ABSTRACT The importance of Domenico Scarlatti in nineteenth-century Spanish music has frequently been acknowledged. Likewise, comparisons between Isaac Albéniz’s and Scarlatti’s writing have been recurrent in Albéniz scholarship. Most of this literature, while referring to biographical circumstances, has mentioned their emulation of the guitar, their recourse to Spanish folklore, certain harmonic effects, and the use of the Phrygian mode and the so-called cadencia andaluza.
