Scarlatti published just 30 of his 550 or so keyboard sonatas. They appeared in London in 1738/9 under the title Essercizi per gravicembalo ('Keyboard exercises'). In the preface he warned players: "Do not expect, whether you be amateur or professional, to find any profound intention in these compositions, but rather an ingenious jesting with art." Scarlatti's sonatas are perhaps most famous for their flamboyant Hispanic touches, with hints of the rhythms and melodies of Spanish folk music. (The composer, born in Naples, spent 25 years in Madrid.) During his lifetime his music was not widely circulated and it's impact and influence was largely restricted to composers like Sebastián de Albero and Antonio Soler who, like Scarlatti himself, had connections with the royal household of Spain.

A super-budget introduction to the riches of the Spanish piano repertoire, including many critically acclaimed recordings.

This is a wonderful collection of Spanish Baroque harpsichord music. Of course Scarlatti, who came from Italy, is the king. Igor Kipnis plays one of Scarlatti's single sonatas and the great triptych, K. 490- 92. He gives an object lesson in performing Scarlatti with imagination, virtuosity, taste, and ornamented repeats, the latter adding a great deal of interest to the music. José Nebra and Josep Soler aren't quite on Scarlatti's level, but the way Igor Kipnis plays their entertaining music is bound to hold your attention.

Antonio Soler’s eminent position at the eighteenth-century Spanish court led to a series of important works, both sacred and secular. Of them, the best known are his keyboard sonatas, many of which were written for the young prince, Don Gabriel, son of Carlos III. The sonatas manage to absorb the influence of Domenico Scarlatti but also exude the prevailing modernist trends of Vienna. Some are designed in pairs, and many employ subtle echo effects, syncopation and exciting, athletic leaps that show his delight in repetition and contrast.

La gran maestría de Genoveva Galvez, especialista en el repertorio para clave de músicos españoles, en un disco magnifico e interesante, muy difícil de encontrar actualmente.
Genoveva Gálvez es considerada como la responsable del resurgimiento del estudio del clave en España. Su amplia carrera fonográfica incluye más de una docena de discos, en los que ha interpretado a diversos y variados autores, como Johann Sebastian Bach y Domenico Scarlatti.

The popularity of the guitar has never waned and the sun-drenched sound of Spanish guitar music is one of the instrument’s most popular incarnations. At the helm of performers of this style of guitar music is Narciso Yepes who recorded vast amounts of guitar music for Deutsche Gramophon. This collection brings together some of the gems from among these recordings and indeed, from the body of work for Spanish guitar.

A transformative force in historically informed performance, Ton Koopman is renowned as a conductor, harpsichordist and organist. In 1979, aged 35, he founded the Amsterdam Baroque Orchestra in the city where he had studied with the great Dutch harpsichordist Gustav Leonhardt. Drawing on an international pool of players, the ensemble soon gained a reputation for flexibility, colour and expressivity as it explored the music of such composers as the Bach family, Handel, Telemann and Buxtehude.

Celebrated for her glorious traversals of 19th and 20th-century Spanish piano repertoire, on this recording Alicia de Larrocha harks back to the Baroque, offering a selection of sonatas by Scarlatti as well as the much lesser-known ones of his contemporary (and her compatriot) Soler. Sandwiched between, is her recording of the fifth of Handel’s keyboard suites with its celebrated ‘Harmonious Blacksmith’ variations. This issue forms part of a survey of Larrocha’s celebrated Decca recordings with some of them (on this issue, the Scarlatti sonatas Kk. 8 and 10) appearing on CD for the first time. Six of the Soler sonatas appear from Larrocha’s Scarlatti/Soler recording with a further two (tracks 18 and 19) from a recital of Spanish encores.