Tracklista:1. Death Sentiment I2. Caprice 63. Entree, Folie D'Espagne, Trionfo Di Bacco, Il Dolzor4. Rain Choral5. Trivium6. Adagio, Innocente E Semplice7. Rrrrrrr... Ragtime Waltz8. Descdesesasf9. Accordion Concerto. Lament in Close Distance10. Sequenza XIII11. Storie Di Altre Storie. Domenico Scarlatti Vivo, L446
Tracklista:1. Taranta de la Siega - Tradicional/Cancionero de Olmeda 2. Canción del Amor Dolido - Manuel de Falla 3. Danza Ritual del Fuego - Manuel de Falla 4. Concierto de Aranjuez: Allegro - Joaquín Rodrigo 5. Concierto de Aranjuez: Andante - Joaquín Rodrigo 6. Circulo Mágico - Manuel de Falla 7. Sonata K32 - Domenico Scarlatti 8. Sonata K141 - Domenico Scarlatti 9. Escena Bestenigar - Dimitrie Cantemir 10. Pantomima - Manuel de Falla 11. Canción del Fuego Fatuo - Manuel de Falla 12. Capricho Árabe - Francisco Tárrega 13. Danza del Juego del Amor - Manuel de Falla 14. Campanas del Amanecer - Manuel de Falla
1. A. Scarlatti / Gia il sole dal Gange2. A. Scarlatti / Son tutta duolo3. A. Scarlatti / Se Florindo e fedele4. A. Scarlatti / O cessate di piagarmi5. A. Scarlatti / Spesso vibra per suo gioco6. Giordani / Caro mio ben7. Lotti / Pur dicesti, o bocca bella8. Cesti / Intorno all'idol mio9. Paisiello / Nel cor piu non mi sento10. Paisiello / Il mio ben quando verra11. Anonymous / O leggiadri occhi belli12. Marcello / Quella fiamma che m'accende13. Caldara / Selve amiche14. Caldara / Sebben, crudele15. Caccini /Tu ch'hai le penne, amore16. Parisotti / Se tu m'ami17. Paisiello / Chi vuol la zingarella18. Caccini / Amarilli19. Cavalli / Delizie contente20. Vivaldi / Sposa son disprezzata21. Carissimi / Vittoria, vittoria!
A Scarlatti recital with a twist. Joseph Moog has assembled a fascinating survey of Scarlatti sonatas, and included a selection of the 18th-century master’s works as re-composed by some of the giants of the piano keyboard from the 19th and 20th centuries. The drama contained in Scarlatti’s short one-movement sonatas has always exerted a hold over both musicians and listeners since their composition. The development of the piano in the 19th century provided too great a temptation for composer pianist Carl Tausig, a rival of Chopin and star pupil of Liszt (and admired by Brahms and Wagner) to ignore these works. He, along with Ignaz Friedman (1882–1948) exploited drama and poetry in Scarlatti’s music, using the new grand piano to its full extent. Friedman was a pianist of extraordinary gifts, and a musical freedom that some thought bordered on the eccentric. Walter Gieseking’s fantastical composition on a theme by Scarlatti forms the centrepiece of Moog’s recital. Gieseking (1895–1956) was a child prodigy, playing all 32 Beethoven sonatas from memory at the age of 15: "The most difficult part was memorising them," he said, adding "and that wasn’t very difficult." Gieseking’s 'Chaconne on a theme by Scarlatti' is a stupendous work of dazzling virtuosity.
Today Domenico Scarlatti’s reputation rests largely on his enormous output of keyboard music (over five hundred esercizi, or sonatas). His operas are entirely forgotten, and of his sacred music only the Stabat mater (track 1), unique in its grandeur and depth of expression, is at all well remembered. It was probably composed between 1713 and 1719, while Scarlatti was maestro di cappella at the Basilica Giulia in Rome, and, in common with the many Italian and Italianate works of this period which set such emotive texts (Pergolesi’s Stabat mater, Lotti’s eight-part Crucifixus, and Hasse’s Miserere are other famous examples), its use of rich textures and unexpected harmonies within the seemingly austere framework of ten voices and continuo produces effects comparable to a painter’s chiaroscuro. To this end, Scarlatti combines sinuous chromatic melodies in a contrapuntal texture, as in the opening ‘Stabat mater dolorosa’, and achieves strong emotional contrasts by, for example, juxtaposing the striding scales of the choral section ‘Quis est homo, qui non fleret’ and the tortured suspensions of the soloists’ ‘Quis non posset contristari’. The diatonic counterpoint of ‘Fac me vere tecum flere’ seems to hark back to the prima prattica style inherited from Palestrina, while the florid duet ‘Inflammatus et accensus’ and the dance-like final ‘Amen’ betray truly operatic mannerisms.The fame and popularity of Scarlatti’s keyboard sonatas as one of the most idiomatic and yet most idiosyncratic collections of harpsichord music in existence have largely obscured the fact that a certain number of these works are also suitable for the organ – a few indeed were originally intended for that instrument. The pair Kk254 4 and Kk255 6 fall into the former category, their predominantly simple textures being well suited to the Baroque organ sound. Kk255 has two unusual annotations, indicating the composer’s use of musical mimicry: ‘oytabado’ (bar 37) probably deriving from ‘oitavado’, a popular eighteenth-century Portuguese dance, and ‘tortorilla’ (bar 64) meaning ‘turtle dove’. In one manuscript source (I-Vnm MS.9774) the sonata Kk287 5 is headed ‘Per organo da camera con due Tastatura Flautato e Trombone’ and its companion piece, Kk288 2, also has registration marks (I-PAc AG31412). Formally, both these pieces are organ voluntaries, neither being in the binary form with double bar which is standard in Scarlatti’s sonatas. Kk328 3 similarly falls into this second category, bearing the indications of registration ‘Flo’ and ‘Org.’ (‘flauto’ meaning ‘flute stop’, and ‘organo’ meaning ‘diapason’).Like the Stabat mater, the little Salve regina in A minor 7 is a work of Scarlatti’s first Italian period, having many similarities with the early keyboard fugue Kk41. Intimate and restrained in style, the six sections of the work again reveal a refined sensitivity to the text, ranging from the gentle, yet almost joyful ‘Ad te clamamus’ to the sorrowing chromaticism of ‘gementes et flentes in hac lacrimarum valle’ and the exquisite valedictory ‘o pia, o dulcis virgo Maria’.Nicholas Clapton © 1985
Na DVD znajdują się arie skomponowane przez takich twórców, jak: Verdi, Puccini, Rossini, Vivaldi, Bellini, Scarlatti, Lara, Stradella w wykonaniu m.in. Jose Carrerasa.
The release in 2005 of Yevgeny Sudbin’s first disc, a selection of Scarlatti sonatas, caused a sensation. A number of reviewers compared it favourably to the legendary recordings by Horowitz in the same repertoire, and on the BBC Radio 3 CD Review, the result was described as follows: ‘It's as if he's dragged Scarlatti off a dusty museum shelf and brought him out into the sunshine where both he and the music are happily basking.’ Sudbin’s following discs focussed on Russian composers from later periods – Rachmaninov, Medtner, Tchaikovsky and Scriabin – and received similar acclaim in the international music press. He now returns to the 18th century of Scarlatti, however, and to a composer who holds a similar place in his affections, namely Joseph Haydn. As Sudbin writes in his liner notes, one of the qualities in this composer which he finds particularly endearing is Haydn’s ‘delight in silliness, outrageous wit and the breaking of all conventions’. The works chosen for this recital are by no means mere light-weight ‘musical jokes’, however; for instance they include the profoundly beautiful Andante con variazioni in F minor, which some have suggested was written in response to the death of Mozart. And as Sudbin himself acknowledges, musical jokes are easier to tell than to play; to use stand-up comedy tricks during a ‘serious’ recital risks turning it ‘into a sit-down tragedy’. Any joking is therefore strictly within the musical parameters – but that being said, Sudbin does enjoy himself in Haydn, and encourages his audiences to do likewise: ‘The odd carefully timed pianissimo chuckle is definitely among the less irritating noises you get in a concert hall’. In an affectionate tribute to the composer, Sudbin ends his recital with Larking with Haydn, his own tongue-in-cheek arrangement of the Finale of the Lark Quartet
Dwupłytowy album poświęcony wybitnej czeskiej klawesynistce Zuzanie Ruzickovej. Zawiera utwory takich kompozytorów jak Bach, Scarlatti, de Falla, Kalabis, Poulenc, Rychlik, Martinu.
Tracklista: Simone Molinaro 1. Fantasia Prima 2. Fantasia Nona Giovanni Zamboni 3. Sonata IX Domenico Scarlatti 4. Sonatas K. 531, K. 213, K. 32, K. 27 Niccolo Paganini 5. Grande Sonata in La Maggiore, MS 3 Giulio Regondi 6. Reverie – Nocturne, Op. 19
Tracklista: Heinichen 1. La, dove in grembo al colle Anon. 2. Ricercar 3. Aria di Fiorenza Sances 4. Usurpator Tiranno 5. I miei desir Scarlatti 6. Toccata Caldara 7. Partenza Pistocchi 8. Dolorosa Partenza