References – Texting Scarlatti

The following selective bibliography has been created in Zotero and output in MHRA format. Other formats are available on request.

Accademia Musicale Chigiana Musicologia (ed.). 1990. Atti del convegno di studi ‘Domenico Scarlatti e il suo tempo’ : Siena, 2-4 sett. 1985, Chigiana, 40 (Firenze: Olschki)
Alfreds, Mike. 2014. Different Every Night: Freeing the Actor (New York: Nick Hern Books)
Alonso-Gómez, Miguel, Laura Alvini, and Eveline Andreani (eds). 1986. Domenico Scarlatti: 13 recherches ; à l’occasion du tricentenaire de la naissance de Domenico Scarlatti célébré à Nice lors des Premières Rencontres Internationales de Musique Ancienne ; actes du colloque international de Nice 1985, Cahiers de la Société de Musique Ancienne de Nice, 1, Rencontres Internationales de Musique Ancienne (Nice: Société de Musique Ancienne de Nice)
Alvarenga, João Pedro P. d’, and Águeda Pedrero-Encabo. 2019. ‘Domenico Scarlatti in Portugal and Spain’, in The Cambridge Companion to the Harpsichord, ed. by Mark Kroll, Cambridge Companions to Music (Cambridge: Cambridge University Press), pp. 201–10
Álvarez Martínez, Rosario. 1984. Obras ineditas para tecla, Publicaciones de la Sociedad Española de musicología. Sección E: cuadernos de música antigua, 2 (Madrid: Sociedad Española de Musicología)
——. 1985. ‘Dos obras inéditas de Domenico Scarlatti’, Revista de Musicología, 8.1, pp. 51–56
——. 1988. ‘Una nueva sonata atribuida a Domenico Scarlatti. Estudio y transcripción’, Revista de musicología, XI.3, pp. 883–93
Anglès, Higinio. 1948. ‘El archivo musical de la catedral de Valladolid’, Anuario musical, 3, pp. 59–108
Baciero, Antonio (ed.). 1978. ‘“Valladolid Sonatas” nos. 1–3’, in Nueva biblioteca española de música de teclado (Madrid: Union Musical Española), iii, pp. 37–50
Baiano, Enrico, and Marco Moiraghi. 2014. Le sonate di Domenico Scarlatti, contesto, testo, interpretazione (Lucca: Libreria Musicale Italiana)
Barbrook, Adrian C., and others. 1998. ‘The Phylogeny of The Canterbury Tales’, Scientific Correspondence, Nature, 394.27 August, p. 839
Biddau, Giulio. 2025. ‘Inside Vienna G’, Sounding Board, no. 23 (October), pp. 35–46 <https://www.harpsichord.org.uk/wp-content/uploads/2026/04/SB23R.pdf>
Blayney, Peter W. M. 1982. The Texts of King Lear and Their Origins. Vol. 1: Nicholas Okes and the First Quarto, New Cambridge Shakespeare Studies and Supplementary Texts Series (Cambridge: Cambridge University Press)
Bordas, Cristina. 2003. Catálogo de instrumentos musicales en colecciones españolas, 2 vols (Madrid: Ministerio de Educación y Cultura)
——, and Rafael Marijuán. 2009. ‘El taller de un “Clavicordiero” del siglo XVIII’, in Domenico Scarlatti in Spain, ed. by Luisa Morales (Almería: LEAL), pp. 227–40
Boulanger, Richard. 1988. Les innovations de Domenico Scarlatti dans la technique du clavier (Béziers: Société de Musicologie de Languedoc)
Boyd, Malcolm. 1986. Domenico Scarlatti–Master of Music (London: Weidenfeld & Nicolson)
——. 1988. ‘Die kirchenmusik von Domenico Scarlatti’, Kirchenmusikalisches Jahrbuch, 72, pp. 117–25
——. 1990. ‘Scarlatti sonatas in some recently discovered Spanish sources’, Atti del convegno di studi ‘Domenico Scarlatti e il suo tempo’ : Siena, 2-4 sett. 1985, pp. 57–67
——, and Juan José Carreras (eds). 1998. Music in Spain during the Eighteenth Century (Cambridge: Cambridge University Press)
——, and Roberto Pagano. 2014. ‘Scarlatti, (Giuseppe) Domenico’, in Grove Music Online (Oxford University Press) <https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-6002278251> [accessed 26 April 2026]
Brauchli, Bernard, Alberto Galazzo, and Ivan Moody (eds). 2005. De clavicordio (Magnano: Musica Antica Magnano), VI
Bryant, D. 2003. ‘Neighbor-Net: An Agglomerative Method for the Construction of Phylogenetic Networks’, Molecular Biology and Evolution, 21.2, pp. 255–65, doi:10.1093/molbev/msh018
Choi, Seunghyun. 1974. ‘Newly Found Eighteenth-Century Manuscripts of Domenico Scarlatti’s Sonatas and Their Relationship to Other Eighteenth- and Early Nineteenth-Century Sources’ (unpublished PhD dissertation, University of Wisconsin)
Churchill, W. A. 1935. Watermarks in Paper in Holland, England, France, Etc. in the XVII and XVIII Centuries and Their Interconnection (Amsterdam: M. Hertzberger)
Clark, Jane. 1976. ‘Domenico Scarlatti and Spanish Folk Music: A Performer’s Reappraisal’, Early Music, 4.1, pp. 19–21
——. 1985. ‘“His Own Worst Enemy.” Scarlatti: Some Unanswered Questions’, Early Music, 13.4, pp. 542–47
——. 1986. ‘La portée de l’influence andalouse chez Scarlatti’, in Domenico Scarlatti: 13 recherches, ed. by Miguel Alonso-Gómez, Laura Alvini, and Eveline Andreani, Cahiers de la société de musique ancienne de Nice (Nice: Société de Musique Ancienne de Nice), i, pp. 63–67
Cook, Nicholas. 2013. Beyond the Score: Music as Performance (New York: Oxford University Press)
——. 2015. ‘Performing Research: Some Institutional Perspectives’, in Artistic Practice as Research in Music: Theory, Criticism, Practice, ed. by Mine Doğantan-Dack (Farnham, Surrey: Routledge), pp. 11–32
Cuervo, Laura. 2015. ‘El manuscrito Ayerbe: una fuente española de las sonatas de Domenico Scarlatti de mediados del siglo XVIII’, Ad Parnassum Studies, 13.25, pp. 1–26
Daw, Stephen. 1985. ‘Muzio Clementi as an Original Advocate, Collector and Performer, in Particular of J. S. Bach and D. Scarlatti’, in Bach, Handel, Scarlatti: Tercentenary Essays, ed. by Peter Williams (Cambridge: Cambridge University Press), pp. 61–74
Derr, Elwood. 1987. ‘Handel’s use of Scarlatti’s “Essercizi per Gravicembalo” in his opus 6’, Göttinger Händel-Beitrage, 3, pp. 170–87
Doderer, Gerhard. 1991. ‘New aspects concerning the stay of Domenico Scarlatti at the court of King John V (1719–1727)’, in Libro di tocate per cembalo–Domenico Scarlatti, ed. by Gerhard Doderer and Cremilde Rosado Fernandes (Lisbon: Instituto Nacional de Investigação Científica), pp. 7–52
Dowd, William. 1986. ‘Le clavecin de Domenico Scarlatti’, in Domenico Scarlatti: 13 recherches ; à l’occasion du tricentenaire de la naissance de Domenico Scarlatti célébré à Nice lors des Premières Rencontres Internationales de Musique Ancienne ; actes du colloque international de Nice 1985, ed. by Miguel Alonso-Gómez, Laura Alvini, and Eveline Andreani, Cahiers de la Société de Musique Ancienne de Nice (Nice: Société de Musique Ancienne de Nice), i, pp. 99–95
Dufourcq, Norbert. 1957. ‘Un manuscrit de pièces de clavecin aux Archives départementales de Seine-et-Oise’, XVIIe siècle, 34.March, pp. 113–15
Duron, Jean. 2010. ‘La recepción de la obra de Domenico Scarlatti en Francia’, in Sevilla y corte. Las artes y el lustro real (1729–1733) (Madrid: Casa de Velázquez), pp. 313–28
Erro, Sara, and José María Domínguez. 2008. ‘Las sonatas de Scarlatti y su entorno: análisis contextual desde una perspectiva codicológica’, Reales Sitios, 177, pp. 48–64
Ester-Sala, María. 1989. ‘Dos sonatas de Domenico Scarlatti: un tema abierto’, Revista de Musicología, 12.2, pp. 589–95
——. 1992. ‘D. Scarlatti – E. Granados: noticia sobre la localización de un manuscrito de tecla extraviado’, in Livro de homenagem a Macario Santiago Kastner, ed. by Maria Fernanda Cidrais Rodrigues, Manuel Rais, and Rui Vieira Nery (Lisboa: Fundação Calouste Gulbenkian, Serviço de Música), pp. 229–52
Ester-Sala, María A. 1988. ‘Un manuscrit scarlattià retrobat’, Revista musical catalana, V, p. 221
Fabris, Dinko, and Paologiovanni Maione (eds). 2020. Domenico Scarlatti: musica e storia (Napoli: Turchini edizioni)
Fadini, Emilia. 1986. ‘Hypothèse à propos de l’ordre des sonates dans les manuscrits vénitiens’, in Domenico Scarlatti: 13 recherches ; à l’occasion du tricentenaire de la naissance de Domenico Scarlatti célébré à Nice lors des Premières Rencontres Internationales de Musique Ancienne ; actes du colloque international de Nice 1985, ed. by Miguel Alonso-Gómez, Laura Alvini, and Eveline Andreani (Nice: Société de Musique Ancienne de Nice), pp. 43–51
——. 1990. ‘La grafia dei manoscritti scarlattiani: problemi e conservazioni’, in Atti del convegno di studi ‘Domenico Scarlatti e il suo tempo’ : Siena, 2-4 sett. 1985, ed. by Accademia Musicale Chigiana Musicologia, Chigiana, 40 (Firenze: Olschki)
——. 2008. ‘Domenico Scarlatti: integrazione tra lo stile andaluso e lo stile italiano’, in Domenico Scarlatti adventures. Essays to commemorate the 250th anniversary of his death, ed. by W. Dean Sutcliffe and Massimilano Sala (Bologna: Ut Orpheus Edizioni), pp. 155–96
——. 2010. ‘L’influenza della música arabo-andalusa in Scarlatti: i principali criteri interpretativi’, in Domenico Scarlatti: musica e storia (Napoli: Turchini edizioni), pp. 291–306
——. 2024. ‘Ósmosis entre modalidad flamenco y tonalidad en Domenico Scarlatti’, in Domenico Scarlatti Forwards and Backwards, ed. by Luisa Morales, Studies in Spanish Keyboard Music, 7 (Almería: FIMTE), pp. 153–66
——, and Marco Moiraghi (eds). 1978. Domenico Scarlatti: sonate per clavicembalo, 10 vols (Milano: Ricordi)
Fernandes, Cristina. 2018a. ‘María Bárbara de Bragança’s music library and the circulation of musical repertoires in 18th century Europe’, in Le stagioni di Niccolò Jomelli, ed. by Maria Ida Biggi and others (Napoli: Turchini edizioni), pp. 901–29
——. 2018b. ‘María Bárbara de Braganza y la cultura musical europea del siglo XVIII’, Scherzo, 338.March, pp. 76–85
Fuller, David. 1985. ‘The “dotted Style” in Bach, Handel, and Scarlatti’, in Bach, Handel, Scarlatti: Tercentenary Essays, ed. by Peter Williams (Cambridge: Cambridge University Press), pp. 99–117
García Gutiérrez, Emma Virginia. 2014. ‘Presencias femeninas en la vida y obra de Domenico Scarlatti’, Quadrivium, 5, pp. 1–18
Gerstenberg, Walter. 1933. Die klavierkompositionen Domenico Scarlattis (Regensburg: G. Bosse)
Gilbert, Kenneth. 1971. D. Scarlatti. Sonates, 11 vols (Paris: Heugel)
——. 1990. ‘Riflessioni sull’ edizione del tricentenario’, in Atti del convegno di studi ‘Domenico Scarlatti e il suo tempo’ : Siena, 2-4 sett. 1985, ed. by Accademia Musicale Chigiana, Chigiana, 40 (Firenze: Olschki), pp. 173–81
González Valle, José V. 1990. ‘Fondos de música de tecla de Domenico Scarlatti conservados en el archivo capitular de Zaragoza’, Anuario musical, 45, pp. 103–16
Gustafson, Bruce (ed.). 2019. The Worlds of Harpsichord and Organ. Liber Amicorum David Fuller, Festschrift, 28 (New York: Pendragon Press)
——, and David Fuller. 1990. A Catalogue of French Harpsichord Music 1699–1780 (Oxford: Clarendon Press)
Haas, Arthur. 1986. ‘La practique de la modulation dans les sonates de Domenico Scarlatti’, in Domenico Scarlatti: 13 recherches ; à l’occasion du tricentenaire de la naissance de Domenico Scarlatti célébré à Nice lors des Premières Rencontres Internationales de Musique Ancienne ; actes du colloque international de Nice 1985, ed. by Miguel Alonso-Gómez, Laura Alvini, and Eveline Andreani, Cahiers de la Société de Musique Ancienne de Nice (Nice: Société de Musique Ancienne de Nice), i, pp. 57–62
Hackforth, Reginald (trans.). 1972. Plato’s ‘Phaedrus’ (Cambridge: Cambridge University Press)
Häger-Ross, Charlotte, and Marc H. Schieber. 2000. ‘Quantifying the Independence of Human Finger Movements: Comparisons of Digits, Hands, and Movement Frequencies’, The Journal of Neuroscience, 20.22, pp. 8542–50, doi:10.1523/JNEUROSCI.20-22-08542.2000
Hail, Christopher, and Michael O’Connor. 2017. Scarlatti Domenico: A New Look at the Keyboard Sonatas of Domenico Scarlatti for People Who Use Both Sides of Their Brain (New York: Protean Press) <http://web.archive.org/web/20140911064422/http://mysite.verizon.net/chrishail/scarlatti/index.html>
Halton, Rosalind. 2010. ‘Scarlatti Father and Son: A Musical Relationship’, in Domenico Scarlatti: Musica e Storia, ed. by Dinko Fabris and Paologiovanni Maione (Napoli: Turchini edizioni), pp. 1–24
Hughes-Hughes, Augustus (ed.). 1909. Catalogue of Manuscript Music in the British Museum (London: British Museum), III
Ife, Barry. 1985a. Scarlatti (Sevenoaks: Novello)
——. 1985b. ‘Verhaal-archetypen in de biografie van Domenico Scarlatti’, in Domenico Scarlatti 1685-1985, Tirade, 301 (Amsterdam: Oorschot), pp. 84–101
——. 2002. ‘Dutton LB1 and the Sources of Garci Sánchez de Badajoz’, in Spanish Poetry of the Golden Age: Papers of a Colloquium Held at University College Cork, ed. by Stephen F. Boyd and Jo Richardson, Manchester Spanish & Portuguese Studies, 12 (Manchester: Dept. of Spanish & Portuguese Studies, University of Manchester) <https://ems.kcl.ac.uk/content/pub/b007.html#fn01>
——. 2019. ‘Narrative Archetypes in the Biography of Domenico Scarlatti’, Sounding Board, 13, pp. 9–19 <https://www.harpsichord.org.uk/wp-content/uploads/2020/03/SoundingBoard13.pdf>
——. 2020. ‘Culture wars or cultural diplomacy? The politics of Scarlatti’s Essercizi’, in ‘Cedere il passo al sogno’: l’esperienza musicale di Emilia Fadini, ed. by Marco Moiraghi (Lucca: Libreria Musicale Italiana), pp. 47–58
——. 2023. ‘Texting Scarlatti’, Eighteenth Century Music, 20.2, pp. 215–17, doi:10.1017/s1478570623000106
——, and others. 2024. ‘“Texting Scarlatti”: Unlocking a Standard Edition with a Digital Toolkit’, Journal of New Music Research, 15 October, pp. 259–76, doi:10.1080/09298215.2024.2408266
——. 2025. ‘Scarlatti in Sweden’, Sounding Board, no. 23 (October), pp. 61–76 <www.harpsichord.org.uk/wp-content/uploads/2026/04/SB23R.pdf>
——, and Jasper van der Klis. 2025a. ‘About “Texting Scarlatti: Composition, Reception, Performance”’, Sounding Board, no. 23 (October), pp. 4–17 <https://www.harpsichord.org.uk/wp-content/uploads/2026/04/SB23R.pdf>
——, and Jasper van der Klis. 2025b. ‘Kirkpatrick Supplement of Attributed and Attributable Sonatas’, Sounding Board, no. 23 (October), pp. 77–89 <https://www.harpsichord.org.uk/wp-content/uploads/2025/10/SB23b.pdf>
——, and Roy Truby (eds). 1986a. Early Spanish Keyboard Music Vol 3. The Eighteenth Century (Oxford: Oxford University Press)
——, and Roy Truby. 1986b. ‘Introduction’, in Early Spanish Keyboard Music Vol. 3. The Eighteenth Century (Oxford: Oxford University Press), pp. 4–7
Johnsson, Bengt. 1981. ‘Eine unbekannte sonate von Domenico Scarlatti’, Die musikforschung, 34.3, pp. 309–10
—— (ed.). 1985. ‘“Montserrat Sonatas” nos. 1–4’, in Domenico Scarlatti: ausgewählte klaviersonaten (München: Henle), i, pp. 81–90
Kenyon de Pascual, Beryl. 1988. ‘Domenico Scarlatti and His Son Alessandro’s Inheritance’, Music and Letters, 69.1, pp. 23–29
——. 2003. ‘Diego Fernández Caparrós y sus instrumentos’, in Claves y pianos españoles: interpretación y repertorio hasta 1830, ed. by Luisa Morales (Almería: Instituto de Estudios Almerienses), pp. 101–06
Kirkpatrick, Meredith (ed.). 2017. Reflections of an American Harpsichordist: Unpublished Memoirs, Essays and Lectures of Ralph Kirkpatrick, Eastman Studies in Music, 140 (Rochester, NY: University of Rochester Press)
Kirkpatrick, Ralph. 1953a. Domenico Scarlatti (Princeton: Princeton University Press)
——. 1953b. Domenico Scarlatti. Sixty Sonatas (New York: Schirmer)
——. 1963. Domenico Scarlatti, revised (Princeton: Princeton University Press)
——. 1971. ‘Scarlatti Revisited in Parma and Venice’, Notes: The Quarterly Journal of the Music Library Association, 28.1, pp. 5–15
——. 1973. ‘Who Wrote the Scarlatti Sonatas?–A Study in Reverse Scholarship’, Notes: The Quarterly Journal of the Music Library Association, 29.2, pp. 426–31
Klis, Jasper van der. 2025. ‘Compiling Scarlatti: The Münster Volumes in the Santini Collection’, Sounding Board, no. 23 (October), pp. 25–34 <https://www.harpsichord.org.uk/wp-content/uploads/2025/10/SB23b.pdf>
——. 2026a. ‘Domenico Scarlatti in the Netherlands: A Hitherto Unknown Scarlatti Printed Edition’, Texting Scarlatti, Discussion Item C4
——. 2026b. ‘When in Rome? New Discoveries from the Münster Scarlatti Manuscripts’, Eighteenth Century Music, 23, p. in press
Koster, John. 2007. ‘Towards an Optimal Instrument: Domenico Scarlatti and the New Wave of Iberian Harpsichord Making’, Early Music, 35.4, pp. 575–603
——. 2011. ‘A Spanish Harpsichord from Domenico Scarlatti’s Environs’, Early Music, 39.2, pp. 245–51
Latcham, Michael. 2007a. ‘Four Eighteenth-Century Cembali’, in Five Centuries of Spanish Keyboard Music, ed. by Luisa Morales, Studies in Spanish Keyboard Music, 1 (Barcelona: LEAL), pp. 233–53
——. 2007b. ‘The Twelve “clavicordios” Owned by María Barbara of Spain and the Seven “Cembali” Owned by Carlo Broschi, Known as Farinelli’, in Five Centuries of Spanish Keyboard Music, ed. by Luisa Morales, Studies in Spanish Keyboard Music, 1 (Barcelona: LEAL), pp. 255–82
Leza, José María. 2014. La música en el siglo XVIII, Historia de la música en España e Hispanoamérica, 4 (Madrid: Fondo de Cultura Económica de España)
Longo, Alessandro. 1906. ‘Preface’, in Opere complete per clavicembalo di Domenico Scarlatti, 11 vols (Milano: Ricordi), i
——. 1969. Scarlatti: indice tematico delle sonate per clavicembalo (Milano: Ricordi)
López-Calo, José, Ismael Fernández de la Cuesta, and Emilio Casares (eds). 1987. España en la música de occidente: actas del congreso internacional celebrado en Salamanca, 29 de octubre–5 de noviembre de 1985, ‘Año europeo de la música’ (Madrid: Sedem)
Marín, Miguel Ángel. 2014. ‘Música para tecla: Scarlatti y sus contemporáneos’, in Historia de la música en España e hispanoamérica, ed. by José Máximo Leza (Madrid: Fondo de Cultura Económica de España), iv, pp. 271–91
McKay, Elizabeth Norman. 1989. ‘Brahms and Scarlatti’, The Musical Times, 130.1760, pp. 586–88
Meer, John Henry van der. 1986. ‘A Curious Instrument with a Five-Octave Compass’, Early Music, 14.3, pp. 397–400
——. 1997. ‘The Keyboard Instruments at the Disposal of Domenico Scarlatti’, The Galpin Society Journal, 50, pp. 136–60
Moiraghi, Marco. 2021. ‘“Essercizi” di riscrittura: il laboratorio creativo di Scarlatti’, in Domenico Scarlatti: sonate per clavicembalo, ed. by Emilia Fadini and Marco Moiraghi, 10 vols (Milano: Ricordi)
——. 2025. ‘Scarlatti and the Dissemination of Variants: The Exemplary Case of the “Essercizi”’, Sounding Board, no. 23 (October), pp. 18–24 <https://www.harpsichord.org.uk/wp-content/uploads/2025/10/SB23b.pdf>
Morales, Luisa (ed.). 2003. Claves y pianos españoles: interpretación y repertorio hasta 1830 (Almería: Instituto de Estudios Almerienses)
——. 2005. ‘Clavichords and Harpsichords in Cloisters: A New Approach to the Eighteenth-Century Repertoire in Spanish Convents’, in De Clavicordio (Magnano: Musica Antica Magnano), VI, pp. 75–82
——. 2006. Soler and Scarlatti in London (Almería: FIMTE) <https://open.spotify.com/intl-es/album/1Nh5ebnoV4SnhpYHnBudnW>
——. 2007. Five Centuries of Spanish Keyboard Music, Studies in Spanish Keyboard Music (Barcelona: LEAL), i
——. 2009a. ‘Domenico Scarlatti in Spain: An Introduction’, in Domenico Scarlatti in Spain, Studies in Spanish Keyboard Music, 2 (Almería: LEAL), pp. 15–29
—— (ed.). 2009b. Domenico Scarlatti in Spain, Studies in Spanish Keyboard Music, 2 (Almería: LEAL)
——. 2009c. ‘Sonatas-Bolero by Domenico Scarlatti’, in Domenico Scarlatti in Spain, Studies in Spanish Keyboard Music, 2 (Almería: LEAL), pp. 313–26
——. 2016. ‘Understanding Domenico Scarlatti’s “Spanish Style”: A New Perspective from Contemporary Practices in Madrid’s Theatre Entr’actes’, in The Early Keyboard Sonata in Italy and Beyond, ed. by Rohan H. Stewart-MacDonald, Studies on Italian Music History, 10 (Turnhout: Brepols), pp. 297–322
——. 2018. ‘Domenico Scarlatti’s Construction of a Spanish Style’ (unpublished PhD dissertation, University of Melbourne)
——. 2019. ‘Domenico Scarlatti, Enrique Granados y el clave’, Revista de musicología, 42.1, pp. 131–52
——. 2020. ‘Bailando Domenico Scarlatti en Barcelona en el periodo de pre-guerra civil’, in ‘Cedere il passo al sogno’: l’esperienza musicale di Emilia Fadini, ed. by Marco Moiraghi (Lucca: Librería Musicale Italiana), pp. 59–72
——. 2021. Cantabile. Works by Domenico Scarlatti on the Combined Harpsichord/Fortepiano (Ferrini, 1746) (Almería: FIMTE – 3237816) <https://open.spotify.com/intl-es/album/7juzYp3K976fmtlF2DolUY>
——. 2022. La Huella de Scarlatti (Madrid: Fundación Juan March)
——. 2023. Domenico Scarlatti y el nacionalismo musical en España / Domenico Scarlatti i els nacionalismes musicals a Espanya (Barcelona: Universitat Oberta de Catalunya)
——. 2024a. ‘Dancing Domenico Scarlatti in Barcelona during the Pre-Civil War Period’, in Domenico Scarlatti Forwards and Backwards, ed. by Luisa Morales, Studies in Spanish Keyboard Music, 7 (Almería: FIMTE)
—— (ed.). 2024b. Domenico Scarlatti Forwards and Backwards, Studies in Spanish Keyboard Music, 7 (Almería: FIMTE)
——. 2025. ‘Which Harpsichords for Domenico Scarlatti?’, Sounding Board, no. 23 (October), pp. 53–60 <https://www.harpsichord.org.uk/wp-content/uploads/2025/10/SB23b.pdf>
Morales, Nicolás. 2007. L’artiste de cour dans l’Espagne du XVIIIe siècle (Madrid: Casa de Velázquez)
——, and Fernando Quiles García (eds). 2010. Sevilla y corte. Las artes y el lustro real (1729–1733) (Madrid: Casa de Velázquez)
Newton, Richard. 1939. ‘The English Cult of Domenico Scarlatti’, Music and Letters, 20.2, pp. 138–56
Pagano, Roberto. 1985. Scarlatti–Alessandro e Domenico: due vite in una (Milano: Arnoldo Mondadori)
——. 2015. Alessandro e Domenico Scarlatti: due vite in una (Lucca [Roma]: Libreria musicale italiana Istituto italiano per la storia della musica)
Pedrero-Encabo, Águeda. 1993. ‘Aportaciones al origen de la sonata en España: Vicente Rodríguez Monllor’, Revista de Musicología, 16.6, pp. 3389–400
——. 1997a. La sonata para teclado: su configuración en España (Valladolid: Secretariado de Publicaciones e Intercambio Científico, Universidad de Valladolid)
——. 1997b. ‘Los 30 “Essercizi” de Domenico Scarlatti y las 30 “Tocatas” de Vicente Rodríguez: paralelismos y divergencias’, Revista de musicología, 20.1, pp. 373–91
——. 2011. Domenico Scarlatti. Tres sonates inèdites : per a clavicèmbal (Barcelona: Tritò)
——. 2013. ‘Una nuova fonte degli “Essercizi” di Domenico Scarlatti: il manoscritto Orféo Catalá (E-OC)’, Fonti Musicali Italiane, 17, pp. 151–73
——. 2019. ‘En torno a la difusión temprana de sonatas de Domenico Scarlatti’, Revista de Musicología, 42.2, pp. 571–614
——. 2025. ‘“Toccate per cimbalo del signor Domenico Scarlatti”: an unexplored early source’, Fontes Artis Musicae, 72.4, pp. 275–95, doi:10.1353/fam.2025.a976587
Pestelli, Giorgio. 1967. Le sonate di Domenico Scarlatti: proposta di un ordinamento cronologico (Torino: G. Giappichelli)
——. 1990. ‘Una nuova fonte manoscritta per Alessandro e Domenico Scarlatti’, RIM, 25, pp. 100–18
Pirotta, Nino, and Agostino Züno (eds). 1987. Händel e gli Scarlatti a Roma (Firenze: Olschki)
Prozhoguin, Serguei N. 2010. ‘Cinque studi su Domenico Scarlatti’, Ad Parnassum, 8.16, pp. 97–198
——. 2013. ‘Domenico Scarlatti’s Works and Four Previously Unknown Keyboard Pieces Attributed to Him from the Morgan Library Manuscript Cary 703: Present Codicological and Textual Keys for Its Evaluation’, Unpublished private correspondence
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