Trevor Pinnock - Domenico Scarlatti: Sonatas (1987)
EAC | FLAC | Image (Cue & Log) ~ 377 Mb | Total time: 55:55 | Scans included
Classical | Label: Archiv Produktion | # 419 632-2 | Recorded: 1986
EAC | FLAC | Image (Cue & Log) ~ 377 Mb | Total time: 55:55 | Scans included
Classical | Label: Archiv Produktion | # 419 632-2 | Recorded: 1986
Occasionally—very occasionally—a record appears that is so exactly right in every particular that a reviewer just sits back and gives himself up to sheer enjoyment (though making a mental note to reserve a place for it among his choices for the year). This is one such: its combination of Scarlatti's inexhaustible and unpredictable invention with Trevor Pinnock's vitality and rhythmic energy must surely lift the spirits of even the most jaded listener. Pinnock never puts a finger wrong here, literally or figuratively: he captures the atmosphere of each sonata with complete understanding, responsive to all Scarlatti's little quirks, and conveying a feeling of whole-heartedly enjoying himself. He repeats both halves of all the pieces except in two cases, and presents the sonatas in pairs (a procedure to which, despite the notes' claim, Kirkpatrick was not the first to draw attention, Gerstenberg having done so 20 years previously). I would also take issue with the statement that the present 14 sonatas ''exemplify few of the more overt Hispanic touches'': on the contrary, only about three of the pieces here could have been written by someone not soaked in Spanish idioms. Listen, for instance, to the petenera of Kk502 (its dotted figure given splendid crispness) and the excitable Andalusian dance of 519, the stamping syncopated bass in 545 and 547, the processional in 518 or the Iberian harmonies and turns of phrase in 516 and the athletic 461.
There is only one obvious example of Scarlatti's prodigious virtuosity (Kk529, with four-octave leaps between successive quavers), but several others make considerable demands on the player, such as 517 with its rushing vigour (and with more bass stamping), the plunging broken octaves in the vivacious 460 and the curious 'false octaves' in 478 (one of a pair which require a top G on the instrument and—for those interested in the evolution of sonata form—contain clear-cut second subjects). The instrument used, a fine modern copy of a Hemsch, has been excellently recorded. A winner of a disc!–Lionel Salter
Performer:
Trevor Pinnock, harpsichord
Tracklist:
Domenico Scarlatti (1685-1757)
01. Sonata in C major K. 502
02. Sonata in C major K. 460
03. Sonata in C major K. 461
04. Sonata in D minor K. 516
05. Sonata in D minor K. 517
06. Sonata in D major K. 478
07. Sonata in D major K. 479
08. Sonata in F major K. 518
09. Sonata in F minor K. 519
10. Sonata in G minor K. 546
11. Sonata in G major K. 547
12. Sonata in B flat major K. 529
13. Sonata in B flat major K. 544
14. Sonata in B flat major K. 545
Exact Audio Copy V1.3 from 2. September 2016
EAC extraction logfile from 22. October 2020, 12:25
Trevor Pinnock / Domenico Scarlatti - Sonatas
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==== Log checksum ED6EB4AFADB3A04BC74A71508E1FA8CF057F80795A3C2BC8E8B985F7B68358FB ====
Thanks to the original releaser