Keyboard Sonata In G Major, K.63
Domenico Scarlatti
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Browse piano sheets by Domenico Scarlatti on Zen Virtual Piano. Born in Naples in October 1685, Domenico Scarlatti was the son of Alessandro, primarily known for his vocal music and operas, who was Maestro di cappella in the city. In 1701, at the age of only 15, Domenico was appointed organist and composer to the royal court. An appointment at fifteen, for the son of a composer known for vocal music and operas, suggests a career that began close to the family trade. After two years in Venice, Scarlatti moved to Rome in 1708 and entered the service of the exiled Polish queen, Maria Casimira. From 1714 he was Maestro of the Cappella Giulia in the Vatican, holding the position until 1719, when he began a five-year appointment in Sicily. Four years later he accepted his first Iberian appointment, as Mestre de capela to the Portuguese court in Lisbon, where he taught music to the kingās daughter, Maria Barbara, and to Don Antonio, the kingās younger brother. When the Portuguese princess married Crown Prince Fernando of Spain in 1729 she left Lisbon for Seville, taking Scarlatti with her; as Maestro di musica he served her for the remainder of his life, moving with the court to Madrid in 1733. A pupil who became his employer, and who took him from Lisbon to Seville and on to Madrid, ties his later years closely to one household. Scarlatti continued as composer, harpsichordist and teacher, and among his pupils was the gifted composer Antonio Soler (1729ā83). Many of his harpsichord sonatas incorporate Spanish and Portuguese tonality and rhythmic language, and most are single-movement works in binary form. Distinguishing features include cascading arpeggios, florid runs, daring hand-crossing, imitative writing, syncopation, dissonance, chromaticism and a splendid arsenal of percussive effects. Single-movement pieces packed with hand-crossing and percussive effects suggest that a small form could hold a great deal of keyboard invention. In 1738 he became a Knight of the Order of Santiago, and around 1740 Domingo Antonio de Velasco painted him in the full regalia of the order. A portrait in the full regalia of a knightly order suggests how far the Naples-born musician had settled into Spanish court life.
Browse piano sheets by Domenico Scarlatti on Zen Virtual Piano.
Born in Naples in October 1685, Domenico Scarlatti was the son of Alessandro, primarily known for his vocal music and operas, who was Maestro di cappella in the city. In 1701, at the age of only 15, Domenico was appointed organist and composer to the royal court. An appointment at fifteen, for the son of a composer known for vocal music and operas, suggests a career that began close to the family trade.
After two years in Venice, Scarlatti moved to Rome in 1708 and entered the service of the exiled Polish queen, Maria Casimira. From 1714 he was Maestro of the Cappella Giulia in the Vatican, holding the position until 1719, when he began a five-year appointment in Sicily.
Four years later he accepted his first Iberian appointment, as Mestre de capela to the Portuguese court in Lisbon, where he taught music to the kingās daughter, Maria Barbara, and to Don Antonio, the kingās younger brother. When the Portuguese princess married Crown Prince Fernando of Spain in 1729 she left Lisbon for Seville, taking Scarlatti with her; as Maestro di musica he served her for the remainder of his life, moving with the court to Madrid in 1733. A pupil who became his employer, and who took him from Lisbon to Seville and on to Madrid, ties his later years closely to one household.
Scarlatti continued as composer, harpsichordist and teacher, and among his pupils was the gifted composer Antonio Soler (1729ā83). Many of his harpsichord sonatas incorporate Spanish and Portuguese tonality and rhythmic language, and most are single-movement works in binary form. Distinguishing features include cascading arpeggios, florid runs, daring hand-crossing, imitative writing, syncopation, dissonance, chromaticism and a splendid arsenal of percussive effects. Single-movement pieces packed with hand-crossing and percussive effects suggest that a small form could hold a great deal of keyboard invention. In 1738 he became a Knight of the Order of Santiago, and around 1740 Domingo Antonio de Velasco painted him in the full regalia of the order. A portrait in the full regalia of a knightly order suggests how far the Naples-born musician had settled into Spanish court life.
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Common questions
At the royal court in Naples, in Rome and the Vatican, in Sicily, at the Portuguese court in Lisbon and, from 1729, in the service of Maria Barbara in Seville and Madrid.
Most are single-movement works in binary form, and many incorporate Spanish and Portuguese tonality and rhythmic language, with features such as cascading arpeggios, daring hand-crossing and percussive effects.
He taught Maria Barbara and Don Antonio in Lisbon, and numbered among his pupils the composer Antonio Soler (1729ā83).