REFERENCE NOTE
THE numbering of the sonatas follows that of the Catalogue of Sonatas at the end of the book. This Catalogue identifies the sonatas in terms of Longo numbers and of their principal sources. My catalogue numbers are prefixed by the letter K when it is necessary to distinguish them from those of another system. A table following the catalogue converts Longo numbers into K num- bers. Sonata numbers in Roman numerals in Chapter XI and in italic arabic throughout the rest of the book refer to my edition (Sixty Sonatas . . . New York, G. Schirmer), designed in part to provide a series of additional musical examples for this book, and further supplemented by my recorded performance of these same sonatas (Columbia). The text of the musical examples is taken from the primary source cited in their captions. Examples in Appendix IV, however, are based on a collation of the Venice and Parma manuscripts. Where possible, measure numbers in the examples and in refer- ences in the text correspond to those of Longo's edition. When chronology or title gives an obvious clue to the location of a source reference in the Appendices or Catalogue, no source reference is given for material in the text. Books given abbreviated mention in the footnotes may be fully identified in the Bibli- ography. Documents are transcribed literally with respect to orthography and punctuation. Eighteenth-century capitalization in many cases is too ambiguous to be strictly followed. Quotations from English sources respect the orthography of the original, but the eighteenth- century mannerism of setting proper names in italics or capitals has been eliminated in the quotations from Blainville, Clarke, and Mainwaring.
XVI ILLUSTRATIONS Frontispiece: Domenico Scarlatti, by Domingo Antonio de Velasco Alpiarca, Portugal, bequest of Jose Relvas
1. Naples, by Antonio Jolli 2. Alessandro Scarlatti, by an unknown painter 3. Italian Harpsichord 4. Francesco Gasparini, by Pier Leone Ghezzi 5. Antonio Vivaldi, by Ghezzi 6. Arcangelo Corelli, by Howard, engraved by Van der Gucht 7. Cardinal Ottoboni, by Trevisano, engraved by Freij 8. Filippo Juvarra, by Ghezzi 9-14. Drawings by Filippo Juvarra for Queen Maria Casimira's theater, presumably for operas by Domenico Scarlatti 15. The Piazza Navona, by Giuseppe Vasi 16. The Piazza San Pietro, by Vasi 17-20. Autographs of Domenico Scarlatti 21. Autograph tenor part of the Miserere in G minor 22. Ouverture of Tolomeo 23. Et incarnatus from the Mass in G minor 24. Joao V, by an unknown painter 25. Maria Barbara de Braganza, by Domenico Dupra 26. Fernando VI as a boy, by Jean Ranc 27. Felipe V and the Royal Family, by Van Loo 28. The Fountain of the Tritons at Aranjuez, by Velazquez 29. The Escorial, by Michel-Ange Houasse 30. Farinelli in a female role, by Ghezzi 31. Farinelli, by Jacopo Amiconi, engraved by Wagner 32. Frontispiece of Scarlatti's Essercizi, designed by Amiconi 33- Vignette from the title page of Scarlatti's Essercizi 34. Page from Scarlatti's Essercizi 25- Domenico Scarlatti [?], lithograph by Alfred Lemoine
• xvii • ILLUSTRATIONS 36. Domenico Scarlatti [?], by Amiconi, engraved by Flipart (Detail of Fig. 38) 37. Farinelli at Aranjuez, by Amiconi 38. Fernando VI, Maria Barbara, and the Spanish Court, by Amiconi, engraved by Flipart 39. Autograph letter of Scarlatti 40. Scarlatti's house [?] in Madrid 41. Horn players, by Ghezzi 42. Guitar player, by Goya 43. Sonata 208, first half, in the Venice manuscript 44. Sonata 208, second half, in the Parma manuscript
• xvin •