Scarlatti - 14 Sonatas on Pianoforte / K. 193, K.9, K. 87 .. (reference recording: Agnès Gillieron)

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
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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
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