8
DOMENICO SCARLATTI:
KEYBOARD SONATA IN D MINOR
DOMENICO SCARLATTI: SONATE FUR
KLAVIER D-MOLL {127-35}
TRANSLATED BY
IAN BENT
On the evidence of his keyboard works alone, Domenico
Scarlattiis Italy's
greatest musician. He is its most important contrapuntist
and its sole true
composer of sonatas [Sonatendichter].
Counterpoint as found in the repertory of the earlier contrapuntal era in
Italy
was not yet true counterpoint. That earlier counterpoint gained its impetus
solely
from its text. It was still quite incapable of seeing beyond the end of the section,
even of the phrase —nay, even of the single word of text. With the onset of a new
section, new phrase or new word, a fresh impetus began. Nowhere did voice-
leading procedures extend across from one phrase of text to another; moreover,
the text-phrases themselves were numerous and extremely short-lived. l
Scarlatti, Imbued as he was with the sonata spirit [Sonatenatem],was the first to
bring true counterpoint into play. It is this which sets free an Ursatz, only in-
stinctively sensed, and transforms its primal intervals into interval-progressions.
In order to realize the full power of the Ursatz, these in turn had to expand to
greater and greater lengths in linear progressions of thirds, fourths, fifths and
sixths, supported by harmonic scale-steps,rich in interrelationships,and amply
adorned with diminutions. The transformation,drawing nounshment from the
Ursatz, then transmits nourishment to all the new-born intervals. A veritable
multitude of intervals arises out of a brief successionof notes In the Ursatz. It is
this great welling-up of intervals that constitutes true counterpoint, the counter-
point of prolongations in the foreground.
[For 'phrase of text' Schenker uses Bezirk der Sprache, which implies rather 'realm of speech'.]
2 (Sich nåhrend ... Nahrung ... neugeborenentransmits the image of breast-feeding.]
67
Now it becomes possible for Scarlatti with these new intervals, springing from
transformation, to pour forth the first subject, followed by the transition and the
second subject as if— and this is the very essence of sonata spirit! —they were all
one. A single voice-leading procedure at once unites these sections, with the re-
sult that the first subject by no means lingers as long as, say, the first subject of the
older instrumentalconcerto, or of the aria, or of two—or three-part song—form.
This outpouring takes place amidst a tempestuous, purely musical unfolding of
sonorities, as if in high drama.
Scarlatti alone among all of Italy's composers brought this sense of back-
ground to his music. Since his death, it has become a lost art in that country.
Such
precious flights of synthesis as will be revealed by the analysis of the sonata
below
are no longer to be met with in any Italian work, least of all In
any work of the
presentday. Only to think of him shows us how little the output of
all Italy's
more recent composers has to do with real art —not even their
dazzling world-
wide successcan gainsay this.
The profundity of Scarlatti's music, the earthy tang pervading
its {128}
blossomingdiminutions,placehim very close to the great mastersof
German
music. Though German composers may strike out In even bolder
fashion,
though they may exhibit their superiority with much greater
diversityin so
many genres,it is no Insult to them to honour Scarlatti's
memory alongside
theirs.
After all, he struck up a noble friendshipwith Handel.
Once in Italy, when
they were both twenty-four years of age, they vied with
each other in contest at
the organ and the harpsichord, and from that time on
retained a genuine affection
 The Masterwork in Music

for each other. And in more recent times the last great master of German music,
Brahms,4 had a great deal of love and gratitude to spare for Scarlatti. He
assembleda large collection of early printed editions and manuscriptcopies of
Scarlatti's music, and even worked over Czerny's edition, making all manner of
annotations; he played many of the composer's pieces to his close acquaintances.5
For the rest, Scarlattisuffered the customary fate of genius: he was for ever
estranged from his fellow-countrymen. Italy was a part of him, yet not the
converse:he was no part of Italy.
To reproach common folk for their lack of affinity towards a genius in the
realm of art would, however, be unjust. Their artistic needs hardly extend
beyond the simplest song; they have no time for high art, even though they
elevate almost all other human activities to the level of an art. The spiritual
incapacity of common folk produces a natural resistance; and this is given further
strength by those many from among the ranks of musicianswho, out ofa similar
incapacity, take it into their heads to measure cultivated art against folksong, and
to judge it too contrived if it exceedstheir capacityfor comprehension.
Common folk lead a life of continual want and anxiety. Hence, they measure
everything around them in terms only of financialreward and advantage.They
honour as liberator anyone who brings them relief, be it only transitory; they
look up to anyone as saint and deliverer who so much as promises such relief. The
only thing for which they lack susceptibilityis the truly liberatingpower of the
artist's work of genius. At no time do they outwardly feel the honour that the
plebeianhonour among men who see things the way they do, who sharetheir
everyday interests. That is the way it will always be. To each his own. To re-
phrasethis for the disparagersof high art in more contemporary terms: evena
Ford offers the common man only a small car, not a luxury saloon. The common
man is quite satisfiedwith it and does not for a moment hanker after the luxury
model -— he would have no use for it anyway. Thus however hard the Fordsof
this world might strive to educate the common folk, they will surely come to
grief so far as the massesare concerned if they do not simply content themselves
with giving them something that they can, and want to, identify.
{129} May Scarlatti'sfate encourage the German musician to reflect for a
moment on the fate of the great German masters at the hands of their own
nation!
I present first the Sonata in D minor. The following illustration tells us much
about Scarlatti'sunerring senseof direction, which he imbibes from the back-
ground:
Fig. 1
6
2
a)
Tonalitä•••

appearance of such a genius in their midst brings to them. Instead, they seek their
4 5 81215 16 21 24 26 27 33 34 363738 39

3 [The sole source of information as to this contest is J. Mainwaring, Memoirs of the Life of the Late 3
George FredericHandel (London: Dodsley, 1760;repr. 1964, 1967), pp.59—62.It is said to have been b)
initiated in Rome in 1709by Cardinal Pietro Ottoboni, that the outcome has been differently
reported, but that Scarlatti seems to have won the harpsichord contest and Handel the organ
contest. See 'Miscellanea' below, where Schenker quotes Chrysander's account of this contest.]
4 [The dedication page of Schenker's monograph, Beethovensneunte Sinfonie,dating from 1912,
reads: DEM ANDENKEN I DES LETZTEN MEISTERS DEUTSCHER TONKUNST I Tonarten SJ—usa--'
JOHANNES BRAHMS ('to the memory of the last master of German music,Johannes D moll: Fdur:
Brahms').l
5 [Brahms owned several volumes of later Italian copies of Scarlatti's works. These survive in the
15127),
Gesellschaft der Musikfreunde as Vll 28011 A—G(seven volumes) and Vll 48747 (Q 6 [At the beginning of his essay Schenker gives three citations of this work in editions of Scarlatti's
two
together with the 200 Scarlattisonatasin Czerny's edition (seebelow, note 6) bound in sonatas:
May 1884).
volumes as Vll 23469, bearing Brahms's mark of ownership 'Wien Mai 1884' (Vienna,
extensive, by No. 9 of the Breitkopf& Härtel Popular Edition,
All Of these items, not merely the Czerny edition, contain annotations, often
DOMENICO SCARLATTI I SONATEN I fir Pianoforte. Volksausgabe No. 454 (Leip-
Brahms. I am indebted for all this information to Dr Otto Biba of the Gesellschaft der Musik-
freunde, Vienna.] zig: Breitkopf& Härtel, [C18821);

68
 Domenico Scarlatti: Keyboard Sonata in D minor
As we can see from Fig. la, the minor triad
on D is the underlying sonority of Fig. 1b shows the unfolding of the foreground in which what were origmally
the sonata. Here it is transmuted into the living
movement of the fundamental harmonic scale-stepsnow assert themselves as keys in therr own right. The initial
linear progression [die lebendigeBewegungdes
Urlinie-Gangesl 5—1.The Urlinie 5 is expanded, yielding a neighbour-note formation underpinned by the circle of
subdivides into two linear progressions:
and 5—1,each of which is decorated scale-stepsI—IV—V—I. The indivisible unity of the two progressions articulates the
with a neighbour note, the (see the brackets in
Fig. la). The second of these first triad of the Ursatz. Now a second, similar-sounding neighbour-note pattern
linear progressions enters by reaching over the
first. The bass describesan is grafted on as part of the Urlinie, and the neighbour note bb2 of this is articu-
ascending fifth-progression (I—V)in contrary motion
to the first linear progress- lated as a specialthird-progression. The twinned successionof neighbour-note
ion, 5—2.The neighbour note bb2 obstructs the natural
progressionof the bass designssets up a parallelism and constitutes a distinctive feature of this sonata. Just
from d l to f l via el , since it would give rise to consecutive fifths.
As a result, the how conscious this was in Scarlatti's mmd is shown by its repetition in Section
root cl , which stands proxy for the el , is extrapolated with the
effect of a passing 111.
note [mit Durchgangswirkung ausgeworfen]. Over the bass f l , 5—4—3
occurs in rapid The modulation into the key of harmonicscale-stepIll is an integral part of
succession,giving emphasis to the lil as a halfway stage between I and V (cf. this second neighbour-note pattern. Hence it is bound up with and arisesout of
Meisterwerk I, pp. 109ff/pp.58ff).7 When we reach the second fundamental linear the parallelismof the neighbour-note designs, which stand in a relationship to
progression, the tonicrzation of IV comes into prominence, its effect givmg each other rather like that of antecedent to consequent.Added to this is the
added force to the neighbour note bb2. unifying force of yet another parallel feature, which occurs in the Inner voice: the
This first traverse of the underlying diatonic content [Diatonie]has already way in which is answered by dl—cl (see the small brackets). In the work
revealed the formal design. The descending third a2—f2 in the Urlinie (above 1—111 of no other Italian composer would one find such economy of synthesis, so bold,
in bars 1—26)comprises Section I, the {130} drive towards the dominant (pro- so impressive. Parallelismsof this order echo up Incandescently from the deepest
ceeding from Ill to V in bars 27—34)the Central Section, and the repetition of the realms, it is true; yet the ear that can hear even the surface only perfunctorily will
fundamental linear progression (proceeding from V to I in bars 34—60) Section not pick up its resonance faithfully.
Ill. With the underlying structure so tightly knit, the diminution can scarcely Yet another parallelism follows Irresistibly upon the first: 3—2—1 comes about
itselffail to be propelled towards clearlydefined goals.8 as a response to the third-progression that is associatedwith the 4. The prolifer-
ation of the 1 into a series of ascending and descending third-progressions serves
No. 14 of Czerny's edition,
to confirm the key of F major. The ascendingthird-progressionhas the last
SämmtlicheI WERKE I dir das I PIANO-FORTE I von I DOMINIC SCARLATTI. word: the effect of the a , in addition to its reiterative value, is to build a bridge
(Vienna: Tobias Haslinger, [18391),reissued Paris: V. Launer [n.d.l); and before the start of the Central Section which reaches out across it to link up with
No. 10 in the Universal Edition (Barth), the a2 that opens Section Ill.
KLAVIERWERKE I . I VON DOMENICO SCARLATTI I ... GESAMMELT,NEU
REVIDIERT UND I MIT FINGERSATZUND VORTRAGSZEICHENVER- This ascendingthird-progressionhas importance, too, for the Central Section
SEHEN, ed. Heinrich Barth (Vienna: Universal Edition, [Preface: 19011). (the development), lending motivic significance to the bass as it advances from f
Nowadays the sonata is commonly identified as L.413, after Alessandro Longo, ed., Operecomplete to a. Beneath the f 2, which should be retained in the mind's ear, the inner voice,
per clavicembalodi Domenico Scarlatti (Milan: Ricordi, 1906—8), or as K.9, after Ralph Kirkpatrick, In order to avoid consecutivefifths with the bass, proceeds by an alternation
DomenicoScarlatti(Princeton: Princeton University Press, 1953).1 between 5 and 6. Just as the Inner voice reaches the f2, the bass, rather than
7
[Here Schenker explains that early composers, when writing in the minor key, like to shift to the
remaining static on a, leaps a fifth downwards to d, yielding 3 instead of 4 (see
major key on Ill. He explains that when Ill is used in conjunction with 3 it promotes the sequences
of falling fifths, Ill—VI—Il—V—I; the Short Prelude in E minor exemplifies this. Schenker stresses 'Elucidations', Fig. 6).
that the extended Ill is not a new key but only a composing-out of j.]
concerned,
8 [Cf. Derfreie Satz, S2S8:'Particularly where descending foreground diminutions are
be achieved only by reference to the middleground and can lead into an initial ascent [Anstiegl,a motion from an inner voice [Untergreifzugl or an
the clear definition of the goal-note can
. , or they
background. Goal-notes can actually be notes of the Urlinie . . or neighbour notes arpeggiation.'l

69
 The Masterwork in Music

The parallelismof with dl—clreturns in Section Ill, but this time with
even bolder effect than in Section I as an Integral part of the composing-out of
V, {131} as a result of which the major third is followed by the minor third Alle ro
in conjunction with the diminished fifth. The almost succeedsin
bringing about a tonicization of IV, giving the effect of in G minor
(see Harmonielehre,p.346).9 In just such voice-leading procedures as these we
cannot but admire the exalted contrapuntal art of Scarlatti. It is these procedures
which take it far beyond anything that his forerunners could have dreamt of,
beyond even that which his contemporaries, and also today's historians, recog-
nized as counterpoint per se.
Xonsonanter
Turning now to the Foreground Graph, we find a fresh flush of diminutions IS
burgeoningfrom the third-, fourth- and fifth-progressions.
In bars 1—4,the bass articulates the progression I—Vas a melodically unfolded
[descending] fourth-progression rather than an ascending fifth-progression. The
parallelism between and d l—cl which is included in this progression (bars
1—2)affords the inner voice the opportunity for its own motive. That is the
sowing of the seed (see Tonwille4, p.22), 10now follows the harvest in the counter-
play and d l—cl in the inner voice in bars 3—4and bars 5—11(see the large rv-v—l 11m
I-av)v 1 D moa
bracket).
40
On the downbeat of bar 3, the fourth-progression of the bassintroduces first
ofall bb, the third ofthe harmonic scale-step IV. If we substitute the root g at that
point, we can see In its true light the 5—6progressionin the Inner voice. Of
course, Scarlatti was then obliged to introduce the root g on the weak beat of the
bar; otherwise the progression into the following bar would have incurred con-
secutive octaves with the treble.
s
9 [Under S140 ('Schema of Tonicizations') Schenker sets out in tabular form a series of schemata by re=rv
OConsonanter
which tonicizations may come about. This section is omitted from Harmony(seethe parenthetical
note on p.263).J
10[Here Schenker writes: 'The great masters of German music have not madethe art of music;
rather, they are the art of music itself. By an unfathomable act of grace on the part of the Creator
who has sown and harvested all things, they have been allowed to sow and harvest in the realm of
music. But however little man does towards God's sowing of the seed, he may take away from
the harvest as much as ever he is able; however little he does towards the seed-sowing of those
masters, he may take away from their harvest as much as his heart desires. A seed takes root and
grows —who can say whether it has grown of its own power, or whether genius has fostered it.
Something whole has come into existence—who can say what is attributable to the potency of
whole is
matter, and what has been contributed by genius. Always, however, that which emerges
predetermined by a single seed; likewise, in the small world of musical sounds, the law of Nature
at large is brought to bear.' See also Tonwille 7, p.4.l Foreground Graph

70
 Domenico Scarlatti:Keyboard Sonata in D minor
The unfolding of the descending sixth bbl—dlin
bars 5—7representsan
expansionof the arpeggiated sixth [bb2—d2]
in bar 3. The inverse,an ascending
sixth-progression, c —alin bars 8—11,follows in response to the arpeggiated
sixth
[4 2—a21 in bar 4. Both linear progressionsare, however, under the control
of
the third-progression of bars 5—12(cf. Fig. 1b).The bassmotive from
bars 1—2is brought to full realization and integration in the inner voice in bars
13—14(see the bracket(s)). The last two quavers of bar 14, c3—bb3 [recte:e—bb2], an
octave followed by a seventh, prepare the way firmly for 3—2—1,
the return of the
third-progressionof the Urlinie in barfs 15—116.
Prepared by its citation in bars 13—14, the motive from bars 1—2plays an even
more crucial role in the synthesis at bars 16—26—and this is just the point at
which the theorists talk in terms of a second subject of sonata form. This subject
does indeed strongly resemble the inner-voice motive of the first subject.Yet
there is a difference that affects the situation significantly: in the antecedent of the
first subject [bars 1—41 the notes 5 6 S of the Urlinie, albeit well concealed,
attract greater importance than the diminution-motive in the Inner voice,
whereas in bars 16ff the motive itselfnow occupies the registerof the Urlinie.
{132} The Foreground Graph shows the interplay of imitations,overlapping
in stretto-like fashion in bars 16ff. In the course of this, the trill-sign marks each
entry in turn! The motive appears In augmentation in bars 18—20, the passage
giving also the effect of an imperfect cadence. The leaps of a fourth that occur
repeatedlyin the bass in bars 16ffhave their origm and initial statement in the
leap of a fourth in bar 15 (see the dotted slurs). The lower register is introduced in
bars 21—4,giving the effect of a consequent phrase; and yet the exact repetition of
bar 16 is lacking at this point. The consequent phrase starts directly at the
repetition of bar 17, with the al above f l in bar 21 replicating the state of affairs
that the
previously reached by bars 17—18(see also bars 24ff). It is for this reason
to this is
consequent phrase is one bar shorter than the antecedent phrase. Added
in bar 18, and
the fact that the low C has already been sounded once in the bass
the effect of the low bass register
that it is hence no longer necessary to reinforce
the C.
in the consequent by means of a threefold repetition of
play in bar 27, and it
The Inner-voice motive from bars 1—2comes back into
subject. At the same time, the
once again lies in the inner voice as it did in the first
forward from Ill to V, which in itself
Incorporation of the motive into the drive
1b), requires readjustments
necessitatesthe alternation between S and 6 (see Fig.
Graph. As this progression ends, the
which can readily be seen in the Foreground
of bar 2, the second
notes f in bars 33—4stand out, effecting an augmentation
half of the motive. Yet agam we have a parallelism,this one heighteningthe
synthesis and leading into the recapitulation.
l
In bars 36—7the progression bb —al , established in bar 35, undergoes a change
of register. The third-progression bb marked in the Foreground Graph is
sounded while that takes place, and can be explained as a diminution of the lowest
order, as discussedbelow.
The ultimate profunditiesof the art of diminution are, of course, not fully
revealed until the final notated text. 11The motive in bars 1—2is embellished in
quavers, the first four of which, foreshadow the entire motive! The
2
leaping fifth and octave of the quaver figure in the second half of bar 1, e —a1 and
a —al , lend a pastoral quality to the piece. Noteworthy also is the way In which a
is maintained by the quaver figuration in the right and left hands.
The presenceof the neighbour note In the Urlinie is highlighted by an
exchange of diminution tn bars 3—4.We witness unmistakably in bar 3 the
miracle of a new diminution being born: the octave bb—bb 2 is due to appear on
the downbeat of this bar (seethe Foreground Graph), but the diminution avoids
it, commuting the octave into the more fitting sixth by introducing g (in place
of bb2), and holding back the bb2 until the second quaver. This manoeuvre has
2, {133} and likewise e2—g2 on the fourth and fifth
opened a gap of a third, g2—bb
quavers,which now acts as a marker for the partitioning of the Imear sixth-
progressionbb2—d
2 into two motlvic segmentsof the lowest order. Yet at the
same time the true voice-leading emerges, with the e2 on the fourth quaver (see
-
above), as IV5 6. The e2 of bar 2 should have led directly to d2 in bar 3, were the
appearance of the latter not delayed so as to conclude the downward surge across
a sixth in the final semiquaverof bar 3. The arrival of the d2 at this point is
perfectlytimed to provide the anticipationof the d2 in bar 4. The semiquaver
movement of the fifth-progression al—dl in bar 4 points up the fact that this bar
belongs to a diminution-group spanning bars 3—4.
Observe how each of the notes of the descending sixth-progression in bars 5—7
is initiated by an appoggiatura [Vorhaltl:these are triggered off by the appoggia-
tura in bar 4 —thus in the final unfolding of diminutions yet another flight of
synthesisnow joins the linear progressions which have flowed in profusion from
the layers of voice-leadingshown in Fig. 1b and the Foreground Graph. Only
now, in the light of this proliferationof the appoggiatura,are we really in a
[The text of this sonata, taken from the first edition (Esserciziper gravicembalo,London, 1738),
repr. in DomenicoScarlatti:CompleteKeyboardWorks, ed. Ralph Kirkpatrick, vol. I (New York:
Johnson Reprint Corporation, 1972),is reproduced in the Appendix of scores (p.125).I

71
 The Masterwork in Music
position to understand the descending register-transfer of the sixth-progression:
it is most certainly no arbitrary play of registers:on the contrary, it is born of
necessity, and the process happens before our very eyes. Semiquavers reappear in
bars 8—10:the exchange of diminution expressly underlines the consonant
passing-noteprogression. Thus the movement of quavers and semiquaversin
bars 5—11is analogous to that in bars 1—4.
Were it not for the last-minute spurt of demisemiquaversin bar 11, the
semiquavers alone would have led up only to bb2, thus spoiling the overall design
of bars 8—11.Instead, thanks to this acceleration, c3 is reached at the peak, and a
fourth-progression, c3—g2, is conjured up at the last moment, in place of the
third-progression bb2—g2 (see Fig. 1b and the Foreground Graph). The presence
of the c3 in turn prompts in bars 12—13 the recurrence of the octave leap from
bar 1, and then eventually in bars 14—15the fifth-progression c3—f2. Ultimately,
despite the e, throughout bars 12—14bb2 is still the prevailing force, as 4 of the
Urlinie. Nevertheless, the extra tension of the c3 has a special significance;the
octave sounds before the seventh and reinforces the function of the [bb2 as]
passing note. At the same time, it is essentialfor the synthesisthat the way shall
have been paved for the c3 in bar 14 by its various occurrences in the preceding
bars.
The voice-leadingin bar IS may be interpreted as follows. The a2, as 3, is
composed out into a descendingthird-progression.In consequencee, which
properly speaking belongs to the inner voice, comes to light in the treble, and the
double appoggiatura over V appearsin inverted form: 6-5Insteadof 4-3.The
continued presenceof the a is then diverted to a in the inner voice. Bar 23, m
which the voice-leading presents the double appoggiatura patently in the form
{3, confirms this as the only explanation.
Yet another miracle of synthesis now occurs. For it is the notes f —g {134} on
the offbeat of bar IS that serve in bar 16 as a springboard for the reintroduction of
the motive from bars 1—2. With the readjustment ofharmonic functionscomes a
shift in meaning for the notes themselves: the g2 on the fifth quaver of bar IS is an
embellishment of the appoggiatura (cf. bar 23), whereas the g2 in bar 16 is a
passmg note. What follows this passing note on the last quaver of bar 16 is not e
but e, for it was imperative that conditionsbe createdunder which the g in
bar 16 could have the effect not of an appoggiatura, as In bar 15,but of a passing
note in accordance with [the e2in] the motive [in bar ll. Moreover, the keyboard
2
writing capitalizes on this establishment of the [g asl passing note by avoiding e
right up to bar 18. But at the same time, the relationshipof the leap of a fifth,
72
unmistakable. The demisemi-
to the octave leap in bars 1, 12 and 13 is
g2—c2,
quaver run in bar 24 articulatesthe passing note g, carrying it aloft from the
one-line octave to the next higher octave (see the Foreground Graph). The
octave leap entailed by this connects back not only to the octave leaps in bars 12
and 13 but also to that in bar l.
The unfolding of diminutions in the development section is particularlyele-
gant. The al in bar 28 does not return to g as motivic considerations might sug-
gest; it leaves that possibility to a lower inner voice. Instead, it drives upwards to
c2 and on up to eb2, so as to effect an alternation of 5—6(see Fig. 1b and the Fore-
ground Graph). However, in bar 29 the al pays its dues by returning to
This manoeuvre was always Inevitable, for the bass progression eb—druled out
the return of eb2—d2. This situation recurs in the bars that follow.
The transferof the bbI—a
l motive up to the register of the Urlinie runs into
difficulties in bars 36—7(see above). It is clear that the bb2 cannot appear
unheraldedon the downbeat of bar 36: the octave leap between the fourth and
fifth quavers first forms a bridge up to the register of the Urlinie. Conversely, the
eb on the offbeat of bar 37 was itself in need of some preparation, and this is
provided by way of the upward step in the bass, d2—ebl [recte:d l—eb l], which is
then followed by the falling third ebI—cl . However, because the ascent a2—bb2 was
irreconcilable with that [dl—ebl] (because of consecutive fifths), the a2 had first to
fall to g2 and only then to move up to bb2. The demands that the voice-leading
l—
placed upon him gave Scarlatti the inspiration for the third-progression bbI—a
gl in the inner voice (see the Foreground Graph).
A few text-criticalnotes. The edition by Czerny deserves mention first. In
place of the three-bar phrase bars 21—3there appears a four-bar phrase:13
T. 21
12 [See note 6: the sonata appears in Lieferung No. 2, on pp. 14—1
likewise bar 56.)
s. Bar 22 is repeated exactly, and
13 [The remaining music examples are not in Schenker's original
publication; they have been in-
cluded here for sake of clarification.]
 Domenico Scarlatti: Keyboard Sonata in D minor
Whether or not Czerny was the first
to interpolate the extra bar I cannot tell, enough, he too includesCzerny's four-bar rather than three-bar phrase. The final
but later editors certainly base their
readings on his. bar of Section I, to which Czerny has already erroneously added a fermata, is
{135} Tausig's concert arrangement
of the sonata 14(transposed into E minor) extended by Tausig into a two-bar umt complete with fermata. Again, as in
constitutes a desecration of the original in
preciselythe latter's most exemplary bar 17, he places the trill in the treble rather than [recte:as well as] the inner voice:
features. In the bass at bar S he introduces
leaps which confirm the home key ever
more firmly, rather than leading away from it
as Scarlatti'splan intended: (a) Tausig
T. 24

3
ntand0 o tempo ma 'em re PP dolce

In bar 12 he introduces the third of the dominant [of G major] right away,
Instead of avoiding it until the final quaver of bar 15:
T. 12
(b) Czerny

roll.
He alters the lowest voice on the offbeat of bar 14, failing to realizethat the cl in
the origmal connects up with the cl [ = dl in Tausig] of bar 12.In bars 17—18 he
destroys the interplay of imitations by incorrect use of the trill, placingit in the
treble instead of in the Inner voice:
(c) Scarlatti
T. 16

In bar 18 he reduces the impact that the third of the dominant has when at long
last it appears, by a gratuitous extrapolation of the root of the chord.15Sure

Domenico Scarlatti. Where, in bars 32—3,Scarlatti deliberately resolves the el [ = in Tausig] of

14 (Zwei SONATEN I (Pastorale und Capriccio) I fir I Pianoforte I von I
Für den Concertvortrag I bearbeitet I von I CARL TAUSIG.
(Leipzig: Bartholf Senff [n.d.l)l the inner voice on to dl [ = ell so as not to interfere with the f 1 [ = gil of bar 35,
recognized in Schenker's theory; see Tausig resolvesit in the wrong direction [on to fl ( = gl in Tausig)],with
15 [Auswerfung des Grundtones. This is, howcvcr, a procedure
Derfreie Satz, S247. See also note S in the following essay.I complete disregard for bar 3S:

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 The Masterwork in Music
(a) Tausig
T. 32 To cap it all, in bar 36 he contravenes the original voice—leadingby failingto
perceive the crucial parallelism of bar 35 and bars 36—7.He thus clumsily
anticipateson the offbeat of bar 36 the chord that Scarlatti's voice-leadinghas
studiously avoided, and towards which it, in a stroke of sheer gemus, aims on the
offbeat of bar 37. What is left of Scarlatti in such an arrangement the reader may
judge for himself.Yet the only way Tausig could come to grips with Scarlatti
was through very desecrationof him! Neither [the sonata's] synthesisnor its
keyboard figuration had any attraction for him. For his ears and those of his
contemporaries, he had to create an imaginary Scarlatti whose false attractiveness
could give gratification.

(b) Scarlatti

74