D Scarlatti - Keyboard Sonatas
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special offer ending 24/04/2024
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Label: Piano Classics
Cat No: PCL10233
Format: CD
Number of Discs: 1
Genre: Instrumental
Release Date: 14th January 2022
Contents
Works
Keyboard Sonata in A major, K24Keyboard Sonata in A minor, K532
Keyboard Sonata in B flat major, K266
Keyboard Sonata in B flat minor, K131
Keyboard Sonata in B major, K262
Keyboard Sonata in B minor, K173
Keyboard Sonata in C major, K421
Keyboard Sonata in C minor, K126
Keyboard Sonata in D major, K33
Keyboard Sonata in D minor, K138
Keyboard Sonata in E major, K20
Keyboard Sonata in E minor, K232
Keyboard Sonata in F major, K17
Keyboard Sonata in F minor, K184
Keyboard Sonata in F sharp major, K319
Keyboard Sonata in F sharp minor, K67
Keyboard Sonata in G major, K425
Keyboard Sonata in G minor, K546
Artists
Andrea Molteni (piano)Works
Keyboard Sonata in A major, K24Keyboard Sonata in A minor, K532
Keyboard Sonata in B flat major, K266
Keyboard Sonata in B flat minor, K131
Keyboard Sonata in B major, K262
Keyboard Sonata in B minor, K173
Keyboard Sonata in C major, K421
Keyboard Sonata in C minor, K126
Keyboard Sonata in D major, K33
Keyboard Sonata in D minor, K138
Keyboard Sonata in E major, K20
Keyboard Sonata in E minor, K232
Keyboard Sonata in F major, K17
Keyboard Sonata in F minor, K184
Keyboard Sonata in F sharp major, K319
Keyboard Sonata in F sharp minor, K67
Keyboard Sonata in G major, K425
Keyboard Sonata in G minor, K546
Artists
Andrea Molteni (piano)About
In a booklet conversation with the pianist and Lisztian Leslie Howard, Molteni explains that he has selected 18 lesser-known sonatas in a sequence which moves through the keys in the manner of The Well-Tempered Clavier, beginning with the A major virtuoso flourishes of K24 and ending with the G minor of K546. Howard praises the clarity and luminosity of Molteni’s touch; the sensitivity of his approach to ornamentation, which carefully emulates the effects and articulation available on a harpsichord as much as possible; strong dynamic contrasts; and the breathing pauses between sections, which allow for a change of registration like a harpsichord stop.
Without observing the traditional pairings of Scarlatti’s sonatas, Molteni’s sequence encompasses the violinistic figurations of the early sonatas from the composer’s residence in Rome as well as the fandangos and guitaristic flourishes of his later and much longer stay in Madrid in service to the Princess (then Queen) Maria Magdalena Barbara. Scarlatti himself professed an aim of ‘ingenious jesting with art’ in a preface to one of volume of sonatas, and Molteni proves himself more than equal to the required balance between musical sophistication and virtuoso demands.
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