斯卡拉蒂

While Luigi Rossi was his predecessor in developing the chamber-cantata, Carissimi was the composer who first made this form the vehicle for the most intellectual style of chamber-music, a function which it continued to perform until the death of Alessandro Scarlatti , Astorga and Marcello .

虽然罗吉罗西是他在发展室，大合唱的前任，作曲家卡里西米是谁第一个提出这种形式的会议厅最具智慧的风格汽车音乐，它的功能一直持续到亚历山德罗斯卡拉蒂，阿斯托加和执行死刑里皮。

Indeed both Corelli who served as orchestra director between 1690 and 1714 and Alessandro Scarlatti were employed by Cardinal Pietro Ottoboni, who lavishly financed musical events in his Pallazzo della Cancelleria as well as writing many libretti for opera and oratorios.

事实上，无论是谁科雷利乐团1690至1714年和亚历山德罗斯卡拉蒂担任董事是由枢机主教彼得奥托博尼，谁资助了他的华丽Pallazzo德拉音乐活动Cancelleria以及写歌剧和清唱剧许多利布雷蒂就业。

A distinction is usually common between early baroque (prior to 1650, Monteverdi, Frescobaldi, Carissimi etc) and late baroque music (Scarlatti, Vivaldi, Bach and Handel etc), the development of the latter leading to the Musical Enlightenment.

早期的巴罗克音乐（即1650年以前，以蒙特威尔第、弗勒斯科波迪、卡里西米等为代表）和晚期的巴罗克音乐（以斯卡拉蒂、维瓦尔弟、巴赫，享德尔等为代表）的区别不大，后来的启蒙音乐就是从后期的"巴罗克"中直接发展出来的。

While his recordings run the breadth of classical styles, in most cases he selects repertoire that has stood the test of time: his output includes the music of J.S. Bach, Domenico Scarlatti, Agustín Barrios Mangoré, Francisco Tárrega, Isaac Albéniz, and Enrique Granados.

然而他的唱片却开拓着古典风格的广度，大多数情况下，他选择了代表时代欣赏品位的节目单：其演奏作品包括巴赫、斯卡拉蒂、巴里奥斯、塔雷嘉、阿尔贝尼兹以及格拉那多斯等作曲家的音乐作品。

The third part begins with the Italian humanistic environment and introduces the presentation of Scarlatti"s Italian music terms. The ornamental and capering movement trend, liberty and luxuriance, etc can be regarded as the Italian folk culture"s influence on Scarlattis works and on the other hand the splendor Scarlatti has brought to the development of Italian music development.

第三部分从意大利的人文环境入手，引出斯卡拉蒂作品中意大利音乐语汇的体现：装饰性、跳跃的运动趋势、随意、华丽等特点既可以看作是意大利民间风情对斯氏作品的影响，又可以反视为斯氏作品为意大利音乐发展所带来的光彩。

Chapter 2. Research of Ralph Kirkpatrick. In this section, the work of Ralph Kirkpatrick, who was the authority on the Domenico Scarlatti study, has been translated into Chinese. In addition, the view of author is included in support of the evidence of existence of Spanish influence in the keyboard sonatas. Chapter 3. Dance music.

第二章、柯克帕特里克的研究状况：本部分将&斯卡拉蒂研究领域权威&——美国羽管键琴家柯氏的研究成果翻译为中文，并加入作者个人的分析理解，希望为求证斯卡拉蒂作品中西班牙音乐风格提供国际上权威的资料和理论上的支持。

This chapter stresses on "the dynamic tests" of internal and external structures, and the internal organization, to express his free and illusive style; Chapter VII:"Musical form structure research". In this chapter the historic exploration and innovation of Scarlatti in musical form structure is a keystone that dramatically contributes to the development of ancient sonata-form.

第七章：&曲式结构研究&，本章重点研究斯卡拉蒂在曲式结构方面富有历史意义的探索和创新，为古典奏鸣曲式的定型发展做出了突出的贡献，这是评价斯卡拉蒂历史地位的一个重要方面。

When Scarlatti's cat struck certain notes on the keys of his harpsichord, one by one, with its paws, Scarlatti proceeded to write The Cat's Fugue, a fugue for harpsichord in D minor.

斯卡拉蒂的猫用脚爪在他的大键琴的琴键上踩出一个一个音符时，斯卡拉蒂着手写了一首大键琴D小调赋格曲，《猫的赋格曲》。

WhenScarlatti's cat struck certain notes on the keys of his harpsichord ,one by one, with its paws, Scarlatti proceeded to write The Cat'sFugue,a fugue for harpsichord in D minor .

斯卡拉蒂的猫用脚爪在他的大键琴的琴键上踩出一个一个音符时，斯卡拉蒂着手写了一首大键琴D小调赋格曲，《猫和赋格曲》。

A distinction is usually common between early baroque (prior to 1650, Monteverdi, Frescobaldi, Carissimi etc) and late baroque music (Scarlatti, Vivaldi, Bach and Handel etc), the development of the latter leading to the Musical Enlightenment.

早期的巴罗克音乐（即1650年以前，以蒙特威尔第、弗勒斯科波迪、卡里西米等为代表）和晚期的巴罗克音乐（以斯卡拉蒂、维瓦尔弟、巴赫，享德尔等为代表）的区别不大，后来的启蒙音乐就是从后期的&巴罗克&中直接发展出来的。

In the negative and interrogative forms, of course, this is identical to the non-emphatic forms.

。但是，在否定句或疑问句里，这种带有"do"的方法表达的效果却没有什么强调的意思。

Go down on one's knees;kneel down

屈膝跪下。。。下跪祈祷