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Dating scarlatti sonatas

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Often key events in a composer’s life give clues to the interpretation of a work. What I do find is that by playing not just a few but many of his sonatas, and especially in public (because, at least for me, they gain an extra dimension in performance), the more you start to comprehend what exactly makes this music so appealing, so unique, so dazzling.Still, it’s easy to hear the world that Scarlatti inhabited in the first sonata of this album.There’s a nice story about Scarlatti seeing a rival amaze an audience at the harpsichord in Venice.It was carnival time, so the player was wearing a mask. 9 in E flat major 'Pesther Carneval'Keyboard Sonata K533 in A major Keyboard Sonata K141 in D minor Keyboard Sonata K159 in C major 'La caccia'Keyboard Sonata K27 in B minor Keyboard Sonata K125 in G major Keyboard Sonata K380 in E major Keyboard Sonata K113 in A major Emil Gilels played a sonata by Scarlatti at his first public concert in 1929 and included them in his tours to the West in the 1950s.Ward Marston, audio restoration engineer“Few pianists have possessed a more comprehensive, magisterial technique or musical integrity than Emil Gilels...

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Grove's Dictionary of Music and l Musicians gives practically all the information that previous biographers have recorded. The tendencies of the Renaissance may indeed be traced dimly even through the polyphonic music of the age of Palestrina; but the fact that the Church had a practical monopoly of scientific music is sufficient to explain the lack of enterprise in a definitely secular direction. Recording a first album of Sonatas by Domenico Scarlatti in February 2015 was such a great experience that, inevitably, I couldn’t stop there. It wasn’t easy to select seventeen for this second recording, simply because there are so many wonderful ones—but perhaps the pleasure was even greater than the first time as many of them were new to my repertoire.The more I read about Domenico Scarlatti, the more I realize how little we know about him.Wherever possible, however, I have consulted original documents, and have given exact references to them throughout the book. Painters and sculptors could hardly help being influenced by the new learning; painting and sculpture required subjects to A 2 ALESSANDRO SCARLATTI illustrate, and the truth to nature of their representations could in most cases be judged by the eyes of all. I have also derived valuable assistance (though less directly) from Vernon Lee's Studies of the Eikhteenth Cenlury in Italy, and Professor Corrado Ricci's Vit/a Barocca (Milan, 1904). Music, which even with all the resources of the twentieth century cannot definitely represent any visible object whatever, could hardly make an appreciable appeal to its audience in that direction at the time when one of the principal means of serious expression seems to have been the making of puns on the Guidonian syllables. Trumpets and drums announce a regal procession with great theatrical flair.