Domenico Scarlatti (1685-1757)

Started by prémont, September 18, 2007, 11:58:57 AM

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Karl Henning

Quote from: SonicMan46 on January 03, 2022, 10:30:10 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.

https://www.youtube.com/v/bCRzEwIYm-c
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

prémont

Quote from: SonicMan46 on January 04, 2022, 07:17:50 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.
Reality trumps our fantasy far beyond imagination.

Karl Henning

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

https://www.youtube.com/v/84g9aFOuFd4
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

prémont

Quote from: k a rl h e nn i ng on January 04, 2022, 11:01:31 AM
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.
Reality trumps our fantasy far beyond imagination.

Karl Henning

Quote from: (: premont :) on January 04, 2022, 11:20:40 AM
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

Mandryka

#545
Quote from: Mandryka on June 28, 2025, 08:54:32 AM

Silvia Rambardi has recorded two really special CDs of Italian music, Frescobaldi, Andrea Gabrieli, Pasquini, Merula,  et al.   

Booklet for this unusual release here -- the performances are colourful, and  full of harpsichord effects.  Tasteful though, rather than dazzling.

https://static.qobuz.com/goodies/36/000212863.pdf
Wovon man nicht sprechen kann, darüber muss man schweigen