Abstract
The term Cantabile appears in the principal sources (Parma and Venice) of nearly twenty keyboard sonatas by Domenico Scarlatti. The characteristics of these sonatas are examined alongside the explanations of Cantabile given by the Italian eighteenth-century musicians Tartini and Tosi. The recurrence in these sonatas of specific types of ornamentation and notated tempo rubato is discussed, as well as implications for the choice of instrument. The findings of J. H. van der Meer's 1997 article ‘The Keyboard String Instruments at the Disposal of Domenico Scarlatti’ are considered, particularly his analysis of keyboard ranges with regard to available types of harpsichord and piano. This raises the relationship of these sonatas to the pianos available to Scarlatti first in Italy, then in Lisbon and Spain. But it is possible too that his concept of Cantabile is a style of composing that can be realised in harpsichord performance.
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