La Tempestad - D. Scarlatti: Venezia 1742 (2019) [Hi-Res]
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BAND/ARTIST: La Tempestad
- Title: D. Scarlatti: Venezia 1742
- Year Of Release: 2019
- Label: IBS Classical
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
- Total Time: 00:56:11
- Total Size: 334 mb / 1.1 gb
- WebSite: Album Preview
Tracklist
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01. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): I. Grave
02. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): II. Andante moderato
03. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): III. Allegro
04. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): IV. Minuetto
05. Keyboard Sonata in E Minor (After D. Scarlatti's Kk. 77): I. Moderato cantabile
06. Keyboard Sonata in E Minor (After D. Scarlatti's Kk. 77): II. Menuet
07. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave
08. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro
09. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Grave
10. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro
11. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave
12. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro
13. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Grave
14. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro
15. Keyboard Sonata in G Major, Kk. 79
16. Keyboard Sonata in G Major, Kk. 80 (Arr. S. Márquez Chulilla for Chamber Ensemble)
17. Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Allegro
18. Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Grave
19. Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Allegro
20. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave
21. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro
22. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Allegro
23. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro
24. Keyboard Sonata in C Minor, Kk. 73 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Allegro
25. Keyboard Sonata in C Minor, Kk. 73 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Minuetto
Imagine how the rhythmic emphasis of Scarlatti’s sonatas sounds on other instruments, beyond the harpsichord or other keyboards, can be a temptation difficult to overcome. It was difficult for us and it must have been, too, for those who had in their hands some of the hot manuscripts, fresh out of the oven, in the eighteenth century. Because, in this point, a new mystery emerges: what happened to all those acquaintances that Scarlatti had the opportunity to find in Rome or Venice? Did he keep in contact with other European composers, such as Thomas Roseingrave, once at the service of the court in Madrid? What happened to the bridges built with London? How is it possible that some of the sonatas that today are only preserved in the manuscript of Venice were known in England as early as 1744 (even before)?
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01. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): I. Grave
02. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): II. Andante moderato
03. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): III. Allegro
04. Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): IV. Minuetto
05. Keyboard Sonata in E Minor (After D. Scarlatti's Kk. 77): I. Moderato cantabile
06. Keyboard Sonata in E Minor (After D. Scarlatti's Kk. 77): II. Menuet
07. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave
08. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro
09. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Grave
10. Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro
11. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave
12. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro
13. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Grave
14. Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro
15. Keyboard Sonata in G Major, Kk. 79
16. Keyboard Sonata in G Major, Kk. 80 (Arr. S. Márquez Chulilla for Chamber Ensemble)
17. Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Allegro
18. Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Grave
19. Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Allegro
20. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave
21. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro
22. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Allegro
23. Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro
24. Keyboard Sonata in C Minor, Kk. 73 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Allegro
25. Keyboard Sonata in C Minor, Kk. 73 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Minuetto
Imagine how the rhythmic emphasis of Scarlatti’s sonatas sounds on other instruments, beyond the harpsichord or other keyboards, can be a temptation difficult to overcome. It was difficult for us and it must have been, too, for those who had in their hands some of the hot manuscripts, fresh out of the oven, in the eighteenth century. Because, in this point, a new mystery emerges: what happened to all those acquaintances that Scarlatti had the opportunity to find in Rome or Venice? Did he keep in contact with other European composers, such as Thomas Roseingrave, once at the service of the court in Madrid? What happened to the bridges built with London? How is it possible that some of the sonatas that today are only preserved in the manuscript of Venice were known in England as early as 1744 (even before)?
Year 2019 | Classical | FLAC / APE | HD & Vinyl
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