DOMENICO SCARLATTI IN SPAIN

Edited by LUISA MORALES

INDEX

Índice de Ilustraciones ______________________________________________________________ ix

Índice de ejemplos musicales _______________________________________________________ xiv

Índice de Tablas ___________________________________________________________________ xv

INTRODUCCIÓN

Luisa Morales ______________________________________________________________________ 1

DOMENICO SCARLATTI IN SPAIN: AN INTRODUCTION

Luisa Morales _____________________________________________________________________ 15

KEYBOARD INSTRUMENTS: I. FROM NAPLES TO LISBON

INSTRUMENTOS Y CEMBALARI EN NÁPOLES DURANTE EL PERÍODO ESPAÑOL

Francesco Nocerino ________________________________________________________________ 31

THE EARLY NEAPOLITAN SCHOOL OF HARPSICHORD MAKING

John Koster ______________________________________________________________________ 47

CEMBALI FROM BEYOND THE LIGHTHOUSE: HARPSICHORD MAKERS IN SICILY

Giovanni Paolo Di Stefano __________________________________________________________ 81

DONATO DEL PIANO: UN ORGANERO NAPOLITANO EN SICILIA (1725-1785)

Luciano Buono __________________________________________________________________ 101

THE KEYBOARD INSTRUMENT COLLECTION OF GRAND PRINCE FERDINANDO DE'
MEDICI AT THE TIME OF ALESSANDRO AND DOMENICO SCARLATTI'S
JOURNEYS TO FLORENCE , 1702 AND 1705

Giuliana Montanari _______________________________________________________________ 117

NOTICIAS INÉDITAS SOBRE INSTRUMENTOS DE TECLADO, CONSTRUCTORES Y
MÚSICOS EN ROMA, EN LA CORTE DEL PRÍNCIPE CARDENAL PIETRO
OTTOBONI ENTRE LOS AÑOS 1689 Y 1719

Teresa Chirico ___________________________________________________________________ 143

REMARKS ON DOMENICO SCARLATTI'S PORTUGUESE PERIOD (1719-1729)

Gerhard Doderer _________________________________________________________________ 161

KEYBOARD INSTRUMENTS: II. SPAIN

DOMENICO SCARLATTI AND THE TRANSFORMATION OF IBERIAN HARPSICHORD MAKING

John Koster _____________________________________________________________________ 187

THE CARMEL DE LAS BATUECAS HARPSICHORD; IS IT SPANISH?

John Phillips ____________________________________________________________________ 209

EL TALLER DE UN “CLAVICORDIERO” DEL SIGLO XVIII: EL CLAVE DE ZEFERINO
FERNÁNDEZ (VALLADOLID, 1750) DE LA FUNDACIÓN JOAQUÍN DÍAZ

Cristina Bordas Ibáñez - Rafael Marijuán Adrián ______________________________________ 227

THE INSTRUMENT OF MANY COLOURS MADE BY TADEO TORNEL IN MURCIA , 1777

Michael Latcham _________________________________________________________________ 241

THE SONATAS

THE PIANOFORTE IN THE PERFORMANCE OF SCARLATTI'S SONATAS

Stewart Pollens __________________________________________________________________ 301

SONATAS- BOLERO BY DOMENICO SCARLATTI

Luisa Morales ___________________________________________________________________ 313

THE LAST KEYBOARD SONATAS BY DOMENICO SCARLATTI (K.514-555): AN ANALYTICAL
AND TERMINOLOGICAL PROPOSAL

Marco Moiraghi __________________________________________________________________ 327

MOTIVIC AND THEMATIC MATERIAL AS DETERMINANTS OF FORM IN THE SCARLATTI SONATAS

Nina Key _______________________________________________________________________ 337

EL BAJO CIFRADO EN LA SONATA SCARLATTIANA : ¿CUÁL ES SU SIGNIFICADO Y SU FUNCIÓN?

Jenny Silvestre __________________________________________________________________ 349

THE FUGUES IN SEBASTIAN ALBERO'S OBRAS PARA CLAVICORDIO: A SECOND
VERSION

Susanne Skyrm __________________________________________________________________ 361

Índice Onomástico ______________________________________________________________ 377