- Paperback: 496 pages
- Publisher: Princeton University Press; Revised edition (Dec 21 1983)
- Language: English
- ISBN-10: 0691027080
- ISBN-13: 978-0691027081
- Product Dimensions: 15.2 x 3.5 x 22.4 cm
- Shipping Weight: 839 g
- Average Customer Review: Be the first to review this item
- Amazon Bestsellers Rank: #1,520,547 in Books (See Top 100 in Books)
Domenico Scarlatti Paperback – Dec 1 1983
No Kindle device required. Download one of the Free Kindle apps to start reading Kindle books on your smartphone, tablet, and computer.
To get the free app, enter your mobile phone number.
Not only the best examination of the subject which has appeared up to the present time, it is the only one commensurate with [Scarlatti's] true artistic stature, and the significance of his music to his time and ours. (The New York Times)
"[Ralph Kirkpatrick has brought the composer to life as a man and as an artist against an eighteenth-century background as vigorous and as detailed as a picture by Canaletto."―Virgil Thomson
From the Back Cover
"[Ralph Kirkpatrick has brought the composer to life as a man and as an artist against an eighteenth-century background as vigorous and as detailed as a picture by Canaletto."--Virgil Thomson
See all Product description
|5 star (0%)|
|4 star (0%)|
|3 star (0%)|
|2 star (0%)|
|1 star (0%)|
Most helpful customer reviews on Amazon.com
He did establish the K identification number system which has stood the test of time at least in this country.
His real contribution is in identifying Scarlatti as a real musician writing music of extraordinary merit. His chapter on Scarlatti's harmony is very difficult reading.
The last chapter on "Performance of the Scarlatti Sonatas" should be read again and again by every musical teacher and student (he talks about tempo, rhythm, phrasing, articulation and attitudes).
Of course, one must have the sheet music on hand to see what it's all about, and a mind-set ready to accept Scarlatti into the company of Chopin and Liszt as well as Granados and Albéniz.
Kirkpatrick talks a little about the influence of Iberian song and dance forms on the sonatas of Scarlatti; a few others have scattered hints on this subject. I think the world would welcome a full-blown research here as a fitting sequel to this book.