Domenico Scarlatti
23 products
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Scarlatti: Complete Keyboard Sonatas, Vol. 31
$19.99CDNaxos
Oct 10, 20258574686 -
Scarlatti: Sonate a due clavicembali
$18.99CDTactus
Nov 21, 2025TB681909 -
Scarlatti: Complete Keyboard Sonatas, Vol. 30
$19.99CDNaxos
Apr 25, 20258574657 -
Scarlatti: Complete Piano Sonatas, Vol. 10
$21.99CDTACET Musikproduktion
Jun 13, 2025TACET279CD -
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Domenico Scarlatti: Complete Piano Sonatas, Vol. 12
Scarlatti: Complete Keyboard Sonatas, Vol. 31
Scarlatti: Sonate a due clavicembali
Scarlatti: Complete Keyboard Sonatas, Vol. 30
Scarlatti: Complete Piano Sonatas, Vol. 10
Scarlatti: Ten Sonatas
Scarlatti: Complete Keyboard Sonatas, Vol. 29
HARPSICHORD SONATAS
Scarlatti: A Man of Genius
Scarlatti: Sonatas
Scarlatti: 37 Keyboard Sonatas / Korstick
With his more than sixty prizewinning recordings, Michael Korstick has gained renown as one of Germany’s leading pianists. And now, with his new recording of sonatas by Domenico Scarlatti, he again sets accents and interpretive standards. The score texts, especially as far as ornamentation is concerned, often cannot be written out with precision or brought into systematic agreement in parallel passages. Much in these score texts creates the impression of a sketch and practically invites the player to make individual decisions.
An improvisational element is proper to all the pieces; no sonata follows a predictable course apart from the fact that they as a rule consist of two parts, each of which is repeated. There are many characteristics in Scarlatti’s music that immediately catch the ear’s attention: wit, generosity, keen understanding, irony, sensibility, and not least a healthy portion of the self-confidence forming a super-virtuoso’s sine qua non. The combination of the most sophisticated techniques, some of them acrobatic, with extremely catchy thematic material is characteristic of Scarlatti’s sonatas, but what never fails to astonish us is also his capacity for lyrical introspection in its most manifestations, from the greatest sorrow through the profoundest mourning to meditative absorption. Again, other pieces imitate the sounds of instruments so very different as flutes, oboes, trumpets, horns, guitars, mandolins, castanets, and drums.
This recording presents in full the thirty-two sonatas of the Auswahlband IV of the G. Henle Verlag as well as four of Scarlatti’s most beloved sonatas, which have been published separately by the G. Henle Verlag. The selection of pieces for Band IV has at its goal the presentation of what may be described as the essence or “The Best of” Scarlatti’s art of invention.
The John Cranko Stuttgart Ballet Collection [DVD or Blu-ray Video]
Three legendary performances from the Stuttgart Ballet in the choreography of John Cranko: Onegin, Romeo and Juliet and The Taming of the Shrew. Including bonus conversations on each ballet and three documentaries on the Stuttgart Ballet and its outstanding dancers Marcia Haydée and Friedemann Vogel. The 3 documentaries are for the first time available on DVD and Blu-ray! (Unitel)
Scarlatti: ...ma cantabile - Harpsichord Music / Vorobjova
Vorobjova's very personal "cantabile" collection from the extensive Scarlatti virtuosic harpsichord repertoire.
Scarlatti: Complete Keyboard Sonatas, Vol. 27 / Gallo
From the virtuoso Essercizi (K.12 and 15) to the touching cantabile eloquence of the Sonata in G major, K.144, most of the repertoire on this album consists of lesser-known works incorporating elements of dance forms from Spain and Portugal, with the Sonata (Fuga) in D minor heard here in its world premiere recording.
A. & D. Scarlatti: Father & Son / Duport-Percier, Skalka, Börner
Alessandro Scarlatti (1660-1725) and his son Domenico Scarlatti (1685-1757) were two formative Italian composers of the late 17th and early 18th centuries. Alessandro was one of the main representatives of the Neapolitan school, a great innovator of Baroque music and especially known for his vocal music such as operas, oratorios, cantatas, etc. His son Domenico became famous above all for his numerous compositions for keyboard instruments. But he was also active in the field of vocal composition. On this album, cantatas by both Scarlattis are effectively combined with sonatas by Domenico.
These sonatas are quite rightly among the most original of their genre in the 18th century. Alessandro wrote over 600 cantatas, Domenico over 500 sonatas, both finding artistic fulfilment in the study of a minimally scored genre. In cantata and sonata, they were able to experiment freely and without regard to the pressure of opera productions to succeed. Both limited themselves to the same form (da capo aria and bipartite sonata form), which they reworked again and again with never-ending creativity. Both loved rich harmonies: Alessandro's preference is for enharmonic confusions, Domenico, perhaps influenced by Iberian popular music, has an almost obsessive love of Phrygian cadence and acciacaturas. Both are masters of counterpoint and fugue. Domenico's relatively unknown church compositions in the strict Palestrina style are testimony to this. The numerous "movement errors" in his sonatas are deliberate and skilful steps of a mature master who only follows his ear and taste.
Father and son had differed above all in the choice of affect: It is difficult to find happy and joyful moments in Alessandro's cantatas. The affect most often depicted in his work is unhappy love. With Domenico, on the other hand, there are many exuberant and cheerful sonatas which, despite all the cloudiness, always return to the initial joyful affect. In Alessandro, the minor is predominant; in Domenico, the major and minor are in balance. Alessandro prefers slow to moderate tempi (Lento, Adagio, Andante), Domenico prefers fast tempi (Allegro, Presto, Prestissimo). It is very attractive to be able to experience these two composers and their compositional characteristics together on one recording. The ensemble TENTA LA FUGA (after the eponymous title of an aria by Alessandro Scarlatti) is a trio formation dedicated to vocal baroque music from around 1700. Its members are internationally renowned artists and graduates or teachers of the Schola Cantorum Basiliensis and the Conservatoire National Supérieur Musique et Danse de Lyon. Their improvisation-based playing is shaped by performance practice research results developed at these institutes.
Scarlatti: Complete Piano Sonatas, Vol. 8 / Ullrich
Sometimes time flies by. For example, when something stimulating happens all the time, as here with the new volume No. 8 of the complete recording of all 555 sonatas by Domenico Scarlatti. And not because of the two organ sonatas, which are actually played here on an organ, nor because of the acoustics at the new recording venue Marienmünster. Once again, Christoph Ullrich is exclusively responsible for these stimuli, and he knows how to shape these gems, which seem to have been written for him, with such never-ending imagination, exuberant ideas, nuances that always seem spontaneous but are nevertheless carefully woven, that two hours go by like two shooting stars.
John Cranko's The Taming of the Shrew / Stuttgart Ballet
John Cranko’s The Taming of the Shrew is one of the greatest ballet comedies of the 20th century. Inspired by William Shakespeare’s world-famous play, Cranko brings to vivid life the story of the shrewish Katherina whom no one wants to marry and the dashing and clever Petruchio who makes her his wife and “tames” her. Set to cheerful and boisterous music by Kurt-Heinz Stolze after Domenico Scarlatti, and with colorful costumes and a charming set by Elisabeth Dalton, The Taming of the Shrew evokes the sunlit streets and gardens of Italy. The perfect ballet for the whole family, danced by the Stuttgart Ballet – “this company is world class” (Tanznetz).
Scarlatti: Violin Sonatas / Begelman, Arsenale Sonoro
The place of Domenico Scarlatti in the history of 18th century music is certainly exceptional. This exquisite and imaginative group of works is included in the fourteenth volume of Scarlatti’s manuscript sonatas preserved in the Marciana Library in Venice. Although known as keyboard sonatas, research reveals that they were very likely to have been conceived for performance on the violin – multi-movement works, often showing the presence of figured bass accompaniment, rapid changes of register and numerous passages better suited to a violin than a keyboard instrument all support the theory. This is flashy and virtuosic writing for violin at its finest.
D. Scarlatti: 13 Sonatas from Book 3, 1753 / Haas
This is a recording to bring pleasure. Thirteen Sonatas by Domenico Scarlatti, taken from the same volume of manuscripts of the Queen of Spain, kept in Venice. Some of these sonatas are very famous, some are rarely played, but all are very beautiful: joyful, poetic, almost always sunny, sometimes melancholic. Brussels based French harpsichordist, Frédérick Haas' passion for the harpsichord started in earlychildhood and he began playing at the age of twelve. He studied the harpsichord, organ and musicology at Paris and Amsterdam, and was enriched by regular contact with important original instruments and the workshops of harpsichord builders and restorers, and at master classes. At the age of 26, he recorded his first solo album, dedicated to the harpsichord suites by J.H. Anglebert.
