Author Topic: Domenico Scarlatti (1685-1757)  (Read 103932 times)

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Re: Domenico Scarlatti (1685-1757)
« Reply #540 on: January 04, 2022, 09:52:09 AM »
Scarlatti, Domenico (1685-1757) - Essercizi, K. 1-30 w/ Alain Planès on a fortepiano (Johann Schantz, Vienna, ca. 1800) - I like D. Scarlatti on both harpsichord and piano, but my first recording on an in-between competitor - reviews attached (including one from our own Jens).  I owned the 3 early Pierre Hantaï recordings, below are 3 newer releases which I've not purchased but did a listen on a Spotify playlist. My piano discs include Angela Hewitt (2), Yevgeny Sudbin (2), and Mikhail Pletnev (2) - for those interested, I've put together a Numbers spreadsheet converted to PDF (second attachment) that shows which sonatas are being played by all of these performers.  Dave :)

     

In fun timing, Sandro Ivo Bartoli just celebrated finishing his Scarlatti survey with a video of the complete Essercizi per Gravicembalo, K. 1-30 let me know what you think, Dave.

<a href="https://www.youtube.com/v/bCRzEwIYm-c" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/bCRzEwIYm-c</a>
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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Re: Domenico Scarlatti (1685-1757)
« Reply #541 on: January 04, 2022, 11:05:45 AM »
Well, as to selection of the Schantz fortepiano, the liner notes state the instrument was in great shape for ca. 1800 (earlier ones, if pre-1757, may not have been?) and the feel was more like a harpsichord, so considered a good choice as a transitional instrument. 

The feel was more like a harpsichord? More than what? And does it refer to the sound or to the touch?

And copies of fortepianos from before 1750 have been made at least during the last twenty years. Others have recorded Scarlatti on such instruments.
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Re: Domenico Scarlatti (1685-1757)
« Reply #542 on: January 04, 2022, 12:01:31 PM »
I should blush to say something so obvious, but I am immediately taken with the superficial similarity in subject between the K. 30 and the Royal Theme for the BWV 1079

<a href="https://www.youtube.com/v/84g9aFOuFd4" target="_blank" rel="noopener noreferrer" class="bbc_link bbc_flash_disabled new_win">https://www.youtube.com/v/84g9aFOuFd4</a>
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

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Re: Domenico Scarlatti (1685-1757)
« Reply #543 on: January 04, 2022, 12:20:40 PM »
I should blush to say something so obvious, but I am immediately taken with the superficial similarity in subject between the K. 30 and the Royal Theme for the BWV 1079

You know, according to tradition the Royal Theme is composed by Frederick the Great.  However I have never thought of any - even superficial - similarity with the "cat" fugue.
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Re: Domenico Scarlatti (1685-1757)
« Reply #544 on: January 04, 2022, 01:35:36 PM »
You know, according to tradition the Royal Theme is composed by Frederick the Great.  However I have never thought of any - even superficial - similarity with the "cat" fugue.

I'm thinking primarily of the opening ascending gestures: G - Bb - Eb - F# VS. C - Eb - G - Ab Not a close resemblance, to be sure.
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot