Domenico Scarlatti; Harpsichord sonatas; Elzbieta Stefanska-Lukowicz
Жанр: harpsichord
Год выпуска: 1980
Лейбл: Muza
Номер по каталогу: SXL 0974
Страна-производитель: Poland
Аудио кодек: APE
Тип рипа: image+.cue
Формат записи: 24/44100
Формат раздачи: 24/44100
Продолжительность: 42:58
Треклист:
1.Sonata B-dur Longo 498
2.F-dur Longo 474
3.d-moll Longo 413
4.D-dur Longo 465
5.G-dur Longo 349
6.G-dur Longo 232
7.Sonata f-moll Longo 187
8.C-dur Longo S, 2
9.C-dur Longo 104
10.C-moll Longo 407
11.a-moll Longo 429
12.A-dur Longo 465
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Информация с конверта
Domenico Scarlatti (1685-1757), the son of the eminent operatic composer Alessandro Scarlatti (1660-1725), was undoubtedly the most talented and original composer of Italian harpsichord music of the 1st half of the 18th century. Scarlatti spent 37 years in Portugal and Spain as a harpsichordist at the royal and aristocratic courts. Nevertheless, stylistically he belongs to Italian music, in spite of some Portuguese and Spanish influences.
Domenico Scarlatti wrote about 600 pieces for harpsichord. He created also vocal-instrumental compositions - operas, oratorios, cantatas, but their significance is overshadowed by his historical achievements in the development of the harpsichord technique. The harpsichord - with all its possibilities of spinning delicate melodic figures, embellishing sounds with subtle trills, precise ornaments, differentiating the tone colour and executing brave scales and passages - became for Scarlatti's rich creative imagination the excellent means of forming the new style for keybord instruments. The concentration on an instrument closest to the composer's mentality and his creative and performing possibilities (Scarlatti was the most prominent harpsichord virtuoso of the 18th century) is usually crowned with excellent artistic results. Here emerges analogy with Chopin's deliberate concentrating on the piano, and Paganini's sticking to the violin. Just like Chopin, who brought out new musical values from the piano, Scarlatti a hundred years before, developed new inventive treatment of the harpsichord.
The power of Scarlatti's originality does not depend upon creating new forms; the majority of his one-movement sonatas represent the typical baroque two-part form. But within that schematic form, Scarlatti introduced so many harmonic, melodic and performing innovations, that the style and expression of his sonatas go dozens of years forward, and approach the early piano sonatas of Joseph Haydn (1732-1809).
The basis of development of Scarlatti's sonata is the repetition and modification of a short motive. The word "repeating", however, does not adequately define the riches of Scarlatti's fantasy. A short melodic motive is incessantly and surprisingly altered. It keeps appearing in ever changing shape, against a new rhythmic and harmonic background, it overlaps other motives, changing as in a kaleidoscope. Sometimes this painting, combining and splitting motives on the ever-changing colour palette, created with brave modulations and colourful combinations, evokes remote associations with piano compositions of the French impressionists from the turn of the 19th and 20th centuries.
Very few court-musicians of the 18th century found such favourable conditions for developing their own creative way as Domenico Scarlatti. In 1720 the composer got the position of the master of music at the court of king John V of Portugal, and the music teacher to the infanta Mary Barbara, who after marriage with Ferdinand VII took the throne of Spain. During thirty years Scarlatti enjoyed continuous recognition for his art. The majority of his sonatas were written especially for Mary Barbara, an excellent harpsichord player, to believe the opinion of her contemporaries. The musical tastes of the queen of Spain and her harpsichordist were undoubtedly similar. What else could be more favourable for the eighteenth-century court composer. Many of them' had to degrade themselves to trivial conformity merely in order to meet the changing and whimsical fancies of kings, queens, aristocrats and the influential court camarilla.
Still Scarlatti's dependence upon the very important persons dictated him small but particular changes in the texture of his sonatas. Some of Scarlatti's biographers recall an interesting and a bit funny detail of his life. Since the queen had become too corpulent, the composer rarely applied hands-crossing, his favourite technical trick; it was simply because of the fact that enormous corpulence of the queen prevented her from crossing hands while playing pieces in fast tempo!
Источник оцифровки: автором раздачи
Код класса состояния винила: Ex
Устройство воспроизведения: Unitra G-602
Предварительный усилитель: ГЗМ 155 II, фонокорректор усилителя Кумир
АЦП: Sound Blaster X-Fi Fatal1ty
Программа-оцифровщик: Adobe Audition 2.0
Обработка: не производилась
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发表于 2020-12-8 16:35:18
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