Album insights
In February 2015, recording an album featuring sonatas by Domenico Scarlatti was such a wonderful experience for me that the project had to continue, given the vast number of around 540 sonatas left unexplored. Selecting 17 sonatas for this recording was challenging due to the abundance of excellent choices, yet my joy in the process was even greater this time, discovering many that were new to me.
The more I delve into Domenico Scarlatti's life, the clearer it becomes how little we truly know about him. Unlike some composers where life events shed light on their works, this is scarcely the case with Scarlatti.
Playing not just a handful but many of Scarlatti's sonatas, particularly in public performances where they gain an added dimension, reveals why this music is so captivating, unique, and radiant.
While the setting in which Scarlatti lived is evident in the first sonata of this album, one can observe the royal palaces of Spain where he resided for the majority of his life and the majestic procession announced by drums and trumpets in the dramatic introduction of the D major sonata, Kk491. The piece transitions unexpectedly into C major after a pause, incorporating a clever and unexpected shift, like the entrance of a new character. This regal dance continues with rapid cascades of notes in both hands, almost as if castanets are joining. The pause in the second half of this two-part piece carries us into the more emphatic key of F major—the grandest moment of this festive sonata.
Similarly, the D major sonata, Kk492, exhibits a dance character, whether identified as a "Bulería," a Portuguese Fandango, or sounding like a Neapolitan Tarantella. The captivating sound effects range from racing scales (interpreted as gestures rather than just quick notes) to guitar-like plucking and joyful leaps, ensuring a lively experience filled with movement and energy.
The authorship of sonatas Kk142–147 has been debated by Scarlatti scholars Joel Sheveloff and Walter Gerstenberg due to the absence of these pieces in primary sources. The G major sonata, Kk146, held in simple elegance, is suitable for students and amateurs. Interpretations should emphasize elegant and charming gestures rather than being merely understated. The piece is also popular among guitarists, with Narciso Yepes' rendition on his 10-string guitar being noteworthy.
The B minor sonata, Kk377, predominantly features a two-voice setting with sixteenth notes in the right hand juxtaposed with a walking bass in the left. Offering an opportunity for piano students to engage in simultaneous hand activities without excessive complication, the swirling themes often circle and possess a whirlwind-like quality. The tempo marking "Allegrissimo" suggests a lively interpretation of the music.
Just as in my first Scarlatti album, the sonatas are grouped to form satisfying wholes when listened to in sequence. The A major sonata, Kk24, concludes the initial set of five sonatas, described by Ralph Kirkpatrick as an "orgy of brilliant sounds" where the harpsichord transforms into an entire orchestra reminiscent of a popular Spanish festivity. It remains one of Scarlatti's most exhilarating sonatas, originally published during his lifetime in the 30 Essercizi of 1738.
Finding a beautiful Andante in a Scarlatti sonata is always a delight. The expressive E major sonata, Kk206, introduces a mysterious allure with its harmonic shifts alternating between major and minor keys, contributing to the piece's enigmatic flair. The composition skillfully weaves themes and motifs, gradually developing tension and depth throughout.
For a lighter touch, two sonatas in the same key offer contrasting experiences. The A major sonata, Kk428, presents a concertante style with dual voices merging into unified jumps while transitioning from simpler harmonies to darker tones before resolving back to the tonic over a persistent drum-like bass.
The A major sonata, Kk429, embraced as a Barcarole, showcases Scarlatti's unique interpretation of this traditional form. The piece deftly combines unexpected rhythmic shifts and melodic variations, emphasizing brief touches of melancholy juxtaposed with moments of lightheartedness.
Wrapping up with a selection like the G major sonata, Kk547, ensures a vibrant and graceful ending to the album, marrying imitation passages with a Toccata form that allows performers to exhibit their agility and touch. The piece's lively essence and unexpected tonal shifts exemplify Scarlatti's brilliance and sophistication.
Each Scarlatti sonata presents an intriguing beginning, shaping the listener's initial impression. Noteworthy is the exceptional opening of the E-flat major sonata, Kk474, featuring trills, ascending leaps, and assertive chords that kickstart a compelling narrative. The ensuing development balances expressive passages and intricate harmonies, maintaining a hypnotic effect throughout.
Exploring a more intricate side of Scarlatti's repertoire, the C minor sonata, Kk58, is a sparse yet captivating fugue infused with lively counterpoints and deliberate chromatic themes. Dissimilar to a Bach fugue, Scarlatti's approach showcases a distinct Italian style while offering a robust musical narrative.
Concluding the second program with Scarlatti's sonatas, the radiant C major sonata, Kk513, labeled as a "Pastorale" by the composer, seeks to capture pastoral elements before transitioning into a lively Presto that encapsulates the charm and simplicity of a bucolic scene.
Transitioning into the F major sonata, Kk481, the album unveils poignant depths as Scarlatti navigates through melancholic themes reflective of personal and societal struggles of his time. This sonata resonates with profound emotive expressions, skillfully crafted to evoke introspection and emotion in listeners.
German: Viola Scheffel