Track Listing 1. Sonata for keyboard in C major, K. 461 (L. 8) 2. Sonata for keyboard in G major, K. 124 (L. 232) 3. Sonata for keyboard in E minor, K. 147 (L. 376) 4. Sonata for keyboard in E major, K. 531 (L. 430) 5. Sonata for keyboard in F major, K. 44 (L. 432) 6. Sonata for keyboard in F major, K. 469 (L. 431) 7. Sonata for keyboard in G minor, K. 426 (L. 128) 8. Sonata for keyboard in G major, K. 427 (L. 286) 9. Sonata for keyboard in D minor, K. 52 (L. 267) 10. Sonata for keyboard in D major, K. 53 (L. 261) 11. Sonata for keyboard in D minor, K. 120 (L. 215) 12. Sonata for keyboard in G major, K. 144 13. Sonata for keyboard in G minor, K. 450 (L. 338) "Burlesca" 14. Sonata for keyboard in D major, K. 140 (L. 107) 15. Sonata for keyboard in D minor, K. 141 (L. 422)
| Details | | Playing Time: | 73 min. | | Distributor: | Universal Distribution | | Recording Type: | Studio | | Recording Mode: | Stereo | | SPAR Code: | DDD |
Album Notes There are few musical resources as sparkling as the 555 harpsichord sonatas of Domenico Scarlatti. Few of them were published in his lifetime and some are more famous than others, but once one gets into the thick of them it is amazing how consistently high the level of invention is. Much of their distinctive character stems from Scarlatti's long residency at the Spanish court; the local color is felt through the energetic rhythms of popular dance forms and the harpsichord's imitation of the guitar and castanets. Indeed, though written under royal patronage, this is very much music of a people, their folklore and customs. It is also very much music of the harpsichord, and though Vladimir Horowitz and Mikhail Pletnev have effectively shown that it works on the piano, few pieces are more instrument-specific than these. French baroque keyboard wizard Christophe Rousset has compiled an engaging set of 15 sonatas for this disc, some well known, some not. They are arranged singly, not in pairs matched by key as some players are wont to do, but Rousset performs with his usual panache on two beautiful-sounding 18th-century instruments, a single-manual from Portugal and a double-manual from England.
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