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  1. Scarlatti - Complete Keyboard Sonatas Volume 14
  2. Scarlatti The Complete Keyboard Sonatas Volume 2
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But somewhat filtered through courtly restraint — which is highly characteristic of Scarlatti: he is not writing 'tone poems' or faux folk music. The same influence is felt in K Similarly K is influenced by the jota , another dance with a strong castanet-like rhythm, as can also be heard in K Indeed the dance is everywhere in these sonatas and can be unmistakably driving half K, , , — , — , , and the sonatas in the first Volume alone. There are increasing numbers of slow movements, a sign — according to Lester's accompanying notes — of Scarlatti's greater maturity.

Just as significant in terms of evocation and painting is Scarlatti's ability to conjure up quintessentially Spanish sounds… K, and K and with the horizontal trumpets typical of Spanish organs. Other 'effects' include a guitar in K, bagpipes with drones and flute in K But these are not gratuitous, nor really only to display virtuosity on an instrument of which his young pupil might not, perhaps, have thought it capable.

Lester writes in the accompanying notes, which are a little on the skimpy side for the scale of this enterprise, that his choice of instrument was influenced heavily by those used by Maria Barbara's family at their various palaces. She had seven harpsichords and five pianofortes at her disposal. On the first two discs of this set Lester plays a copy of a two-manual harpsichord by Stephen Wessell.

For K and K the organ of All Saints church in Friern Barnet North London is heard here since the score specifies a 'chamber organ with two keyboards, of flutes and reeds'. Lester's playing is consistent without being either trying or tiring. It's playing which could only be as inspired as it is because of love for and immersion in the music.

Scarlatti - Complete Keyboard Sonatas Volume 14

These recordings, which are going a long way to marking Lester's card for the future, took place over a number of months in the summer of ; this is time enough for the player to reflect and refine, but not long enough for his interpretive ideas to develop into what, however excellent, might then become inconsistent. The six CD set contains almost six and a half hours of listening; so it's clearly to everyone's advantage — not least to that of the reputation of Scarlatti, most of whose keyboard sonatas tend to be in heard in recitals of selections — that a real sense of variety emerges so unequivocally… of timbre, tempo, tone, touch, timing, texture and temperament.

This Lester achieves by both a first class technique and a real love for and engagement in the world in which Scarlatti was working. Keyboard Sonata in C sharp minor, K. Keyboard Sonata in D major ed. Henle, variation on K. Keyboard Sonata in D major, K.

Keyboard Sonata in D minor, K. Keyboard Sonata in E flat major, K.

Scarlatti The Complete Keyboard Sonatas Volume 2

Keyboard Sonata in E major, K. Keyboard Sonata in E minor, K. Keyboard Sonata in F major, K. Keyboard Sonata in F minor, K. Keyboard Sonata in F sharp minor, K. Keyboard Sonata in G major ed. Keyboard Sonata in G major, K. Keyboard Sonata in G minor, K. Keyboard Sonatas Magnificat for chorus in D minor. Miserere, motet for double chorus in E minor.

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Missa quatuor vocum, for chorus in G minor. L'Ottavia ristituita al trono, melodrama. Sinfonia No. Keyboard Sonata in A major ed. Musica Antiqua, Lisbonne; poss. Keyboard Sonata in B major, K. Keyboard Sonata in C major ed. Henle; poss. Elpidio Amoroso. FN RaHer. John Smith. Jonas Lim.

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