This page lists all recordings of Keyboard Sonata K113 in A major, by Domenico Scarlatti (1685-1757) on CD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock. |
All recordingsPrices shown exclude VAT. (UK tax is not payable for deliveries to United States.) See Terms & Conditions for p&p rates. | |  | Emil Gilels: Early Recordings Volume 3All tracks recorded in the USSR, 1935-1955
Emil Gilels played a sonata by Scarlatti at his first public concert in 1929 and included them in his tours to the West in the 1950s. These recordings present a splendid group of the composer’s widely contrasting moods. Gilels was a true virtuoso in the Lisztian tradition, combining musical integrity with rarely equalled technique. The Fantasia was one of the works with which he won the First Soviet All-Union Competition in 1933, while his recordings of the Hungarian Rhapsodies and three works by Chopin are full of character and personality. A recently discovered notebook in which Gilels logged some of his recording sessions has made the dating of these recordings more accurate in this edition. Ward Marston, audio restoration engineer “Few pianists have possessed a more comprehensive, magisterial technique or musical integrity than Emil Gilels...And here, in Naxos's third volume, you will at once hear those salient characteristics that prompted awe and envy among Gilels's finest colleagues...[His Liszt] is overwhelming in its pulverising strength and brilliance.” Gramophone Magazine, September 2012 “Outstanding early Gilels, with some superb Liszt including his legendary Figaro Fantasy from 1935. The Scarlatti Sonatas may not stand the test of time so well, but this is a must.” BBC Music Magazine, Christmas 2012 ***** | | | (also available to download from $9.00) | In stock - usually despatched within 1 working day. |
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| |  | Scarlatti: Keyboard Sonatas
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| |  | Scarlatti - Keyboard Sonatas
“Every so often a major pianist reclaims Scarlatti for the piano with an outstanding recording. As Ralph Kirkpatrick put it, Scarlatti's harpsichord, while supremely itself, is continually menacing a transformation into something else. True, the relation of the music to harpsichord sound could hardly be closer, and it wouldn't have been composed the way it is for a different instrument. Scarlatti is marvellous at suggesting imaginary orchestrations and stimulating the imagination. He makes us aware of different vantage points as the music passes before us, of the different tones of voice and rhetorical inflexions – as various in these sonatas as the events in them are unpredictable. There are dances, fiestas and processions here, serenades, laments, and evocations of everything from the rudest folk music to courtly entertainments and churchly polyphony; and as the kaleidoscope turns you marvel at the composer who could embrace such diversity, shape it and put it all on to the keyboard. Pletnev's playing is strongly individual, and his free-ranging poetic licence may not be to your taste. Not that his spectacular virtuosity is likely to be controversial: this really is hors decatégorie and enormously enjoyable. And the evocations of the harpsichord are often very witty, but he doesn't shrink from using the full resources of the piano, sustaining pedal included, and if you baulk at the prospect, he may not be for you. The sustaining pedal is certainly dangerous in music that's almost wholly to do with lines, not washes of colour; it can make us see Scarlatti as if through Mendelssohn's eyes. Yet moments of such falsification are rare. Characterisation is everything, and though he can be coy in the reflective sonatas, he generally goes straight to the heart of the matter. The vigorous, full tone in the quick numbers is a joy, and most admirable is the way he makes sound immediately command character. Superb recorded sound.” Gramophone Classical Music Guide, 2010 “Pletnev establishes a firm pianistic approach...The performances throughout are in the very front rank.” Penguin Guide, 2011 edition | | | In stock - usually despatched within 1 working day. |
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| |  | Scarlatti: Piano Sonatas Volume II16 Keyboard Sonatas
Domenico Scarlatti's 500 plus keyboard sonatas show a composer experimenting with form: way ahead of his Baroque contemporaries, the Italian wrote highly virtuoso mood pieces, some of them bearing the mark of the local folk music in Spain, where he worked at the royal court. In Mikhail Pletnev's hands, this 2nd selection of Scarlatti sonatas displays all the nuances of these miniature masterpieces. “Purists allergic to Scarlatti on the piano needn't hesitate. Mikhail Pletnev seems to relish the Steinway but his range of tone is ravishing and his playfulness is captivating, and both outweigh any Romantic indulgences.” BBC Music Magazine, June 2013 **** | 
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| |  | D. Scarlatti: Sonatas
Domenico Scarlatti was born in 1685, the same year as J S Bach and Handel. Early life was spent in Naples and Rome where his father Alessandro held important posts. From 1719 he resided in Portugal, teaching keyboard to Maria Bárbara, daughter of King John V, whose marriage ten years later initiated a move to the Spanish court where he remained based until his death in 1757. Few details are known of Scarlatti’s life and a considerable amount of his music has been lost. He nevertheless left 555 single movement sonatas contained in two collections known as the Venice and Parma manuscripts. His brilliance at the keyboard is reflected in these sonatas which require very considerable dexterity. For this recording Carole Cerasi, whose previous discs for Metronome have attracted important awards and critical acclaim, has chosen fifteen contrasting sonatas which brilliantly illustrate Scarlatti’s staggering virtuosity, unexpected eccentricities and a strong awareness of Iberian influences. “Cerasi's recording builds a sense of a deeper Scarlatti, a composer filled with delightful musical quirks and oddities, at turns wheeling, ruminative and bumptious. It is a well-plotted disc, capturing the full range of the composer's moods...With Cerasi, there are no false steps...In short, Cerasi's disc is [a] delight and will please longtime Scarlatti collectors as much as it entices newcomers to explore further.” Gramophone Magazine, July 2012 “Domenico Scarlatti's fusion of Italian and Iberian styles dazzles in this artfully programmed recital...It's a playful performance, as impressive in its moments of introspection as it is in those of extrovert brilliance.” The Independent on Sunday, 3rd June 2012 ***** | | | Usually despatched in 4 - 5 working days. |
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| |  | D. Scarlatti: Keyboard Sonatas
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| |  | D Scarlatti: Sonatas
Mathieu Dupouy (harpsichord) The anonymous harpsichord used for these performances was built in Naples, the birthplace of Scarlatti, around 1710, and has been recorded here for the first time. It is the only remaining harpsichord with a gut register, known as “tiorbino”. Mathieu Dupouy studied at the Paris Conservatoire and has devoted himself to the harpsichord, clavichord and piano. “colourful and very well recorded...Absolutely must-have” CD Review | | | Usually despatched in 2 - 3 working days. |
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| |  | The Welte-Mignon Mystery Volume 10
The Welte-Mignon Mystery Vol. X presents performances by Carlo Zetti recorded in 1926. The programme includes music by Scarlatti, Pizzetti and Stravinsky. If you have not heard any recordings in this series then it is highly recommended that you try this release. The Welte-Mignon machine allows us to hear these old recordings as if they had been recorded yesterday! | | | Usually despatched in 2 - 3 working days. |
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| |  | Scarlatti - 16 Sonatas
Joanna Leach (Stodart square piano of 1823) | | | (also available to download from $10.50) | Usually despatched in 4 - 5 working days. (Available now to download.) |
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| |  | Jory Vinikour in Concert
| | | (also available to download from $21.00) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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