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Posted by Arnold on June 26, 19101 at 11:43:04:
In Reply to: Think so, eh? posted by S. Christian Collins on June 26, 19101 at 09:48:15:
:
: : :
: : : I AM Domenico Scarlatti!! ;)
: :
: : Imposter!!....I am Domenico Scarlatti. :p
:
: Alright, bucko; THIS MEANS WAR! Write me a song PROVING you're Domenico Scarlatti!
: C'mon, boy! Where's K. 556?
: ;)
: -~=Chris
Hmm--it seems that whoever is playing Scarlatti is
his representative ("avatar" if you want to be
trendy).
So you can both be Domenico Scarlatti--probably
not at the same time, though, and certainly not at
the same time in the same room ...
Chris, what you say about the left hand part in
k53 makes sense, too. I heard the guy who did the
continuous trill at a workshop on early clic
ornamentation and he sure wasn't playing presto by
my standards!
The pairing of the sonatas is reasonably consist-
ent in the main sources, Parma and Venice, and
Hashimoto so indicates in his edition by actually
bracketing them. K53 is an especially interesting
case because there is a note in the Parma MS that
in translation reads: "Before this sonata the
following one should be played, which goes with
it and should precede it." The sonata referred to
is K258. Aside from that they are both in the key
of D, I can't see any connection. But if the note
were in the hand of DS, OK--I'd feel compelled to
play them as a group (I have the same problem with
several P&F from the Bach WTC, btw). I'd even
think about it if it could be proven that it was
the Queen's idea that the pairs were, well, pairs.
But since we don't have anything but speculation
to go on--it could easily just be Sebastian Alvero
the copyist who thought they should be so paired--
it's hard to know what to do. Almost no one who
records Scarlatti sonatas respects the pairings
from the sources, and who can blame them? The
only pair that ever sounded like it really should
be played together to me is K215-216.
Ah sweet mystery of Scarlatti--talk about a guy
who hides in plain sight! Maybe it's just as
well--it's more fun to mix and match according to
our own internal perception of what makes a
unified statement on a program.
And since you've left yourself open to suggestions
from us random nut cases, let me recommend the
aforementioned K215-216 as possibilities for your
program or just to have fun. Cool pedaling ops
abound, especially in the wall of sound that opens
the second section of K215, and whether you use
pedal or not the conclusion of 216 is suitably
boffo! They are both printed in Kirkpatrick's 60,
vol. 1.
--Arnold
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