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#2013487 - 01/12/13 02:50 PM
Re: Scarlatti
[Re: worov]
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Full Member
Registered: 08/02/12
Posts: 300
Loc: Finland
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I'm just confused because the page number doesn't match the one on Sheetmusic plus. I don't want to accidently get a wrong one. I am often frusrated by the lack of information on their site, but I am otherwise very happy with the service. Sheet music cost a fortune on shops up here so must order online.
Page number don't match, that's right. Because Di Arezzo doesn't count the preface and the thematic index (which both contain roman numerals). Thanks again! I think it's safe to order then 
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#2013495 - 01/12/13 02:59 PM
Re: Scarlatti
[Re: outo]
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Full Member
Registered: 05/13/08
Posts: 89
Loc: Paris
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I'm at home now. Here's an excerpt of the preface :
This critical edition of all the sonatas of Domenico Scarlatti is justified by the necessity of offering performers and scholars a text which is philologically faithful to the author's intentions (in so far as this can be reconstructed through a comparative study of the surviving printed and manuscript sources) and which is presented as authentically as possible, free from editorial interference or suggestions for performance or interpretation. The study of musicology and especially of the performing traditions of baroque music has advanced considerably since Alessandro Longo achieved the mammoth task of publishing the entire corpus of Scarlatti's sonatas for the first time, and today we can deal with problems of text and interpretation with a surer and deeper methodological awareness; all of these will be adequately treated in the Appendix to this edition, which will contain also a general thematic catalog of the complete sonatas.
However, what still remains to be established despite the valuable contributions of eminent scholars is the chronology of composition. Besides the rare editions printed during Scarlatti’s lifetime – even today there are no known autograph copies of the sonatas – the numerous surviving manuscripts, which are the work of the contemporary or later copyists, carry dates which surely refer to the copying and not the time of composition.
For this reason we have decided to publish the sonatas in the order in which they appear in the Venice manuscript, but this decision is not meant in any way to indicate that this manuscript has been used as a primary source. It is the most complete, comprising as it does four hundred and ninety-six sonatas, and the presence of royal emblems on the binding (the Spanish and Portuguese coats of arms crossed) proves that it must have belonged to the Queen of Spain The sonatas in the Venice codex are therefore followed by those contained in other manuscripts and finally those that were printed in 18th century publications, in this order :
Vol. I Venice codex XIV
Vol. II >> >> XIV-XV
Vol. III >> >> I-II
Vol. IV >> >> III-IV
Vol. V >> >> V-VI
Vol. VI >> >> VII-VIII
Vol. VII >> >> IX-X
Vol. VIII >> >> XI-XII
Vol. IX >> >> XIII and sonatas include in other manuscripts
Vol. X Essercizi per Gravicembalo and sonatas extracted from other eighteenth century editions (not contained in primary manuscript sources).
Edited by worov (01/12/13 05:15 PM)
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