Editing Domenico Scarlatti (section)

==Music==
{{See also|List of solo keyboard sonatas by Domenico Scarlatti}}
{{stack begin}}
{{Listen|type=music|image=none|help=no
|filename=Domenico Scarlatti - Allegretto - D minor.ogg|title=Sonata in D minor K. 9, Allegretto
|description=Performed on a harpsichord by [[Martha Goldstein]]
|filename2=Domenico Scarlatti - Presto - E Major.ogg|title2=Sonata in E major K. 20, Presto
|description2=Performed on a harpsichord by Martha Goldstein
|filename3=Scarlatti Sonata B Minor K27.ogg|title3=Sonata in B minor K. 27, Allegro
|description3=Performed on a piano by [[Raymond Smullyan]]
|filename4=Scarlatti f-moll3.ogg|title4=Sonata in F minor K. 69
|description4=Performed on a [[spinet]] by Ulrich Metzner
|filename5=Domenico.Scarlatti.Sonata.b.minor.Kirkpatrick.87.ogg|title5=Sonata in B minor K. 87
|description5=Performed on a digital harpsichord
|filename6=D-Scarlatti-Sonata-K159-C.ogg|title6=Sonata in C major K. 159, Allegro
|description6=Performed on a piano by Veronica van der Knaap
|filename7=Domenico Scarlatti -- Sonata (L 263).mid|title7=Sonata in B minor K. 377
|description7=[[MIDI]] rendition
|filename8=Scarlatti Sonata E Major K380.ogg|title8=Sonata in E major K. 380, Andante comodo
|description8=Performed on a piano by Raymond Smullyan
|filename9=Domenico.Scarlatti.Sonata.f.minor.Kirkpatrick.466.ogg|title9=Sonata in F minor K. 466
|description9=Performed on a digital harpsichord
|filename10=Scarlatti Sonata E Major K531.ogg|title10=Sonata in E major K. 531, Allegro
|description10=Performed on a piano by Raymond Smullyan
}}{{stack end}}
Only a small number of Scarlatti's compositions were published during his lifetime. Scarlatti himself seems to have overseen the publication in 1738 of the most famous collection, his 30 ''Esercizi'' (Exercises). They were well received throughout Europe and were championed by the foremost English writer on music of the eighteenth century, [[Charles Burney]]. Burney wrote that the harpsichordist [[Joseph Kelway]] was "head of the Scarlatti sect", a group of English musicians that championed Scarlatti as early as 1739, also including [[Thomas Roseingrave]].<ref>Kroll, Mark. ''Bach, Handel and Scarlatti: Reception in Britain, 1750-1850'', (2023), p. 13</ref><ref>[[Charles Burney]]. ''A General History of Music'' (1789), 1957 edition ed. Frank Mercer, vol. 2, p. 1009</ref>

The many sonatas unpublished during Scarlatti's lifetime have appeared in print irregularly in the past two and a half centuries. He has attracted notable admirers, including [[Béla Bartók]], [[Arturo Benedetti Michelangeli]], [[Pieter-Jan Belder]], [[Johann Sebastian Bach]], [[Muzio Clementi]], [[Wolfgang Amadeus Mozart]], [[Ludwig van Beethoven]], [[Carl Czerny]], [[Franz Liszt]], [[Johannes Brahms]], [[Frédéric Chopin]], [[Claude Debussy]], [[Emil Gilels]], [[Francis Poulenc]], [[Olivier Messiaen]], [[Enrique Granados]], [[Marc-André Hamelin]], [[Vladimir Horowitz]], [[Ivo Pogorelić]], [[Scott Ross (harpsichordist)|Scott Ross]] (the first performer to record all 555 sonatas), [[Heinrich Schenker]], [[András Schiff]] and [[Dmitri Shostakovich]]. {{Citation needed|date=August 2020|reason=while many of these are correct, I can't immediately find sources to support some of the others}}

Scarlatti's 555 keyboard sonatas are single movements, mostly in [[binary form]], and some in early [[sonata form]], and mostly written for [[harpsichord]] or the earliest [[pianoforte]]s. (There are four for the organ and a few for small instrumental groups). Some display harmonic audacity in their use of discords, and unconventional [[Modulation (music)|modulations]] to remote [[key (music)|keys]].

Though Scarlatti wrote over 500 sonatas, there is a wide variety in his works. Some are deeply serious, others are light and almost humorous. Some sound like courtly dances, others like street songs. This ability to cover a wide range of styles and moods is one of the hallmarks of Scarlatti's work. Another stylistic trait of this composer is the ability to mix “different forms or levels of discourse”.<ref>{{cite web | url=http://www.echo.ucla.edu/review-the-keyboard-sonatas-of-domenico-scarlatti-and-eighteenth-century-musical-style-by-w-dean-sutcliffe/ | title=Review &#124; the Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style by W. Dean Sutcliffe }}</ref>

Other distinctive attributes of his music are:
*The influence of Iberian (Portuguese and Spanish) folk music. An example is his use of the [[Phrygian mode]] and other tonal inflections more or less alien to European art music. Many of his figurations and dissonances are suggestive of the guitar.
*The influence of the Spanish guitar can be seen in notes being played repeatedly.<ref name=Barkley>{{cite book |editor1-last=Barkley |editor1-first=Lisa |editor2-last=Bryan |editor2-first=Clark |title=Conservatory Canada New Millennium Piano Series |date=1999 |publisher=Waterloo Music Company}}</ref>

*A formal device where each half of a sonata leads to a pivotal point, which Kirkpatrick termed "the crux", and which is sometimes underlined by a pause or fermata. Before the crux, Scarlatti sonatas often contain their main thematic variety, and after the crux, the music makes more use of repetitive figurations as it modulates away from the home key (in the first half) or back to the home key (in the second half).
*Its tendency to be in the [[Galant music|''galant'' style]].<ref name=Barkley />

Kirkpatrick produced an edition of the sonatas in 1953, and the numbering from this edition—the Kk. or K. number—is now nearly always used. Previously, the numbering commonly used was from the 1906 edition compiled by Neapolitan pianist [[Alessandro Longo]] (L. numbers). Kirkpatrick's numbering is chronological, while Longo's ordering is a result of his arbitrarily grouping the sonatas into "suites". In 1967 the Italian musicologist [[Giorgio Pestelli]] published a revised catalogue (using P. numbers), which corrected what he considered to be some [[anachronism]]s, and added some sonatas missing from Kirkpatrick's edition.<ref>See [[List of solo keyboard sonatas by Domenico Scarlatti]] for a list converting Longo, Kirkpatrick, Pistelli, and Czerny numbers of Scarlatti's sonatas.</ref> Although the exact composition dates for these surviving sonatas are not known, Kirkpatrick concluded that they might all have been composed late in Scarlatti's career (after 1735), with most of them possibly written after the composer's 67th birthday.<ref>{{Cite book|title=Domenico Scarlatti: Revised Edition|last=Kirkpatrick|first=Ralph|publisher=Princeton University Press|year=1983|isbn=0-691-09101-3|location=Princeton, New Jersey|pages=145}}</ref><ref>{{Cite book|title=Classical Music|last=Downs|first=Philip G.|publisher=Norton|year=1992|isbn=0-393-95191-X|location=New York|pages=49}}</ref>

Aside from his many sonatas, Scarlatti composed several operas, cantatas, and liturgical pieces. Well-known works include the ''Stabat Mater'' of 1715, and the ''Salve Regina'' of 1756, which is thought to be his last composition.