Abstract
The solitary words ‘oytabado’ and ‘tortorilla’ inserted between the staves at bars 37 and 64 respectively in both the Venice and Parma versions of Domenico Scarlatti’s Sonata in C major k255 have been the subject of much speculation (see J. Sheveloff, ‘Domenico Scarlatti: tercentenary frustrations (part II)’, Musical Quarterly, lxxii/1 (1986), pp.90–118, at pp.98–9; L. F. Tagliavini, ‘Remarks on the compositions for organ of Domenico Scarlatti’, in Bach, Handel, Scarlatti: tercentenary essays, ed. P. Williams (Cambridge, 1985), pp.321–5, at p.323). The various theories, which have been summarized by Malcolm Boyd (Domenico Scarlatti: master of music (London, 1986), p.178), invoke organ stops, an old Portuguese dance, and birdsong. Each of these theories is disputed by one or other of the three authors; Boyd’s reluctance to link ‘oytabado’ with a Portuguese dance, because of the placement of the word in the score, is further supported by Scarlatti’s failure to similarly label other sonatas which have been putatively identified as dances (see J. Clark, ‘Domenico Scarlatti and Spanish folk music’, Early Music iv/1 (1976), pp.19–21).
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