Scarlatti, D: Keyboard Sonata K32 in D minor

This page lists all recordings of Keyboard Sonata K32 in D minor, by Domenico Scarlatti (1685-1757) on CD, SACD & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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March 2011
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September 2015

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Scarlatti: 18 Sonatas

Scarlatti: 18 Sonatas


Scarlatti, D:

Keyboard Sonata K417 in D minor

Keyboard Sonata K208 in A major

Keyboard Sonata K159 in C major 'La caccia'

Keyboard Sonata K56 in C minor

Keyboard Sonata K213 in D minor

Keyboard Sonata K125 in G major

Keyboard Sonata K373 in G minor

Keyboard Sonata K119 in D major

Keyboard Sonata K69 in F minor

Keyboard Sonata K425 in G major

Keyboard Sonata K29 in D major

Keyboard Sonata K99 in C minor

Keyboard Sonata K12 in G minor

Keyboard Sonata K479 in D major

Keyboard Sonata K9 in D minor

Keyboard Sonata K318 in F sharp major

Keyboard Sonata K141 in D minor

Keyboard Sonata K32 in D minor


With the 2005 release of his first recording for BIS Records, Yevgeny Sudbin catapulted into the pages of the international music press. The disc was a Scarlatti recital that prompted reviewers worldwide to compare the then 24-year old pianist in the most flattering terms to Scarlatti experts such as Horowitz and Pletnev. It went on to receive a long list of distinctions, including an Editor's Choice in Gramophone, where the accompanying review described it as 'among the finest, certainly most enjoyable of all Scarlatti recitals'. Since then, Sudbin and BIS have enjoyed a highly successful collaboration, resulting in numerous acclaimed recordings of both solo programmes and concertos. To celebrate the past 10 years, a new Scarlatti recording seemed the obvious choice for an anniversary present - to ourselves, and of course to all Sudbin fans and Scarlatti lovers. Said and done: Sudbin met up with Marion Schwebel, the recording producer with whom he has collaborated from the very beginning, for recording sessions in the silken acoustics of St George's in Bristol. The results can be heard on this new disc: 18 sonatas selected from the total of 555 - a collection of a striking, even bewildering, variety. Through it all, Sudbin guides us with authority but also obvious relish as he brings to life elements which his own liner notes describes as 'church bells and gunshots (K119), howls in the streets (K479), trumpets appearing on the horizon (K159), head-spinning dances (K425) but also a wonderful sense of humour (K125) - as well scenes as melancholic, lean and desiccated as a sun-baked Mediterranean landscape (K99).'

“Sudbin makes no apology for using the full tonal resources that a modern Steinway can offer in works composed for the harpsichord; playing the sonatas on a piano, he says, is effectively equivalent to making piano transcriptions of the originals, and the range of keyboard colour and pedal effects he conjures up for his selection is consistently dazzling.” The Guardian, 30th March 2016 ****

“He shares with Horowitz an ability to conjure up landscapes and narratives within these sonatas, so vividly and intensely are they etched.” Gramophone Magazine, April 2016

“Long immersed in Scarlatti’s music, Sudbin is an ardent advocate, his fearless Russian-school technique making light weather of even the most breakneck writing: rhythms are crisp and buoyant; virtuoso passagework is dashed off with devil-may-care abandon. This is impressive playing, by any standards” BBC Music Magazine, May 2016 ****

“He provides a masterclass in contemporary pianism and, more pertinently, he finds unexpected colours and depths in these sonatas” Early Music Today, September 2016 *****

GGramophone Awards 2016

Finalist - Instrumental

GGramophone Magazine

Disc of the Month - April 2016

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Scarlatti Illuminated

Scarlatti Illuminated


Gieseking:

Chaconne on a theme by Scarlatti

Scarlatti, D:

Keyboard Sonata K135 in E major

Keyboard Sonata K247 in C sharp minor

Keyboard Sonata K466 in F minor

Keyboard Sonata K87 in B minor

Keyboard Sonata K96 in D major

Keyboard Sonata K70 in B flat major

Keyboard Sonata K380 in E major

Keyboard Sonata K32 in D minor

Keyboard Sonata K12 in G minor

arr. Tausig

Gigue K523 in G

arr. Friedman

Keyboard Sonata K487 in C major

arr. Tausig

Pastorale (Sonata K9) in E minor

arr. Tausig

Pastorale K446 in D

arr. Friedman

Keyboard Sonata K519 in F minor

arr. Tausig


Joseph Moog (piano)

A Scarlatti recital with a twist. Joseph Moog has assembled a fascinating survey of Scarlatti sonatas, and included a selection of the 18th-century master’s works as re-composed by some of the giants of the piano keyboard from the 19th and 20th centuries. The drama contained in Scarlatti’s short one-movement sonatas has always exerted a hold over both musicians and listeners since their composition.

The development of the piano in the 19th century provided too great a temptation for composer pianist Carl Tausig, a rival of Chopin and star pupil of Liszt (and admired by Brahms and Wagner) to ignore these works. He, along with Ignaz Friedman (1882–1948) exploited drama and poetry in Scarlatti’s music, using the new grand piano to its full extent.

Friedman was a pianist of extraordinary gifts, and a musical freedom that some thought bordered on the eccentric. Walter Gieseking’s fantastical composition on a theme by Scarlatti forms the centrepiece of Moog’s recital. Gieseking (1895–1956) was a child prodigy, playing all 32 Beethoven sonatas from memory at the age of 15: "The most difficult part was memorising them," he said, adding "and that wasn’t very difficult." Gieseking’s 'Chaconne on a theme by Scarlatti' is a stupendous work of dazzling virtuosity.

“Great pianists have often been fascinated by baroque music, and have sought to bring it up to date through transcriptions. Until now I had not heard such versions of Scarlatti sonatas, however, and their full-blown orchestral textures are quite a shock...Moog's bright, sharp pianism sounds better in the originals: the arrangements need more gentle, rounded warmth.” The Observer, 3rd February 2013

“his [Moog's] well-balanced singing tone is always enchanting. It’s hard to find any faults with this Scarlatti cornucopia.” Pianist Magazine, April/May 2013

“Inn essence Moog's 'illumination' interleaves straight performances, often delivered with chaste clarity and dexterous fingerwork, with respectful augmentations by Tausig and more exuberant makeovers by Friedman...Ultimately, a disc more diverting than illuminating - despite Moog's incontestable flashes of pianistic brilliance.” BBC Music Magazine, May 2013 ***

“The Gieseking is the most interesting thing here...Moog’s essay suggests he deserves some credit for tracking down the various unconventional arrangements we hear. This may not be Horowitz but it’s very well worth any Scarlatti lover’s time.” MusicWeb International, 26th April 2013

“whether you consider Scarlatti 'illuminated' or obscured, you will surely delight at such enterprise and performance as finely shaded and imaginative as they are dexterous.” Gramophone Magazine, May 2013

“This is truly imaginative programming, stunningly delivered” International Piano, July/August 2013

Onyx - ONYX4106

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Alexandre Tharaud plays Scarlatti

Alexandre Tharaud plays Scarlatti


Scarlatti, D:

Keyboard Sonata K239 in F minor

Keyboard Sonata K208 in A major

Keyboard Sonata K72 in C major

Keyboard Sonata K8 in G minor

Keyboard Sonata K29 in D major

Keyboard Sonata K132 in C major

Keyboard Sonata K430 in D major

Keyboard Sonata K20 in E major

Keyboard Sonata K481 in F minor

Keyboard Sonata K514 in C major

Keyboard Sonata K64 in D minor

Keyboard Sonata K32 in D minor

Keyboard Sonata K141 in D minor

Keyboard Sonata K472 in B flat major

Keyboard Sonata K3 in A minor

Keyboard Sonata K380 in E major

Keyboard Sonata K431 in G major

Keyboard Sonata K9 in D minor


“I love the extravagance, the sunny glow, the light touch of Scarlatti,” says French pianist Alexandre Tharaud, whose second Virgin Classics release is a collection of the composer’s captivating and adventurous keyboard sonatas. His first release, the Chopin recital Journal intime was described by The Guardian as “altogether breathtakingly beautiful”.

“Listening to Mr. Tharaud's crisply articulated and vividly etched playing, a listener might guess that he is a Baroque specialist who, for some reason, prefers the modern piano to the harpsichord. But … Baroque music is only one of his interests,” wrote the New York Times in 2005.

In typically imaginative fashion, Tharaud combined early Romanticism with the Baroque over the 2009-10 season when he toured a recital programme of works by Chopin – the subject of Virgin Classics release, Journal intime – and selections from Domenico Scarlatti’s canon of 555 keyboard sonatas.

“I love the extravagance, the sunny glow, the light touch of Scarlatti, who shares with Chopin a precise sense for ornamentation, a culture of beauty in sound and an intimate rapport with the audience,” he says.

Tharaud’s previous exploration of the Baroque repertoire has focused on composers such as Couperin and Rameau, whose music is rarely heard on the modern piano. The tradition of Scarlatti on the piano is much more firmly established – Vladimir Horowitz, for instance, would often include his music in recitals – but Tharaud draws inspiration from developments in historically informed performance over the past 30 years. As he told the French magazine Télérama: “I am not sure that authenticity is conferred by a specific instrument, but rather in the way new life is imbued into this music … Baroque musicians have taught us to approach tempi and ornamentation with a sense of freedom, even audacity.”

Scarlatti, born in Naples, spent more than 30 years of his life serving the royal families of Portugal and Spain and died in Madrid. His sonatas are concise, captivating one-movement works in binary form, often adventurous in their use of harmony and modulation, and frequently inhabited by the exotic spirit of Iberian folk music.

“Whether on a broad canvas or on a miniature one, Tharaud’s feel for tonal colouring and his eloquence of expression are a perfect match for this inspiring, kaleidoscopic music.” That praise from the Daily Telegraph could almost apply to works by Scarlatti, but in fact came from a review of Tharaud’s Chopin album, Journal intime. More specific in its frame of reference was The Guardian’s comment on the Chopin disc: “Alexandre Tharaud explores a huge emotional range in his Journal intime, including the most thrilling and propulsive first ballade since Michelangeli's version, with a deeply intense C sharp minor nocturne at the heart. Tharaud lifts the music across the bar-lines with deft rubato, his sound clear, shining and sensuous; altogether breathtakingly beautiful.”

“Tharaud's attention to musical detail is, as ever, combined with total spontaneity. The recorded sound adds warmth and this is a wonderfully original reimagining of repertory and instrument.” The Observer, 30th January 2011

“The biggest surprise on this wonderfully exuberant and exhilarating disc comes with the very first notes: the piano tone is rich and full...There's never a dull moment, and Tharaud's range of touch and colour, and his sheer enthusiasm, shine through every jewel-like piece.” The Guardian, 3rd February 2011 *****

“The fact that Scarlatti used the same two-part structural template for all his sonatas is camouflaged by his vast imaginative range, a fertile mind that Tharaud taps and illuminates absorbingly in this recital...The diversity is captivating and Tharaud is a consummate master of it.” The Telegraph, 11th February 2011 *****

“if Tharaud is evidently aware of the stylistic insights afforded by the scholarly diggings of the past few decades, he's unrepentantly pianistic in his approach...Tharaud's is playing with personality, revelling in Scarlatti's playful inventiveness and pungent harmonic daring.” BBC Music Magazine, March 2011 *****

“The range is extraordinary, from the almost casual, plaintive charm of the K132, with its elegant trills and thoughtful progressions, to the dashing Iberian brilliance of the K420, and the more virtuosic manner of the K72 - three wildly differing explorations of the key of C major, handled with a deft, easy grace and an appropriate dash of wit.” The Independent, 18th February 2011 ****

“Tharaud’s choices make for an exhilarating rollercoaster ride between dizzying feats of heady bravura and more gentle moments where introspection and quasi-operatic cantabile playing are required...The playing and musicianship of this young Frenchman are dazzling throughout.” Sunday Times, 27th February 2011 *****

“Tharaud commands an impressive range of timbres and articulations with a crisp technique which enables him to express melodic tenderness as tellingly as hard-edged brilliance and clarity.” Gramophone Magazine, April 2011

“The tipsy downward flourishes which interrupt the singing line of K132 suggest Tharaud improvising dreamily in a tapas bar. Best of all is the tiny two-minute aria which forms K32, a gorgeous moment of calm which hints at what Bach’s keyboard music might have sounded like had he lived in warmer climes. The close-up recording adds to the fun.” Graham Rickson, The Arts Desk, 7th May 2011

BBC Music Magazine

Instrumental Choice - March 2011

Erato - 6420162

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Ten Hundred Devils

Ten Hundred Devils

Keyboard Sonatas by Domenico Scarlatti


Scarlatti, D:

Keyboard Sonata K200 in C major

Keyboard Sonata K19 in F major

Keyboard Sonata K1 in D minor

Keyboard Sonata K9 in D minor

Keyboard Sonata K11 in C minor

Keyboard Sonata K32 in D minor

Keyboard Sonata K239 in F minor

Keyboard Sonata K87 in B minor

Keyboard Sonata K322 in A major

Keyboard Sonata K213 in D minor

Keyboard Sonata K365 in F minor

Keyboard Sonata K208 in A major

Keyboard Sonata K377 in B minor

Keyboard Sonata K426 in G minor

Keyboard Sonata K449 in G major


Katia Braunschweiler (piano)

One of the greatest keyboard legacies of all was left by Domenico Scarlatti who, like Bach and Handel, was born in 1685 – the fact that it is one of the most important, an oeuvre whose influence extended all the way to composers of the 20th century, can’t be repeated often enough. But the music itself is more eloquent than any words, particularly in a performance as masterful as the one offered by Swiss pianist Katia Braunschweiler in her GENUIN debut release. She serves up these miniature gems with great care, tonal beauty, and loving attention to detail – an ideal ambassador for the virtuoso and strikingly modern sonatas that tell of Scarlatti’s Italian homeland and his love for his adopted home of Spain.

Released or re-released in last 6 months

Genuin - GEN17477

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D. Scarlatti: Sonatas

D. Scarlatti: Sonatas


Scarlatti, D:

Keyboard Sonata K208 in A major

Keyboard Sonata K209 in A major

Keyboard Sonata K238 in F minor

Keyboard Sonata K239 in F minor

Keyboard Sonata K513 in C major

Keyboard Sonata K32 in D minor

Keyboard Sonata K141 in D minor

Keyboard Sonata K185 in F minor

Keyboard Sonata K184 in F minor

Keyboard Sonata K119 in D major

Keyboard Sonata K193 in E flat major

Keyboard Sonata K132 in C major

Keyboard Sonata K133 in C major

Keyboard Sonata K175 in A minor

Keyboard Sonata K30 in G minor 'Cat's Fugue'


Johannes Maria Bogner (clavichord)

In the light of his later music, it is by no means difficult to imagine Domenico Scarlatti strolling under the Moorish arcades of the Alcazar or listening at night in the streets of Seville to the intoxicating rhythms of castanets and the half oriental melodies of Andalusian chant. Domenico Scarlatti was born in Naples and received his musical education from his father, Alessandro. He ended up working at the Spanish court, as a kind of satellite of Italian origins abandoned on the Iberian Peninsula at the end of the 17th century … The impressions of Spanish folklore must have overwhelmed him there.

Fra Bernardo - FB1513497

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The Well Tempered Scarlatti

The Well Tempered Scarlatti


Scarlatti, D:

Keyboard Sonata K535 in D major

Keyboard Sonata K426 in G minor

Keyboard Sonata K407 in C major

Keyboard Sonata K555 in F minor

Keyboard Sonata K472 in B flat major

Keyboard Sonata K246 in C sharp minor

Keyboard Sonata K319 in F sharp major

Keyboard Sonata K87 in B minor

Keyboard Sonata K531 in E major

Keyboard Sonata K532 in A minor

Keyboard Sonata K67 in F sharp minor

Keyboard Sonata K262 in B major

Keyboard Sonata K203 in E minor

Keyboard Sonata K65 in A major

Keyboard Sonata K32 in D minor

Keyboard Sonata K455 in G major

Keyboard Sonata K226 in C minor

Keyboard Sonata K554 in F major

Keyboard Sonata K131 in B flat minor

Keyboard Sonata K253 in E flat major


Mario Martinoli (harpsichord)

Wendy Carlos, Gustav Leonhardt and Arturo Benedetti-Michelangeli are the three great musicians that built my vision of Domenico Scarlatti when I was a child. Three very different artistic and technical approaches helped me to discover the richness of Scarlatti’s musical palette and built my love for his music.

The first Scarlatti I ever encountered was Wendy Carlos' synthesizer orchestration of a number of Scarlatti sonatas. My father was also exploring synthesizer music in the early 70's (I still have the original Moog Satellite Synthesizer 1050 he used to produce his own orchestrations of Bach's Well-tempered Clavier) and I was fascinated by this sound and this music. I was 8 years-old in 1973 and not yet playing any instrument when I literally fell in love with Carlos’ album The Well-Tempered Synthesizer, a stunning 45-minute LP including visionary elaborations of Monteverdi, Handel, Bach and Scarlatti masterpieces. Pure magic. I owe a lot to this recording. Curiously enough, my interest in early music began with these recordings, though they belong to a completely different musical universe. The title of the present CD is an explicit reference and homage to Wendy Carlos, with profound gratitude to her for having contributed to the formation of my present musical life.

Etcetera - KTC1915

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D Scarlatti: Piano Sonatas

D Scarlatti: Piano Sonatas


Scarlatti, D:

Keyboard Sonata K13 in G major

Keyboard Sonata K124 in G major

Keyboard Sonata K125 in G major

Keyboard Sonata K144 in G major

Keyboard Sonata K454 in G major

Keyboard Sonata K470 in G major

Keyboard Sonata K284 in G major

Keyboard Sonata K450 in G minor

Keyboard Sonata K4 in G minor

Keyboard Sonata K76 in G minor

Keyboard Sonata K8 in G minor

Keyboard Sonata K35 in G minor

Keyboard Sonata K31 in G minor

Keyboard Sonata K108 in G minor

Keyboard Sonata K476 in G minor

Keyboard Sonata K435 in D major

Keyboard Sonata K140 in D major

Keyboard Sonata K32 in D minor

Keyboard Sonata K491 in D major

Keyboard Sonata K490 in D major

Keyboard Sonata K397 in D major

Keyboard Sonata K278 in D major

Keyboard Sonata K206 in E major

Keyboard Sonata K322 in A major

Keyboard Sonata K135 in E major

Keyboard Sonata K518 in F major

Keyboard Sonata K213 in D minor

Keyboard Sonata K6 in F major

Keyboard Sonata K175 in A minor

Keyboard Sonata K296 in F major

Keyboard Sonata K61 in A minor

Keyboard Sonata K443 in D major

Keyboard Sonata K208 in A major

Keyboard Sonata K29 in D major

Keyboard Sonata K260 in G major

Keyboard Sonata Kdeest in G minor

Keyboard Sonata K146 in G major

Keyboard Sonata K427 in G major

Keyboard Sonata K513 in C major


Claire Huangci (piano)

Asked what music she wanted to play on her second solo album, she shot back: "Scarlatti!". And yet Claire Huangci is known as a consummate interpreter of highly virtuosic music. But even when reviewing her debut CD of tricky Russian ballet transcriptions, Ingo Harden in Fono Forum had this to say: "Over and above the seemingly effortless and euphonious realization of her programme, her playing has an amazingly wide spectrum of nuances in touch. Even a seasoned performer with decades of experience can hardly offer us a more imaginative and colourful 'orchestra on the piano'."

Such nuances are the heart and soul of Scarlatti's sonatas. Each individual piece needs its own pulse, and its own colours, to bring it to life. Then the music reveals a whole world of joyous experimentation, expressed in the composer's 555 sonatas. Written for none other than himself and his pupil Maria Barbara, the Portuguese Infanta, they contain all that the Baroque and Classical idiom of his age had to offer – including the emulation of special guitar techniques. The self-assurance with which all these elements are juggled often leaves the listener agape.

But how is the artist to master this sheer volume of music and give her selection a meaningful structure? The young pianist writes in her introduction: "Building on that general practice, I began wondering if I could create larger music forms from his works, using individual sonatas as movements. And expanding upon that, what if I was able to present the works in a way that would show people clearly how Scarlatti formed the perfect bridge between the Baroque and Classical periods? Using the sonatas, I decided to create Baroquian Suites and Classical Sonatas, congruent with forms from each respective era."

After reviewing all the sonatas, she finalized her concept of two quite distinct CDs: "Each suite on the first CD follows basic form with an opening movement (prelude or toccata), then allemande, courante, sarabande, gigue with additional intermezzo movements such as bourrees, passepieds, gavottes, minuets, etc. CD2 used different criteria. On top of tonal continuity, it was important to show the classical side of Scarlatti, in expression, in harmonic modulation, and particularly in compositional structure (exposition, development, recapitulation)." Not that the aim is to reconstruct works that have never existed in that form. The idea is that the listener will form an impression of how the pieces are related to one another, if they are not heard in isolation. This at once builds logical bridges between movements that were previously an arbitrary sequence of individual pieces. It also demonstrates Scarlatti's versatility as a titan of the miniature, confidently poised between two eras in the creation of his own music.

“Huangci’s Yamaha piano has a harpsichord-like sound that suits her pert finger staccato: there is some stunning fast playing, and the gem-like brilliance of Scarlatti’s invention shines through.” The Observer, 5th July 2015 ***

“in order for Huangci to maintain balance and proportion within her superimposed larger forms, she understandably omits repeats, which avid Scarlatti connoisseurs might miss. Yet when you consider her instinctive musicality, unflappable technical command and sensitive ear for nuance, repeats hardly matter.” Gramophone Magazine, September 2015

GGramophone Magazine

Editor's Choice - September 2015

Berlin Classics - 0300603BC

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$22.00

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D. Scarlatti: Ombre et Lumière

D. Scarlatti: Ombre et Lumière

18 Sonatas for piano


Scarlatti, D:

Keyboard Sonata K420 in C major

Keyboard Sonata K54 in A minor

Keyboard Sonata K149 in A minor

Keyboard Sonata K103 in G major

Keyboard Sonata K425 in G major

Keyboard Sonata K147 in E minor

Keyboard Sonata K144 in G major

Keyboard Sonata K260 in G major

Keyboard Sonata K109 in A minor

Keyboard Sonata K279 in A major

Keyboard Sonata K145 in D major

Keyboard Sonata K481 in F minor

Keyboard Sonata K551 in B flat major

Keyboard Sonata K32 in D minor

Keyboard Sonata K517 in D minor

Keyboard Sonata K246 in C sharp minor

Keyboard Sonata K318 in F sharp major

Keyboard Sonata K27 in B minor


Anne Queffélec devoted her very first recording to Scarlatti, when she was just 20-years old. Today she returns to theworld of the Italian composer with these 18 sonatas, radiant or contemplative, virtuosic or tender, which sing of Andlausia, sunshine and joie de vivre, but also the dark shadows of melancholy. After Bach and Handel Anne Queffélec here completes her Mirare trilogy of composers from 1685.

“another highly desirable issue.” Classical Music, April 2015

“[Queffelec] brings a great sensitivity of touch and impeccable technique to her performances, which brings out many nuances in the music.” Early Music Review, February 2015

“Queffelec plays…with all the love she can muster, bringing an extra degree of brilliance to what she calls Scarlatti’s ‘lessons of light’.” International Piano, May/June 2015

Mirare - MIR265

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$14.50

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Conversazioni II: Duelling Cantatas

Conversazioni II: Duelling Cantatas


 

Rondeau in G major

Attributed to George Frideric Handel

Caldara:

Sonata a tre in E minor, Op. 1, No. 5

Gasparini:

Io che dal terzo ciel (Venere e Adone)

Handel:

Amarilli vezzosa, HWV 82

Scarlatti, D:

Keyboard Sonata K63 in G major

Keyboard Sonata K32 in D minor


Julian Perkins (harpsichord, director), Anna Dennis (soprano) & Andrew Radley (countertenor)

Sounds Baroque

Harpsichordist extraordinaire Julian Perkins directs his period-instrument ensemble Sounds Baroque, joined by soprano Anna Dennis and countertenor Andrew Radley in Duelling Cantatas, the second of a series called Conversazioni that explores music which was presented at the artistic gatherings of 18th century Rome's Arcadian Academy.

Following an acclaimed first release in a series called Conversazioni, exploring the wealth of vocal and instrumental music presented at the artistic gatherings of 18th century Rome’s Arcadian Academy, harpsichordist extraordinaire Julian Perkins and his period instrument ensemble Sounds Baroque follow with an equally scintillating concept album, Duelling Cantatas. Soprano Anna Dennis and countertenor Andrew Radley engage in a contest of style and beauty in cantatas by Handel, Gasparini and Alessandro Scarlatti, likewise the virtuoso instrumentalists in works by Caldara and Domenico Scarlatti. Breathing vibrant life into these spirited scores, Sounds Baroque suitably lives up to its motto, “Music for Then, Living Now”.

“Singularly characterful works, they are delivered with stylish aplomb by the soprano Anna Dennis and the countertenor Andrew Radley.” Sunday Times, 16th March 2014

“This is a lovely disc, ingeniously programmed and lovingly performed by some outstanding musicians.” International Record Review, May 2014

Avie - AV2296

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Mozart: Conversations

Mozart: Conversations


Chopin:

Nocturne No. 20 in C sharp minor, Op. post.

Nocturne in C minor Op. post

Mozart:

Fantasia in C minor, K475

Rachmaninov:

Prelude Op. 32 No. 8 in A minor

Prelude Op. 32 No. 9 in A major

Prelude Op. 32 No. 10 in B minor

Prelude Op. 32 No. 11 in B major

Prelude Op. 32 No. 12 in G sharp minor

Scarlatti, D:

Keyboard Sonata K34 in D minor

Keyboard Sonata K141 in D minor

Keyboard Sonata K32 in D minor

Schumann:

Arabeske in C major, Op. 18

Kinderszenen, Op. 15

Tan Dun:

Eight Memories in Watercolor, Op. 1


David Fung (piano)

“David Fung is exceptionally good. After having heard Martha Argerich perform the Ravel Concerto with the [Los Angeles Philharmonic] last month, I was sure Fung would appear lackluster [in comparison] to our beloved Martha. Instead, his performance outshone hers in rhythmic excitement, orchestral ensemble… and in the nuancing of the solo passages throughout.

I must add, however, that Martha had the same youthful exuberance as the 25 year-old [David Fung.] There are few young pianists that have the unassuming charisma, charm and natural talent of Fung, and he will certainly be welcomed back by his audience in Los Angeles.” Alicia Kibbey, The Los Angeles Times

Yarlung Records - YAR95992

(CD)

$15.25

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