Posted by S. Christian Collins on June 24, 19101 at 18:44:55:

In Reply to: Re: Yahoo! Messenger posted by Arnold on June 24, 19101 at 15:42:18:

: <>
: Parenthetical question: in K53 did you follow the
: Parma MS. in the bass for the first 3 mm? I have
: heard this played as one continuous trill, as if
: it had been notated as a single dotted whole note
: through the first three mm. and the justification
: was the way it is notated in Venice--that, and the
: fact that there are no tied notes with trill indi-
: cations in the sources.

I didn't play any trills in the left hand. I don't believe that Scarlatti intended a trill in those manuscripts. I saw a facsimile of the manuscript a while ago, and the "squiggle" markings reminded me not of a trill, but rather the same marking he used in K. 52, which means to hold the note as long as possible. He may have written this marking to prevent people from using the left hand for anything but the bass notes, or to prevent the note from being clipped short.

Please correct me if I'm wrong; it's been a while since I saw that manuscript (I can't even remember where I saw it!).

: Anyway, I admire your spirit in wanting "to bring
: Scarlatti across well." We've all heard artists
: who are more interested in showing off than in the
: composer whose earthly rep they are (yeah, do you
: ever feel that way, that you actually ARE DS or
: Beethoven or whoever you're playing?). Kind of
: like letting the god enter into you in the ancient
: Greek sense of ecstasy.

I AM Domenico Scarlatti!! ;)

: I would be fascinated to know how you handle
: factor #2 in making your selection. Do you plan
: to follow the pairings that appear in the sources?

Yes; either the pairings found in the original manuscripts, or a group of sonatas that contrast in meter and key. For example, I wouldn't want to play 3 minor allegro sonatas, all in 4/4 time. Optimal would be sonatas in different meters (4/4, 2/4, 3/8, etc.), different keys and modes, and different tempos. I would probably be tempted to arrange the tempos similar to a classical sonata: (1) Moderato/Allegro, (2) Adagio/Andante, (3) Allegro/Presto.

Stylistically, I would probably want some contrast, so that people could see the different colors of Scarlatti, but I don't want the pieces to sound too mismatched.

: Will you try to arrange them in something like a
: suite (I guess that's what Longo did)? Go for big
: contrasts?

Something like that. Although I don't want to repeat too much of what Longo did (particularly "correcting" the sonatas)!

: Overcomplicating? Heck, it sounds like fun to me!

Great! You're hired! You can now be my official overcomplicator. (Whew! That's a load off my shoulders!)

;)

-~=Chris

Follow Ups:

• Re: decisions, decisions! Stephen 22:52:37 6/24/101 (7)
  • Think so, eh? S. Christian Collins 09:48:15 6/26/101 (6)
    • Re: Think so, eh? Arnold 11:43:04 6/26/101 (5)
      • Re: Think so, eh? Marko 17:17:10 6/27/101 (4)
        • Re: Think so, eh? Arnold 14:58:02 6/28/101 (1)
          • Re: Think so, eh? Marko 04:57:15 6/29/101 (0)
        • Re: Think so, eh? Stephen 18:17:12 6/27/101 (1)
          • Re: Think so, eh? Marko 01:25:10 6/30/101 (0)

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