Domenico Scarlatti (1685-1757): Essercizi per Gravicembalo, 17 & 18 скачать в хорошем качестве

Domenico Scarlatti (1685-1757): Essercizi per Gravicembalo, 17 & 18

Essercizio 17 in F-Major, K.17: 00:00 Essercizio 18 in d-minor, K.18: 03:59 (Note: This is the same text as presented in my first five recordings of the “Essercizi” series, Sonatas (“Essercizi”) 1 to 16 which can be heard at these links: I: Sonatas 1 & 2:    • Domenico Scarlatti (1685-1757): Esser...   II: Sonatas 3 & 4:    • Domenico Scarlatti (1685-1757): Esser...   III: Sonatas 5, 6, 7:    • Domenico Scarlatti (1685-1757): Esser...   IV: Sonatas 8-13:    • Domenico Scarlatti (1685-1757): Esser...   V: Sonatas 14-16: Note also: In modern Italian, the word for “exercise” is spelled “esercizio”. Since Scarlatti spelled it with a double “s”, I also use that spelling in my descriptions. In 1738 – or perhaps the beginning of 1739 – there appeared in London a publication of thirty harpsichord sonatas that soon astonished the world of music. Entitled “Essercizi per Gravicembalo” (“Exercises for Harpsichord”), it contained thirty sonatas by the renowned Italian composer Domenico Scarlatti. They were dedicated to King John V of Portugal, for the composer had lived for years in that country, and was the harpsichord teacher of the King’s daughter, Maria Bárbara de Bragança, who in 1729 married the future King Ferdinand VI of Spain, and thereupon went to live in Madrid, with her teacher, Scarlatti, faithfully following. Over the years, Scarlatti composed many keyboard sonatas for the princess, and then queen, and Maria Bárbara no doubt became a master harpsichordist in her own right. Somewhat strangely, these were the only sonatas of the over 555 that he wrote that were “officially” published by him. Far from being “dry” exercises, these are masterful compositions, full of life, and of an astounding originality. The English were soon enamored of these amazing pieces; some of them were even transcribed for orchestra, and a number of composers in different countries occasionally imitated Scarlatti’s style. In this recording, you will hear the first two sonatas of this volume (though I have already recorded over thirty of Scarlatti’s other works: see some of my earlier recordings from 2019). I have decided to record all of the “essercizi” as well, so there will be more to come in the following months. I cannot resist ending this introduction with Scarlatti’s own preface to this monumental collection of music, which in my opinion belongs to the most beautiful introductions of its kind in the history of music: “Dear reader, whether you be Dilettante or Professor, in these Compositions do not expect any profound Learning, but rather an ingenious Jesting with Art, to accommodate you to the Mastery of the Harpsichord. Neither Considerations of Interest nor Visions of Ambition, but only Obedience moved me to publish them! Perhaps they will be agreeable to you; then all the more gladly will I obey Commands to favor you with a more simple and varied Style. Therefore show yourself more human than critical, and then your Pleasure will increase. As for the positions of the hands, let me tell you that a D means the right and an M means the left. Live Happily.” David Bolton, “The Digital Harpsichordist” Could it be true – you still haven’t seen my books?! Please do check them out at Amazon! How to Memorize Music – A Practical Approach for Non-Geniuses https://amzn.to/2ElbmKp How to overcome Stage Fright − The ultimate Guide for performing Musicians https://amzn.to/2ScII1J Play it with Feeling! - Expressing Emotion in Musical Performance https://amzn.to/2Sf61bc All available at Amazon.com Please subscribe to my channel! P.S. You might want to join my Facebook Group: "The Digital Harpsichordist":   / 33804732681244