| Summary: | 碩士 === 台南科技大學 === 音樂研究所 === 98 === In 1685, three great composers were born. In addition to the well-known J. S. Bach and Händel, there was also one composer—Domenico Scarlatti, who had composed 545 keyboard sonatas. Although Scarlatti was not born in Spain, his keyboard sonatas are filled with Spanish ethnic style. Guitar music is especially an important factor in his compositions— throughout his life. Furthermore, in his sonatas, D. Scarlatti utilized many keyboard techniques and skills that had almost surpassed the capacity of the harpsichord at that time, in which the gamut and the skill of harpsichord playing could be explored to an extreme, for example, long-distance jumping with hand-crossing, quick hand alternations during fast passages, repeating the same note swiftly, etc. In contemporary piano playing, such skills remain essential for advanced piano players, also the prerequisite skills for all the players.
In the 18th Century, suites consisting of several pieces of dance music prevailed. However, Scarlatti titled his compositions as sonatas. As for the reason, by analyzing Scarlatti’s unique compositional methods, and musical forms in his sonatas, and compare them with 18th Century keyboard and violin suites, the author wishs to understand whether there is any correlation between his sonatas and the suites commonly-composed at that time in Baroque Period.
The five keyboard sonatas by Scarlatti studied in this report are: “L. 413/ K. 9”, “L. 108/ K. 213”, “L. 422/ K. 141”, “L. 449/ K. 27”, and “L. 465/ K. 96”. These sonatas include many Spanish guitar music characteristics as well as the more difficult playing skills. Through formal analysis and the exploration of performance interpretation, these aspects can be better understood.
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