a mere compilation and reexamining of previously available biographical material, redeemed by its possible value as a study and interpretation of the music by an experienced harpsichord player. In 1941 I had no notion of being able to European source material. But I had no idea of the magnitude of the task which was to oc-īy the challenge to fill a long-standing gap, but largely by pressing need for a well-established knowledge and under. Venice in 1939 to gain some idea of the original texts of the sonatas. I had begun collecting notes on his miscellaneous compositions Printed in the United States of America Apollo Edition, 1968ġ940 to consider writing a book on him, I had become painfully aware of the inadequacy of the available texts and the absence of information fundamentally necessary to
Alpiarga, Portugal, bequest of Jose RelvasĭOMENICO SCARLATTI BY K_sTalpn t^yl ir/cpatric/cĬopyright, 1953, by Princeton University Press L.
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