Domenico Scarlatti (1685-1757) 14 Sonatas on Pianoforte 00:00 Sonate en si bémol majeur K. 266 04:22 Sonate en mi bémol majeur K. 193 08:42 Sonate en fa mineur K. 481 14:22 Sonate en sol mineur K. 426 19:04 Sonate en sol majeur K. 427 21:32 Sonate en ré mineur K. 213 28:46 Sonate en do majeur K. 513 32:02 Sonate en fa mineur K. 69 36:32 Sonate en la majeur K. 300 39:37 Sonate en do dièse mineur K. 247 43:56 Sonate en ré mineur K.9 46:43 Sonate en si mineur K. 87 52:23 Sonate en mi majeur K. 20 55:42 Sonate en la majeur K. 208 Pianoforte: Agnès Gillieron Recorded in 1985, at Paris New mastering in 2023 by AB for CMRR 🔊 Discover our new website: www.classicalmusicreference.com/ 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr ❤ If you like CMRR content, please consider membership at our Patreon or Tipeee page. Thank you :) www.patreon.com/cmrr // en.tipeee.com/cmrr Domenico Scarlatti was born at Naples on 26 October 1685, the same year as Bach and Handel. He studied with his father, Allessandro, and with Francesco Gasparini, and, in spite of an assiduous study of the harpsichord, he at first fell under the influence of his father and began a composing career which was directed towards the organ, the cantata and the opera. In 1701 he became the organist at the Royal Chapel in Naples and a year later spent some time with his father et the Court of Tuscany. In 1703 he returned to Naples and composed his first operas (Giustino and Ottavia restitua al trono), which were first performed at the theatre of San Bartolomeo and at the Royal Court. He spent one more year in his native city (where a third opera, Irene, was produced) before going to Venice where he met Handel and formed a friendship with him. In the city of the Doges he studied with Gasparini and met Thomas Roseingrave who later participated in the composition of another opera « Il Narciso ». In 1709 he met Handel again in Rome and with him engaged in the famous musical duel arragead by Cardinal Ottoboni. Handel was pronounced to be the greater organist, but Domenico Scarlatti was acknowledget to be the greatest harpsichordist of his day. During this Roman sejourn he devoted himself to orchestral conducting and composition. Attached to the Court of the Queen of Poland, he wrote nine operas before being appointed maestro di cappella at St. Peter's in 1715. There is some evidence that he visited London in 1719 and in that same year he was invited by the Court at Lisbon to take charge of the musical education of the Infanta Maria Barbara. He taught her the harpsichord and occupied the post of master of the chapel. In 1729 he left Italy for Madrid where he again entered the service of Maria Barbara, now the Princess of Asturia, and the principal dedicatee of his sonatas. He established himself permanently at the Court of Spain and for the rest of his life, rendered financially precarious by his immoderate fondness of gambling, he seems to have devoted himself exclusively to the harpsichord, with the exception of a Salve Regina, which is probably his last composition. Of the 555 sonatas for harpsichord by Domenico Scarlatti only thirty were published during his lifetime. It was not until the 20th century that they were published by Ricordi in the classification by Longo (L.). In 1947 the American harpsichordist, Ralph Kirkpatrick, undertook a more precise chronological classification, and his numbering of the sonatas is now generally the one in use (K). The originality' of these sonatas, the influence of which extended as far as Liszt, derives from the faultless alliance of a necessary technical virtuosity with wit and an astonishing precision of writing. The influence of Spanish popular music, as well as that of his father, a talented precursor but timid adventurer, invest these sonatas with a purely Latin cast, rich in new tone colours which demand from the player great delicacy and tenderness, emotion and, of course, humour, but which also remain inaccessible without the strictest precision of execution. Scarlatti's sonatas in one movement are composed of two repeated sections, the second half of the first section introducing the theme of the second section. These binary sonatas demand (according to Kirkpatrick's findings) to be coupled according to keys. It is much rarer to find groups of three. Their diversity of inspiration and form makes Domenico Scarlatti the father of the modern keyboard sonata. Sometimes he comes close to polytonality in the boldness of his modulations, the proximity of very different keys and the presence of dissonances which the unimaginativeness of certain editors has led them to "correct". "His work is the richest in the whole of the keyboard literature". (Harry Halbreich) A pupil of Huguette Dreyfus, Ruggero Gerlin and Rafael Puyana, Agnès Gillieron won first prize for harpsichord at the Paris Conservatoire, before devoting herself to the fortepiano, which she discovered through contact with Jörg Demus. The instrument is a copy of a pianoforte built by Anton Walter around 1785, belonging to the de Chambure collection, and made by the Austrian maker Johannes Carda. Scarlatti: The Keyboard Sonatas by Clara Haskil 🎧 Qobuz bit.ly/3rx56rT Deezer bit.ly/31wQaPO 🎧 Amazon Music amzn.to/3WUhPRV Tidal bit.ly/3xS0A8p 🎧 Spotify spoti.fi/31tjJBK Apple Music apple.co/3q7ytPp 🎧 KZfaq Music bit.ly/3VBZB6N SoundCloud bit.ly/3qu1zIG 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 …

Quelle magie ! Comme cela fait du bien d'entendre ce pianoforte si bien restitué , cette pianiste si sensible et nuancée , un miracle ! ... Bravo et merci à vous pour cette merveilleuse parution !

This is a very pleasant experience to enjoy this sensitive understanding of the beautiful Scarlatti sonatas.

Beautiful sonatas, played beautifully!

Fascinating display of color! I think this fulfills what Ann Bond in her A Guide to the Harpsichord said about piano versus harpsichord in the execution of the Scarlatti sonatas, with the pianoforte being on the side of the harpsichord: "Most exotic, most poignant, and capriciously brilliant, the sonatas of Domenico Scarlatti are loved by every harpsichordist. They escaped the nemesis that obscured much eighteenth-century music during the romantic period, and earlier in the present century they were commonly encountered as the opening items of piano recitals. Some pianists certainly perform them with crisp and exciting results; but only the rich harmonic structure of harpsichord tone can fully reveal the true colors of this music and suggest its inscrutable yet beguiling mixture of aristocratic poise, mercurial wit, and wayward melancholy." I think this recording fulfills these desiderata located in the structure harpsichord tone save, in this case, located in the piquant structure of tone of this Walther pianoforte reproduction played by a master of the harpsichord.

아름다운 음악들려주셔서 오늘도 감사합니다❤

Marvellous rendition!

Thank you! 🌼

So nice - thank you.

Piękna spokojna muzyka, miła w słuchaniu.

❤