FOOTNOTES:[11]An Englishman, organist at St. George’s, Hanover Square, from 1725 to 1737, when he became insane. He died about 1750. He had made the acquaintance of both Scarlattis during a stay in Italy, and was instrumental in bringing D. Scarlatti’s operas and harpsichord pieces before the British public.[12]A learned Roman collector, born in 1778, died in 1862. Mendelssohn had the free use of his library and wrote that as regards old Italian music it was most complete.[13]This collection is available to students in America. The sonatas contained in it are representative of Scarlatti’s style, though, of course, they represent but a small portion of his work. The collection can be far more easily used for reference than the cumbersome Czerny. Unfortunately the complete Italian edition is still rare in this country.[14]J. S. Shedlock writes in ‘The Pianoforte Sonata’: ‘The return to the opening theme in the second section, which divides binary from sonata form, is, in Scarlatti, non-existent.’ Out of some two hundred sonatas which I have examined, I have found but one to disprove the statement. This one exception, No. 11 in the Breitkopf and Härtel edition of twenty, is so perfectly in sonata form that one cannot but wonder Scarlatti did not employ the form oftener. [Editor.][15]See articles by Edward J. Dent inMonthly Musical Recordfor September and October, 1906.[16]See Chrysander’s articles prefatory to his own edition (Denkmäler), edited by Brahms, in theMonthly Musical Recordfor February, 1889,et seq.[17]The pieces in oneordremay be in major or minor. The firstordreis in G, that is the pieces in it are either in G minor or G major. The second is in D, minor and major, the third in C, etc.[18]That which appeared in 1713. The earlier set is not commonly reckoned among his publications.[19]Musiciana, Paris, 1877.[20]The origin of the title is rather doubtful. On the first page of the manuscript copy, which was in the hands of Christian Bach, of London, were written the words:Fait pour les anglais. The first prelude is on a theme by Dieupart, a composer then popular in England.
FOOTNOTES:[11]An Englishman, organist at St. George’s, Hanover Square, from 1725 to 1737, when he became insane. He died about 1750. He had made the acquaintance of both Scarlattis during a stay in Italy, and was instrumental in bringing D. Scarlatti’s operas and harpsichord pieces before the British public.[12]A learned Roman collector, born in 1778, died in 1862. Mendelssohn had the free use of his library and wrote that as regards old Italian music it was most complete.[13]This collection is available to students in America. The sonatas contained in it are representative of Scarlatti’s style, though, of course, they represent but a small portion of his work. The collection can be far more easily used for reference than the cumbersome Czerny. Unfortunately the complete Italian edition is still rare in this country.[14]J. S. Shedlock writes in ‘The Pianoforte Sonata’: ‘The return to the opening theme in the second section, which divides binary from sonata form, is, in Scarlatti, non-existent.’ Out of some two hundred sonatas which I have examined, I have found but one to disprove the statement. This one exception, No. 11 in the Breitkopf and Härtel edition of twenty, is so perfectly in sonata form that one cannot but wonder Scarlatti did not employ the form oftener. [Editor.][15]See articles by Edward J. Dent inMonthly Musical Recordfor September and October, 1906.[16]See Chrysander’s articles prefatory to his own edition (Denkmäler), edited by Brahms, in theMonthly Musical Recordfor February, 1889,et seq.[17]The pieces in oneordremay be in major or minor. The firstordreis in G, that is the pieces in it are either in G minor or G major. The second is in D, minor and major, the third in C, etc.[18]That which appeared in 1713. The earlier set is not commonly reckoned among his publications.[19]Musiciana, Paris, 1877.[20]The origin of the title is rather doubtful. On the first page of the manuscript copy, which was in the hands of Christian Bach, of London, were written the words:Fait pour les anglais. The first prelude is on a theme by Dieupart, a composer then popular in England.
FOOTNOTES:
[11]An Englishman, organist at St. George’s, Hanover Square, from 1725 to 1737, when he became insane. He died about 1750. He had made the acquaintance of both Scarlattis during a stay in Italy, and was instrumental in bringing D. Scarlatti’s operas and harpsichord pieces before the British public.
[11]An Englishman, organist at St. George’s, Hanover Square, from 1725 to 1737, when he became insane. He died about 1750. He had made the acquaintance of both Scarlattis during a stay in Italy, and was instrumental in bringing D. Scarlatti’s operas and harpsichord pieces before the British public.
[12]A learned Roman collector, born in 1778, died in 1862. Mendelssohn had the free use of his library and wrote that as regards old Italian music it was most complete.
[12]A learned Roman collector, born in 1778, died in 1862. Mendelssohn had the free use of his library and wrote that as regards old Italian music it was most complete.
[13]This collection is available to students in America. The sonatas contained in it are representative of Scarlatti’s style, though, of course, they represent but a small portion of his work. The collection can be far more easily used for reference than the cumbersome Czerny. Unfortunately the complete Italian edition is still rare in this country.
[13]This collection is available to students in America. The sonatas contained in it are representative of Scarlatti’s style, though, of course, they represent but a small portion of his work. The collection can be far more easily used for reference than the cumbersome Czerny. Unfortunately the complete Italian edition is still rare in this country.
[14]J. S. Shedlock writes in ‘The Pianoforte Sonata’: ‘The return to the opening theme in the second section, which divides binary from sonata form, is, in Scarlatti, non-existent.’ Out of some two hundred sonatas which I have examined, I have found but one to disprove the statement. This one exception, No. 11 in the Breitkopf and Härtel edition of twenty, is so perfectly in sonata form that one cannot but wonder Scarlatti did not employ the form oftener. [Editor.]
[14]J. S. Shedlock writes in ‘The Pianoforte Sonata’: ‘The return to the opening theme in the second section, which divides binary from sonata form, is, in Scarlatti, non-existent.’ Out of some two hundred sonatas which I have examined, I have found but one to disprove the statement. This one exception, No. 11 in the Breitkopf and Härtel edition of twenty, is so perfectly in sonata form that one cannot but wonder Scarlatti did not employ the form oftener. [Editor.]
[15]See articles by Edward J. Dent inMonthly Musical Recordfor September and October, 1906.
[15]See articles by Edward J. Dent inMonthly Musical Recordfor September and October, 1906.
[16]See Chrysander’s articles prefatory to his own edition (Denkmäler), edited by Brahms, in theMonthly Musical Recordfor February, 1889,et seq.
[16]See Chrysander’s articles prefatory to his own edition (Denkmäler), edited by Brahms, in theMonthly Musical Recordfor February, 1889,et seq.
[17]The pieces in oneordremay be in major or minor. The firstordreis in G, that is the pieces in it are either in G minor or G major. The second is in D, minor and major, the third in C, etc.
[17]The pieces in oneordremay be in major or minor. The firstordreis in G, that is the pieces in it are either in G minor or G major. The second is in D, minor and major, the third in C, etc.
[18]That which appeared in 1713. The earlier set is not commonly reckoned among his publications.
[18]That which appeared in 1713. The earlier set is not commonly reckoned among his publications.
[19]Musiciana, Paris, 1877.
[19]Musiciana, Paris, 1877.
[20]The origin of the title is rather doubtful. On the first page of the manuscript copy, which was in the hands of Christian Bach, of London, were written the words:Fait pour les anglais. The first prelude is on a theme by Dieupart, a composer then popular in England.
[20]The origin of the title is rather doubtful. On the first page of the manuscript copy, which was in the hands of Christian Bach, of London, were written the words:Fait pour les anglais. The first prelude is on a theme by Dieupart, a composer then popular in England.