Scarlatti, D: Keyboard Sonata K69 in F minor

Reissue

“It was with Wanda Landowska on the harpsichord, on an old black record, that I first heard the sonatas of Domenico Scarlatti. My favourites were those that showed some Spanish influence: that rugged pride, those implacable rhythms, that mad vitality, what splendour! I have chosen mostly sonatas that are joyful or humorous in character, though among them I have slipped two little masterpieces of miraculous simplicity (K32, K40) as well as a few compelling meditations (K8, K69, K144). Wandering from nostalgia to sorrow, as though improvised, these last, void of any pathos, are yet bathed in the radiant beauty of the sunny climes of Italy and Spain.” Alice Ader

A selection from the 600 sontas by Domenico Scarlatti (1685-1757) that illustrate two facets of his musical personality.

CD1 depicts the genius of the composer – some of his greatest and most remarkable sonatas have been selected by Carbonara. These works illustrate the exploratory and innovative nature of the sonatas. CD2 gathers together a selection of sonatas that illustrate the gambler, or the reckless side of the composer. These sonatas are just as innovative as those on CD1, but there is a devil may care craziness to some of the music. These are dramatic extreme works that give some idea of the incredible technique Scarlatti possessed as a player, and of his remarkably fertile imagination.

2CDs of Scarlatti sonatas containing some unknown and rarely recorded works.

New recordings made in 2009.

Extensive booklet essay by the artist on each sonata.

Carbonara has recorded Ravel’s complete piano music for Brilliant Classics, and a CD of piano music by Nino Rota. He studied with Andreas Staier, Alicia de Larrocha and Leon Fleischer.

Domenico Scarlatti (1685-1757) wrote 555 sonatas for harpsichord. Following the custom of the period, these sonatas may be played on various keyboard instruments. Scarlatti was not only a virtuoso harpsichordist but also an exceptional organist. Some sonatas, by virtue of their nature or of how they are written, are particularly well suited to the organ. Examples include certain preludes and fugues from Bach's The Well-Tempered Clavier, which dates from the same period.

Vincent Boucher has chosen 18 sonatas which not only can be played on the organ, but on which he feels the organ sheds "a new and favorable light by virtue of its colorful registrations, the notes held and heard for their full duration, the doubling of low notes by the pedal, etc."

Vincent Boucher played these sonatas on the splendid Italian organ, made by Karl Wilhelm, of the Très-Saint-Rédempteur church in Montreal.