Eagerly awaited by countless pianists: a fourth Urtext volume with a selection of pieces from Domenico Scarlatti’s vast sonata output. Whereas in the three collections HN 395, 451 and 476 there is about an equal number of often played and rarely played pieces that were sure to reward the inquisitive, Volume IV is a compilation of “the best of Scarlatti”. In spite of the legendary fair copies from Venice and Parma that constitute the sources, the Scarlatti transmission remains complicated and rich in variants – a circumstance that we account for with a footnote apparatus. Even in these often played sonatas there are many surprising discoveries to be made. Scarlatti Volume IV – a treasure chest of Baroque keyboard gems!
- 難易度 (解説)
- Selected Piano Sonatas
The Italian-born Domenico Scarlatti (1685 – 1757) is one of the most important composers of keyboard music. During his lifetime he was known above all as a virtuoso performer – for example, he is said to have entered into a competition with George Frideric Handel in Venice that resulted in a tie. Scarlatti left Italy in 1719 and took up a position as capellmeister and … 続き
Harpsichordist and most important composer of harpsichord sonatas in the first half of the eighteenth century. He left behind over 550 compositions for harpsichord; operas; chamber cantatas; liturgical music, and twelve sinfonias.
|1685||Born in Naples on October 26, the son of Alessandro Scarlatti.|
|1703/04||Commissioned to write three operas for the Teatro San Bartolomeo in Naples.|
|1705||Living in Venice.|
|from 1709||Music director in Rome; performances of seven operas for Queen Marie Casimire, including “Tetide in Sciro” (1712), “Ifigenia in Aulide” and “Ifigenia in Tauri” (1713), “Amor d’un ombra e gelosia d’un’aura” (“The Love of a Shade and the Jealousy of an Aura,” 1714; in London as “Narciso” in 1720). Composes chamber cantatas and liturgical music.|
|1714||Music director of the Cappella Giulia at St. Peter’s Basilica in Rome. During this time, he writes his Stabat Mater. Further opera premieres at the Teatro Capranica.|
|1719||Director of the royal musical chapel under João V. Composition of serenades and harpsichord pieces for Maria Barbara, the later queen of Spain.|
|from 1728||Employment at the Spanish court for the musical entertainment of Ferdinando and Maria Barbara. Instead of operas he now primarily composes harpsichord pieces that frequently adopt features of Iberian folk music (fandangos, seguidillas, polos, boleros); he thereby creates an innovative musical style that does not comply with the rules of strict counterpoint.|
|1738/39||Publication of 30 “Essercizi per gravicembalo” (“Exercises for Harpsichord”), which make Scarlatti known throughout Europe.|
|1752–57||He orders the preparation of several volumes of his collected sonatas.|
|1754||Probably composes his “Missa quatuor vocum” in the stilo antico.|
|1757||Composition of the “Salve Regina.” Death in Madrid on July 23.|