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The
Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical
Style
by W. Dean Sutcliffe. Cambridge: Cambridge University Press, 2003. [xi,
400p. ISBN: 0521481406 $ 85.00 (hd.)]
-
Domenico Scarlatti is one of those cult figuresBerlioz is
anotherwho are as hard to leave out as they are
to fit in. His historical and cultural position defies easy labeling,
for he is neither Baroque nor Classical, neither Italian nor
Spanish,
and neither inside nor outside the canon. He is not seminal in
the sense of forming a link in a historical chain either of composers
or of performers, but his influence is clearly perceptible in the
literature of keyboard instruments from Haydn to Ligeti. Could
the
second movement of Beethovens Piano Sonata in F major, Op.
54, have been written without Scarlattis ghost looking over
the composers shoulder?
- In
one respect, Scarlatti could not be more different from Berlioz.
Far from writing an autobiography, he seems to have covered his
traces with remarkable efficiency. Only one of his letters survives,
and there remain a few periods of his life when he disappears from
our sight altogether. He seems never to have courted visibility,
serving his employer, the Portuguese, later Spanish, princess Maria
Bárbara, faithfully and discreetly. None of his 550-odd keyboard
sonatas exists today in an autograph manuscript. Although their
approximate chronology of composition has been surmised (it runs
parallel with their Kirkpatrick or K. numbers), this
remains a highly uncertain and contentious matter. In no respect
is it yet possible to construct a full, reliable history of his
stylistic evolution based on the chronology of the sonatas. We can
infer such a history, as many have done, but only at the cost of
introducing a suspect circularity into the argument (sonata A appears
to us later than sonata B; therefore we may take it as later; therefore
the advances manifested in sonata B vis-à-vis sonata A chart
Scarlattis stylistic progress). As a result, the artist and
his artworks inhabit separate worlds, neither illuminating the other.
- The
doyen of living Scarlatti scholars is by common consent Joel Sheveloff,
whose doctoral thesis on the sonatas ("The Keyboard Music of
Domenico Scarlatti: A Reevaluation of the Present State of Knowledge
in the Light of the Sources") retains its luster, as the tributes
paid to it in the reviewed study confirm. However, the thesis remains
unpublished, and Sheveloff has contributed comparatively little
(in terms of volume) on Scarlatti since, leaving others to pick
up the spade. Faute de mieux, Ralph Kirkpatricks study
of the composer (Domenico Scarlatti), which set a standard
for its time but nowadays shows its age, has remained up to the
present the sole full-length study in English on Scarlattis
sonatas. Malcolm Boyds more recent study (Domenico Scarlatti,
Master of Music), which offers a badly needed corrective to
Kirkpatrick by devoting much attention to Scarlattis vocal
music (operas, oratorios, serenatas, cantatas, and church music),
simply does not have the space to revise comprehensively the older
authors perspective on the music of the sonatas, although
it updates the catalogue of works and sources very effectively.
- Dean
Sutcliffes new book, which focuses once more on the sonatas,
can therefore claim to be the new Kirkpatrick. Its style
of expression, full of such concepts as problematizing,
ironizing, deconstruction, and so forth,
marks the author out as someone fully at home with the new
musicology. However, the spirit of the investigation is rather traditional
in a typically British manner, steering clear of all-encompassing
theses and grand narratives. Like Sutcliffes description of
Scarlattis style (borrowed from Bakhtinian terminology), it
exhibits heteroglossiathe practice of mixing different
forms or levels of discourse. One of its most original and attractive
features is to weave into the close analysis of the music reflections
on the interpretative choices and approaches made first by editors
and then by performers. In this way, the three practicesanalysis,
philology, and performanceare brought close together in mutual
support.
- Sutcliffe
begins with an introduction, Scarlatti the Interesting Historical
Figure, that lays out many of the themes and issues dealt
with later. Central to his view of the composers modus
operandi is the concept of disdain (a term applied
earlier to Scarlatti by Giorgio Pestelli): a self-conscious rejection
of convention. There follows a long chapter on the sonatas
reception history entitled
Panorama,
which is Sutcliffes shorthand for a particular musicographical
tradition that has much to say about their characteristics as a
whole but is reluctant to engage closely with individual works.
In the third chapter, Heteroglossia, the author explores
the manner in which Scarlatti juxtaposes in one movement diverse
topics (in the Ratnerian sense) and recoils from wholesale adoption
of the galant musical language of his time. This chapter
contains a very thoughtful section on perceptions of the Iberian
influence (Sutcliffe is meticulous about distinguishing between
Portuguese and Spanish, as also between different varieties of Spanish);
it benefits from the authors thorough knowledge of Iberian
keyboard music contemporary with, and just after, Scarlatti (Sebastian
Albero, Carlos Seixas, Antonio Soler et al.). He explains how Scarlatti
has been treated as an icon of the Latin as opposed to the Germanic
and how, within the Latin camp, he has been appropriated variously
for Italy and for Spain. Sutcliffe displays due caution about such
labels; he could have been even more forthcoming about the interpenetration
of the cultures of Spain and the kingdom of Naples during Scarlattis
lifetime, which makes any neat national identification impossible.
- Sutcliffe
moves next to consider the syntax of the sonatas. Rightly, he emphasizes
the importance of the syntactical and rhythmic parameters, which
are more complex than the norm for their period, whereas the harmonic
parameter, on which attention tends traditionally to focus, can
be unusually plain over long stretches. He is particularly convincing
on Scarlattis fondness for elision (his remarks on the great
curve, where a first-time ending of the opening section is
skipped over on its repeat in the interests of a seamless transition
into the second section, are especially percipient) and on the composers
use of vamp figures, where insistently repeated scraps
of figures accompany unpredictably shifting harmoniesthe music
standing still, so to speak, even as it lurches forward.
- The
fifth chapter, entitled Irritations, is perhaps the
most interesting of all. This term, taken from Peter Böttinger,
stands for all the irregularities in Scarlattis music that
have embarrassed performers and commentators, and have so often
been smoothed out silently. They include unconventional voice-leading,
with abrupt intrusions or disappearances of notes, athematic
counterpoint, and abrasive added notes. Here, I think it is a shame
that Sutcliffe has not quoted and discussed Scarlattis alleged
statement, relayed to Burney through Marc-Antoine Laugier, that
his deviations from the rules were sanctioned by the pleasure that
they gave the earan ultra-empirical stance that anticipates
Debussys famous self-defense. Other irritations are the absence
of genuinely slow movements (though Sutcliffe could have pointed
out that to some extent this lack affects Italian late-Baroque and
galant keyboard as a whole) and the inconsistency of marked
ornamentation, which leaves the editor or performer uncertain whether
the differences represent intentional elegant variation, accidental
omission, or mere casualness. It is hard to discern any pattern
in, or derive any conclusions from, the textual differences among
the sources. On ornamentation in general, incidentally, one might
take issue with Sutcliffes statement that variation,
in the sense of the immediate varied treatment of a short musical
unit is largely foreign to Scarlatti (146). This claim is
belied by several of the musical examples, most notably Ex. 7.7,
in which bars 3537 of K. 206 are a decorated repetition of
bars 3134.
- In
the next chapter Sutcliffe considers the keyboardistic
nature of the sonatas, the one factor for which they have consistently
been applauded. Crucial to his view is that their idiomatic character
is based not merely on sheer digitalism or the deft co-ordination
of the two hands but equally on the peculiar effects of sonority
that a keyboard instrument can achieve (he is undogmatic about which
keyboard instrumentharpsichord or fortepianois the actor).
- The
last chapterdisregarding a short conclusion that is little
more than a condensed restatement of the books substanceis
devoted to a consideration of the macroformal aspects
of the sonatas. Here, the discussion of the status of the pairings
of the sonatas in the two main collections (Venice and Parma) and
elsewhere is very instructive. Sutcliffe belongs to the skeptical
school, regarding the pairs as acts of compilation rather
than composition, although he leaves it open who determined
the couplings (44).
- One
great pleasure of this book is its wealth of pithy and memorable
aperçus. To give just a few examples: apropos of the
spare texture in K. 308 Sutcliffe writes , It is the space
between and around the texture that is so expressive, indeed seductive
(99). (Listen)
And one page later, concerning perceptions of the galant style:
the unattractive combination of a style that is intellectually
low but socially high. The innovative quality of Scarlattis
keyboard style is aptly summed up as an assertion of the keyboards
rights to and possibilities of intrinsic material (294). On
the next page Sutcliffe adds the telling comment that the
composers exploitation of register [especially where both
hands occupy a high register] liberates the keyboard from its customary
role as a forger (295). One could multiply these happy examples
indefinitely.
- True,
the book has its own irritations. Reference to Scarlattis
works in vocal genres is sparse, and there is not a single music
example from them. Surely, it would have been useful to know which
stylistic traits of the composer are not specific to the keyboard
medium. Then the improvisatory quality of the sonatas is only grudgingly
and infrequently acknowledged. This is, I believe, a mistake. The
empirical approach to musical grammaticality acknowledged by the
composer himself (in Laugiers account) and, indeed, the whole
stream of consciousness quality of the music arise from his willingness
to give permanence, in notated form, to practices stemming from
improvisation. I feel as well that the author sometimes uses the
concepts of disdain and its cousin irony
tendentiously as devices to explain away those conventional musical
processes (scarcely rare in Scarlattis music) that can perfectly
well be taken at face value. Does one really need, for instance,
to regard sequential episodes in the Cats Fugue,
K. 30, as ironically mechanical (183)? (Listen)
Does heteroglossia exclude the parody-free appearance of the strict
style? In more general respects, Sutcliffe tends to favor complex
explanations calling for the full apparatus of modish terminology
and buzz-words above simple ones, but my resistance is here perhaps
more a matter of personal taste.
- The
most serious shortcoming is one of presentation. Sutcliffes
analysis of individual sonatas is everywhere very detailed, commonly
proceeding in blow by blow fashion. However, the sonatas,
or extracts from them, under discussion are quoted as music examples
almost randomly. In other words, a single, dense mode of analytical
commentary is employed, regardless of whether the reader can view
the musical notes or not. But having the notes to consult makes
all the difference when musical processes are described, often very
laboriously, in words. The absence of a musical text for inspection
renders large tracts of the analysis unusable, even for the experienced.
The author could counter that it is incumbent on the reader to acquire
the scores beforehand. But if that were so, why would any
music examples be needed at all? In any case, the requirement would
be unreasonable and impractical. If the book is reissued in revised
form, I would recommend that a simpler mode of analysis be adopted
whenever the notes are not shown. This would have the added merit
of making the study more reader-friendly in wider respects.
- A
final word of commendation for the production of this volume. The
presentation of the text and examples is always first-rate, and
the index is efficient. I was amused by one translation from German,
however. On page 37 the author, quoting from Oskar Bie, speaks of
chromatic tone-ladders darting through the texture.
Colorful older German writing on music may often be, but these Tonleiter
are simply
scales.
Michael
Talbot
University of Liverpool
Works Cited
Sheveloff,
Joel. "The Keyboard Music of Domenico Scarlatti: A Reevaluation
of the Present State of Knowledge in the Light of the Sources."
Ph. D., Brandeis University, 1970.
Kirkpatrick,
Ralph. Domenico Scarlatti.
Princeton:
Princeton University Press, 1953.
Boyd, Malcolm. Domenico Scarlatti, Master of Music. London:
Weidenfeld and Nicolson, 1986.
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