D. SCARLATTI: Sonata in D major K. 492 - Simone Stella скачать в хорошем качестве

D. SCARLATTI: Sonata in D major K. 492 - Simone Stella

Simone Stella plays the Sonata in D major K. 492 of Domenico Scarlatti (1685-1757), a piece containing a considerable spanish influence. The harpsichord used is an italian model made in 2016 by Roberto Marioni from Pietrasanta (Lucca, Italy). #baroque #music #harpsichord #simonestella Only a fraction of Scarlatti's compositions were published during his lifetime; Scarlatti himself seems to have overseen the publication in 1738 of the most famous collection, his 30 Essercizi ("Exercises"). These were well received throughout Europe, and were championed by the foremost English writer on music of the eighteenth century, Charles Burney. The many sonatas that were unpublished during Scarlatti's lifetime have appeared in print irregularly in the two and a half centuries since. Scarlatti's 555 keyboard sonatas are single movements, mostly in binary form, and some in early sonata form, and mostly written for the harpsichord or the earliest pianofortes. (There are four for organ, and a few for small instrumental group). Some of them display harmonic audacity in their use of discords, and also unconventional modulations to remote keys. Other distinctive attributes of Scarlatti's style are the following: The influence of Iberian (Portuguese and Spanish) folk music. An example is Scarlatti's use of the Phrygian mode and other tonal inflections more or less alien to European art music. Many of Scarlatti's figurations and dissonances are suggestive of the guitar. Scarlatti's compositions were influenced by the Spanish guitar as can be seen in notes being played repetitively in a rapid manner. A formal device in which each half of a sonata leads to a pivotal point, which Kirkpatrick termed "the crux", and which is sometimes underlined by a pause or fermata. Before the crux, Scarlatti sonatas often contain their main thematic variety, and after the crux the music makes more use of repetitive figurations as it modulates away from the home key (in the first half) or back to the home key (in the second half). Scarlatti played in the galant style.