K 114, M.Boyd: Master of Music

27 03 2007

K 114 (L 344) in A-Dur, Spirito e presto. Da wird meinen Ohren schwindlig. Virtuos! "Kk 114 provides a contrast by means of varied rhythms. Everything is reminiscent of traditional Spanish music. The opening is in nature of a country festival and there follows, in the second half, a descending seven-note throaty Flamenco chant decorated with trills, rhythmic figurations and rocketing scales.” (Begleitbuch zu Scarlatti The Sonatas Scott Ross, Erato Disques 1988,S.87).

Gestern im Briefkasten: Malcolm Boyd: Domenico Scarlatti – Master of Music. New York: Schirmer Books 1987 (ISBN 0-02-870291-3) M.Boyd bietet eine umfassende Biografie und Werkverzeichnis inkl.Bibliografie. Er legt großen Wert zu zeigen, dass sich Scarlattis musikalische Genialität nicht nur auf seine Sonaten beschränkt, sondern auch die Voklawerke einschließt.

Aus dem Klappentext: "Domenico Scarlatti has always been recognized as one of the most original composers of the Baroque – indeed, of any epoch. He is primarily known for his splendid harpsichord sonatas, but Scarlatti also wrote excellent vocal music, both sacred and secular, which until recently was known only to a handful of experts. In the past 30 years, however, the extant vocal compositions have been augmented by the discovery of no fewer than three complete operas, two masses, several chamber cantatas, and other church compositions. This remarkable biography comes at a time when that music is at last starting to appear in print, and it is the first in any language to survey Scarlatti´s complete ouevre in depth.
Malcolm Boyd, drawing on the latest research into the composer´s life and work, creates a vivid portrait of Scarlatti´s career in all its accomplished variety. He offers a wealth of biographical detail: from his musically talented family to contemporaries Bach and Handel; from his position as maestro di cappelle at St.Peter´s in the Vatican to his royal patrons – Queen Maria Casimira of Poland, for whom he wrote his earliest operas and oratorios; King John V of Portugal; and Queen Maria Barbara of Spain, for whom he composed most of his sonatas.
Scarlatti adopted and mastered three contrasting musical styles: the predominantly vocal style of opera, oratorio, cantata, and serenata; the essentially instrumental style of the later harpsichord sonatas; and the unaccompanied polyphony of the church music. Such simultaneous command was exceptional, and perhaps unique. And while his major claim to fame centers on the keyboard works, the vocal compositions further display his astonishing versatility, showing him to be a more complete master of music than previously thought.
The book is divided into three sections, dealing with the composer´s years in Italy, Portugal, and Spain. Biographical chapters alternate with those focusing on the music primarily associated with those periods: operas and oratorios; serenatas and chamber cantatas; and the early and late keyboard works, the last including new information on sources andon new methods of interpretation. The material is supplemented throughout with 43 musical examples, and a concluding chapter offers a retrospective of Scarlatti´s reputation and influence up to the present day. In addition, there is a lengthy biography, extensive footnotes, a detailed genealogy of the Scarlatti family, and four appendixes: Scarlatti arrangements; the full text of his will; the scores of two previously unpublished sonatas; and a complete listing of his compositions.”

Als ich das Buch im Online Antiquariat sah und bestellte, wußte ich nichts von seiner Herausstreichung der Vokalwerke Scarlattis. So wundert mich die Koninzidenz mit meinen jüngsten Plattenkäufen: 2 CDs mit geistlichen Vokalwerken... (Domenico Scarlatti: Stabat mater a dieci voci. Rinaldo Alessandrini, Concerto Italiano. Tracks 1-10 Stabat Mater a dieci voci e basso continuo, 11-16 Missa quatuor vocum. © 1999 Naïve / Opus 111 OP 30248; Domenico Scarlatti: Geistliche Chorwerke / Sacred Choral Works. Robert Scandrett, Western Washington University Concert Choir. Tracks: 1 Iste confessor, 2 Miserere in e, 3 Salve Regina, 4 Te Deum, 5 Cibavit nos, 6 Te gloriosus, 7 Magnificat, 8 Laetatus sum. © 1991 Carus 83.120)