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Published online by Cambridge University Press: 01 January 2020
When I chose the title of this paper, not without difficulty, some months ago, I had in mind only the unique nature of Domenico Scarlatti's keyboard compositions themselves, for my approach to this composer had always been musical rather than bibliographical or historical. I am, indeed, no bibliographer or historian, but merely a practical musician whose only qualification to speak on Scarlatti's works is that of having long known them fairly intimately with my fingers. I have played each one of the 550 Scarlatti pieces I possess several times, and a great many of them countless times, though never upon the type of instrument for which they were designed. To my infinite regret I am not a harpsichordist, but in playing my Scarlatti illustrations on the piano I am fortified by a remark made by our President at the first meeting of the Session, to the effect that in performing early music upon modern instruments, musicians were interpreting it as a living art.
