Scarlatti & Co. - Early Classical Piano Sonatas
Written in single-movement form, Scarlatti’s sonatas reveal the development of new playing techniques, including note repetitions and fast passages in parallel 3rds and 6ths, as well as the innovation of musical structures, which point to the emerging Classical style.
Composers: Domenico Scarlatti, Antonio Soler, Baldassare Galuppi, Lodovico Giustini & Andrea Luca Luchesi
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Born in 1685, Scarlatti spent the majority of his career in the service of the Portuguese and Spanish royal families. This unusual cultural background accounts for why the Italian’s music, though contemporary with that of Bach and Handel, differs so much in comparison–Spanish dance rhythms (such as the flamenco), and folk tunes with Moorish and gypsy-like flavours, indicate that day-by-day-street life was a great source of inspiration to Scarlatti. Written in single-movement form, the sonatas also reveal Scarlatti’s development of new playing techniques, including note repetitions and fast passages in parallel 3rds and 6ths, not to mention his important pioneering of structures – which in turn point to the impending emergence of the Classical style.
Galuppi’s style was defined during his lifetime as ‘gay, lively and brilliant’, and the three adjectives aptly describe the sonatas published during his lifetime. He used elementary sonata-allegro forms, ranging from the simple binary dance forms of the Baroque to mono- and bi-thematic sonata-forms with embryonic development sections and complete recapitulations, as found in the works of Domenico Scarlatti. The texture is generally two-voiced, with right-hand cantabile melodies supported by a straightforward left-hand accompaniment of broken chords or Alberti bass figuration.
Giustini's main fame rests on his work 12 Sonate da cimbalo di piano e forte detto volgarmente di martelletti, Op.1, published in Florence in 1732, which is the earliest music in any genre written specifically for the piano. He used all the expressive capabilities of the instrument, such as wide dynamic contrast: expressive possibilities which were not available on other keyboard instruments of the time. Harmonically the pieces are transitional between late Baroque and early Classical period practice, and include innovations such as augmented sixth chords and modulations to remote keys.
The six sonatas published in Bonn in 1772 as Luchesi’s Opus 1 were originally designated as sonatas for the harpsichord with violin accompaniment, much in the style of violin sonatas by Mozart and Beethoven. Luchesi, however, reduced the violin part to a marginal role, mostly doubling the keyboard’s right-hand part; Roberto Plano has accordingly eliminated it altogether in this recording, saying that ‘I believe it to be closer to the composer’s original intention.’
Tracklist:
Played by Michelangelo Carbonara:
0:00:00 Sonata in G Major, Kk. 124 (Allegro)
0:03:04 Sonata in A Minor, Kk. 109 (Adagio)
0:07:51 Sonate in B Minor, Kk. 27 played by Misha Goldstein
0:12:39 Soler: Sonata No. 21 in C-Sharp Minor played by Jean-Francois Dichamp
Played by Michelangelo Carbonara:
0:15:40 Piano Sonata in C Major, Kk. 461 (Allegro)
0:19:03 Sonata in F Minor, Kk. 462 (Andante)
Galuppi: Piano Sonata No. 10 in F Major played by Fernanda Damiano:
0:22:50 I. Andantino
0:34:33 II. Allegro
0:38:35 III. Giga. Presto
Played by Michelangelo Carbonara:
0:41:30 Sonata in E Major, Kk. 135 (Allegro)
0:44:35 Sonata in C Major, Kk. 308 (Cantabile)
Giustini: Sonata No. 3 in F Major, Op. 1 played by Paolo Zentilin:
0:47:31 I. Siciliana. Affettuoso
0:52:19 II. Canzone
0:54:37 III. Andante, Ma Non Presto
0:57:28 IV. Giga. Presto
Played by Jean-Francois Dichamp
0:59:34 Sonata in D Minor, K.141
1:02:30 Sonata in E Minor, K.198
Luchesi Sonata No. 1 in G Major, Op. 1 played by Roberto Plano:
1:04:44 I. Allegro
1:09:19 II. Andante
1:15:30 III. Presto
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