Andrea Coen, Valerio Losito - D. Scarlatti: Viola d’amore Sonatas (2011)
BAND/ARTIST: Andrea Coen, Valerio Losito
- Title: D. Scarlatti: Viola d’amore Sonatas
- Year Of Release: 2011
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 00:59:35
- Total Size: 324 mb
- WebSite: Album Preview
Tracklist
01. Sonata in D Minor, Kk. 90: I. Grave
02. Sonata in D Minor, Kk. 90: II. Allegro
03. Sonata in D Minor, Kk. 90: III. (Allegro)
04. Sonata in D Minor, Kk. 90: IV. Allegro
05. Sonata in G Major, Kk. 91: I. Grave
06. Sonata in G Major, Kk. 91: II. Allegro
07. Sonata in G Major, Kk. 91: III. Grave
08. Sonata in G Major, Kk. 91: IV. Allegro
09. Sonata in C Minor, Kk. 73: I. Allegro
10. Sonata in C Minor, Kk. 73: II. Minuetto (Primo e secondo)
11. Sonata in F Major, Kk. 78: I. Giga
12. Sonata in F Major, Kk. 78: II. (Minuetto)
13. Sonata in D Minor, Kk. 77: I. Moderato e cantabile
14. Sonata in D Minor, Kk. 77: II. Minuet
15. Harpsichord Sonata in G Major, Kk. 79: Allegrissimo
16. Sonata in G Major, Kk. 80: Minuet
17. Sonata in D Minor, Kk. 88: I. Grave
18. Sonata in D Minor, Kk. 88: II. Andante moderato
19. Sonata in D Minor, Kk. 88: III. (Gavotta) Allegro
20. Sonata in D Minor, Kk. 88: IV. Minuet
21. Sonata in D Minor, Kk. 89: I. Allegro
22. Sonata in D Minor, Kk. 89: II. Grave
23. Sonata in D Minor, Kk. 89: III. Allegro
There are a number of sonatas in Scarlatti’s vast output that can be categorised as ‘melobass sonata’. The combination in these of a monodic, figured bass and a highly linear upper part has had contemporary scholars look afresh and consider if these works were intended not for solo harpsichord but for a combination of keyboard and a high melodic instrument. These are delightful reconstructions of what ‘might have been’ and present these solo keyboard sonatas in a new light.
It is possible that Scarlatti knew Vivaldi’s concertos for viola d’amore, and some of Vivaldi’s techniques appear to have been appropriated by Scarlatti, and his polyphonic writing makes full use of the instruments resonances. Certainly the writing fits the viola d’amore very well -especially K88.
01. Sonata in D Minor, Kk. 90: I. Grave
02. Sonata in D Minor, Kk. 90: II. Allegro
03. Sonata in D Minor, Kk. 90: III. (Allegro)
04. Sonata in D Minor, Kk. 90: IV. Allegro
05. Sonata in G Major, Kk. 91: I. Grave
06. Sonata in G Major, Kk. 91: II. Allegro
07. Sonata in G Major, Kk. 91: III. Grave
08. Sonata in G Major, Kk. 91: IV. Allegro
09. Sonata in C Minor, Kk. 73: I. Allegro
10. Sonata in C Minor, Kk. 73: II. Minuetto (Primo e secondo)
11. Sonata in F Major, Kk. 78: I. Giga
12. Sonata in F Major, Kk. 78: II. (Minuetto)
13. Sonata in D Minor, Kk. 77: I. Moderato e cantabile
14. Sonata in D Minor, Kk. 77: II. Minuet
15. Harpsichord Sonata in G Major, Kk. 79: Allegrissimo
16. Sonata in G Major, Kk. 80: Minuet
17. Sonata in D Minor, Kk. 88: I. Grave
18. Sonata in D Minor, Kk. 88: II. Andante moderato
19. Sonata in D Minor, Kk. 88: III. (Gavotta) Allegro
20. Sonata in D Minor, Kk. 88: IV. Minuet
21. Sonata in D Minor, Kk. 89: I. Allegro
22. Sonata in D Minor, Kk. 89: II. Grave
23. Sonata in D Minor, Kk. 89: III. Allegro
There are a number of sonatas in Scarlatti’s vast output that can be categorised as ‘melobass sonata’. The combination in these of a monodic, figured bass and a highly linear upper part has had contemporary scholars look afresh and consider if these works were intended not for solo harpsichord but for a combination of keyboard and a high melodic instrument. These are delightful reconstructions of what ‘might have been’ and present these solo keyboard sonatas in a new light.
It is possible that Scarlatti knew Vivaldi’s concertos for viola d’amore, and some of Vivaldi’s techniques appear to have been appropriated by Scarlatti, and his polyphonic writing makes full use of the instruments resonances. Certainly the writing fits the viola d’amore very well -especially K88.
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