Volume 39, Issue 2, May 2011, Pages 245-252
A Spanish harpsichord from Domenico Scarlatti's environs (Review)
University of South Dakota, United States
S everal years ago, in my article Towards an optimal instrument: Domenico Scarlatti and the new wave of Iberian harpsichord making ' ( Early Music , xxxv/4 (2007)), I developed the thesis that the Iberian school of harpsichord-making was fundamentally related to the northern European schools until some Italian characteristics were absorbed during the 18th century. fn1 1 In particular, the evidence suggests that the instruments of the Florentine school of Bartolomeo Cristofori strongly influenced Iberian makers in circles of patronage associated with Domenico Scarlatti, who served the Portuguese royal court from 1719 to 1729, then the Spanish court from 1729 until his death in 1757. Although I could point to a fair number of surviving Portuguese harpsichords in what might well be called the Ibero-Florentine style, I could only surmise that such instruments had also been made in Spain. No Spanish example had yet been discovered. I noted that ' there remains a void at the principal centre of interest, Scarlatti's environs, where we can only attempt to extract information from documents of which the most relevant concern Diego Fernández (1703 - 1775), who maintained and made harpsichords for the Spanish royal family from 1722 until his death. © 2011 The Author.
ISSN: 03061078Source Type: Journal Original language: English
DOI: 10.1093/em/car013Document Type: Review