Paulino Capdepon deposited Música de tecla en la España del siglo XVIII: Domenico Scarlatti y el padre Antonio Soler in the group Society for Music Theory (SMT) on Humanities Commons 3 months ago
This article focuses on Spanish music in the 18th century, which experienced one of the most brilliant periods in its history. This was undoubtedly due to the splendour achieved by keyboard music, which reached an extraordinary level of development after the arrival in Spain of the Neapolitan composer Domenico Scarlatti (1685-1757), harpsichord master to the Queen of Spain, Bárbara de Braganza. Scarlatti had a decisive influence on the introduction of the single-tempo monothematic sonata genre and the introduction of the gallant style. It was precisely one of Scarlatti’s favourite pupils, Father Antonio Soler (1729-1783), who continued Scarlatti’s work in the field of the keyboard sonata. Harpsichord master to the Infante Don Gabriel and maestro de capillaorganist of the royal monastery of El Escorial, his proximity to the court allowed the Catalan monk to become acquainted with the main musical novelties brought about by the stay in Spain of Italian composers such as Scarlatti himself and Boccherini. However, Soler knew how to evolve and give his own style to his keyboard production: in the last stage of his artistic production he incorporated several movements to his sonatas, which places the Spanish composer in the orbit of Haydn and Mozart. In this article, after an introduction on 18th century Spanish music in general and keyboard music in particular, we study the life trajectories of both composers, as well as their respective contributions to the field of keyboard sonatas, which constitute one of the artistic peaks of 18th century Spanish music.