Iberian flavours emerging from Domenico Scarlatti’s and Carlos Seixas’ harpsichord sonatas

Abstract

The keyboard sonatas of Domenico Scarlatti have been for long among the favorite of repertoire choices of harpsichordists and pianists: his music is not only appreciated in view of the virtuosic challenges placed upon the interpreter, but also due to the many expressive pages of the slower works, particularly stimulating to exploitation within the immense potential features of the modern piano. Among the characteristics repeatedly associated with Scarlatti’s musical language, there is a recurrent mention to the Spanish influence, especially due to the frequent use of Phrygian elements. The lesser known Portuguese composer Carlos Seixas also uses these Phrygian elements in his numerous harpsichord sonatas. This article intends demonstrate that the Phrygian elements are common to both composers and that the traditionally designated ‘Spanish’ influence on Scarlatti’s music, could be better designated as ‘Iberian’, since Scarlatti lived in Portugal for a period of seven years and was under the influence of Portuguese music and in close contact with Carlos Seixas, prior to moving to Spain.