Discs 12-22
CD12 [63:57]: Harpsichord
Sonatas Nos Kk: 189 in B flat [4:36]; 190 in B flat [3:21]; 191
in D minor [4:06]; 192 in E flat [4:20]; 193 in E flat [4:57];
194 in F [5:25]; 195 in F [4:13]; 196 in G minor [3:21]; 197 in
B minor [3:44]; 198 in E Minor [3:18]; 199 in C [4:16]; 200 in
C [3:53]; 201 in G [4:26]; 202 in B flat [5:10]; 203 in E minor
[4:45].
At the beginning of
this disc Ross reverts to the harpsichord by Martin that he used
for the Essercizi and the bass timbre is rather lighter.
Around pairs of sonatas in major keys, this disc contains several
solitary sonatas in minor keys. Unlike those at the beginning
of disc 11, Kk Nos. 191 and 196 to 198 tend to stay resolutely
in the minor, giving a more plaintive effect than usual. Scarlatti
can’t resist two bars of glorious B major at the beginning of
the second half of Kk 197 but that is about it. Despite a relative
lack of unusual modulations, the music still catches the ear as
does Ross’s totally sympathetic approach. The F major pair Kk
Nos. 194 and 195 is a good example of the conviction of his playing.
These two contrasted sonatas – marked Andante and Vivo
respectively are accorded rock-like rhythmic control and attractively
varied repeats. Ross omits to repeat the second half in Kk194
and I am sure he was right – you can have too much of a good thing.
Towards the end of the disc, Kk Nos. 201 and 202 illustrate well
the endless variety of Scarlatti’s ideas. In the former, all is
brightness in the first half but the second half opening brings
great contrasts. In the latter, the first half is short and the
second half is in binary form itself. Again it starts with new
and much darker material – and also a change of rhythm from 3/8
to 6/8 – before ending with a variation of the first half. Finally,
the rather grand Kk203 was possibly intended to be paired with
Kk198.
CD13 [63:57]: Harpsichord
Sonatas Nos Kk: 204a in F minor [4:40]; 204b in F minor [4:10];
205 in F [6:26]; 206 in E [5:39]; 207 in E [3:25]; 208 in A
[4:00]; 209 in A [4:32]; 210 in G [2:31]; 211 in A [5:05]; 212
in A [4;09]; 213 in D minor [5:51]; 214 in D [4:01]; 215 in
E [5:45]; 216 in E [5:45].
On this disc there
are some particularly wonderful sonatas – number thirteen certainly
seems to be lucky here. To start with are the enigmatically
catalogued Kk Nos. 204a and 204b – essentially they are a related
pair just like many others. I have read something recently which
speculated that Kirkpatrick adopted this numbering so that there
were 555 sonatas – a memorable number. Neither sonata appears
in Longo’s catalogue which has 545 in total (500 plus a supplementary
volume of 45). Kk204a is notable for tempo and rhythm changes,
and 204b is a rather stately kind of minuet. The following Kk205
is a marvellous extended singleton in which the time signature
changes from 4/4 to 12/8 in the middle of the first half and
then back to 4/4 for the middle of three sections in the second
half. Kk Nos. 206 and 207 are paired in E major. Marked Andante,
the former has some of the most outrageous modulations of all
in the first half when four sharps suddenly become 3 flats.
The booklet tells us that Kk208 was Ross’s favourite of all
the sonatas. Marked Adagio e cantabile this requires
little virtuosity and is not notably innovative but it is undoubtedly
very beautiful. Perhaps Ross plays this a little too lovingly
and with something bordering on rubato in places (most of the
time he is as steady as a rock) but he is back on top form for
the second part of the pair – another delightfully melodic sonata.
Kk210 is short and, according to Ross, perhaps paired with Kk196.
The disc concludes with three pairs; in each case the first
has a slow tempo marking. In A major, Kk Nos. 211 and 212 are
greatly contrasted. After much time in minor keys, the latter
has a delightful sudden return to the home key seven bars from
the end. Kk213 is in D minor and one of the most glorious of
the slow sonatas. It was used as the theme tune for the French
radio broadcast of all the sonatas in 1985. Kk214 starts in
D major but spends much of the time in the minor. Kk Nos 215
and 216 are rather “tough cookies” despite their disarming openings.
The former has a remarkably violent opening to the second half.
If less immediately appealing than the most of the other pairs
on this disc, they are undoubtedly great works. Finally, although
the identical timings of the last two tracks looks like a possible
error, both last for 5:45 although the latter sonata is a bit
shorter because it is followed by 15 seconds of silence. This
is a good idea – one feels replete of music at this point.
CD14 [56:15]:
Harpsichord Sonatas Nos Kk: 217 in A minor [6:30]; 218 in
A minor [2:59]; 219 in A [3:28]; 220 in A [5:13]; 221 in A
[4:41]; 222 in A [2:51]; 223 in D [4:22]; 224 in D [4:00];
225 in C [5:26]; 226 in C minor [4:06]; 227 in B minor [5:00];
228 in B flat [3:55]; 229 in B flat [3:40].
Unlike on the
previous disc, almost all these sonatas are little known but
they are just as interesting. With the exception of K227,
all are paired. The first 6 are in A minor or major and the
last three of these are particularly harmonically imaginative.
Ross’s playing in Kk220 is simply sparkling. Kk223 and Kk224
are bright and breezy, and followed by an opening to Kk225
which is in similar vein. The second half of this sonata is
much darker foreshadowing a highly unusual switch to the minor
for the second of the pair. There are a few minor/major pairs
but this is the first to reverse the order. Apart from a few
bars of great tonal ambiguity at the opening of the second
half, Kk226 is well-rooted in and around C minor, and Ross
plays it as one of Scarlatti’s slower Allegros. Kk227
is remarkable for completely different time signatures in
the two halves (2/4 followed by 3/8) and Kk229 for frequent
rapid upward runs. In the booklet notes, Ross tells us that
Brahms studied Scarlatti sonatas and suggests a thematic relation
between Kk223 and one of his lieder (Op.72/5).
CD15 [56:33]:
Harpsichord Sonatas Nos Kk: 230 in C minor [4:10]; 231 in
C [3:40]; 232 in E minor [4:16]; 233 in E minor [4:49];
234 in G minor [3:44]; 235 in G [4:39]; 236 in D [3:51];
237 in D [3:26]; 238 in F minor [3:47]; 239 in F minor [3:35];
240 in G [6:03]; 241 in G [1:52]; 242 in C [4:36]; 243 in
C [3:59].
Here there are
seven straight pairs of sonatas. The opening works, Kk Nos.
230 and 231 are a minor/major pair, the former quite stately
for an Allegro and the latter very bright and decorative.
The next two pairs have Andantes to start with and
I particularly enjoyed Kk232 in E minor – one of Scarlatti’s
most attractive slower sonatas but hardly ever recorded.
In the next pair, it is the faster work (Kk 235) that is
of particular interest. An “open” sonata, the new material
at the beginning of the second half is highly-contrasted
and in 6/8 time. The movement reverts to the original 3/8
half way through. Ross regards repeats of the second half
as optional (generally omitting them in slower, closed sonatas)
but a repeat seems essential here and he provides it. Scarlatti
is at his exercise again in the very next sonata, Kk236
when, after a fairly ordinary first half, the second half
begins with a whole page of continuous semiquaver runs divided
between the hands. The next pair, Kk Nos. 238 and 239 are
particular favourites of mine and Ross’ renditions are simply
superb. The former is slowish with insistent dotted rhythms
and it is followed by a perfect foil which Ross takes very
quickly indeed. These two sonatas illustrate how interesting
repetition can be in the hands of a master. Then comes Kk240,
an extended work with substantial and almost separate sections
in the relative minor in each half – one of Scarlatti’s
most unusual and greatest sonatas so far. In the second
of the pair, Kk241, Ross made an inspired decision to repeat
only the second half, giving this much great concision than
usual. The final pair has a relatively quick opener which
is followed by a very martial sounding work. Again, Ross
has the measure of it all – his immersion in Scarlatti’s
world is so evident on this disc.
CD16 [57:44]:
Harpsichord Sonatas Nos Kk: 244 in B [3:46]; 245 in B [3:48];
246 in C# minor [3:17]; 247 in C# minor [4:16]; 248 in B
flat [4:55]; 249 in B flat [5:26]; 250 in C [4:05]; 251
in C [3:22]; 252 in E flat [4:00]; 253 in E flat [3:09];
254 in C minor [4:39]; 255 in C [3:34]; 256 in F [5:56];
257 in F [3:26].
This is another
disc with seven straight pairs of sonatas, the first two
of which are in unusual keys. The first is one of only two
pairs in B and these works open brightly before moving through
many modulations. They are followed by the only two sonatas
in C# minor which are texturally thick and almost continually
dark in tone – Scarlatti at his most serious. It is no surprise
that the mood is so different in the next sonata Kk248,
this is humorous and almost Haydnesque; Ross plays it with
great affection. The partner, Kk249, often manages to sound
quite Spanish. On then to Kk250 in C major, this is a sedate
Allegro in duple time and highly decorated. Its counterpart
is unusual in not wandering very far from the home key.
In the next pair, it is the latter work that is more striking.
Here Scarlatti includes a section of continuous mordants
section in the first half, alternating between the hands
and sometimes off the beat. In the second half, he eschews
an obvious rejoinder and gives us long repeated passages
with doubled octaves in the bass. Kk Nos. 254 and 255 are
in C minor/major, the latter at a quicker tempo. Ross unusually
repeats the second half of the slower work and omits to
do so in the jaunty foil. The final pair on this disc is
particularly delightful. A long Andante with prominent
dotted rhythms is followed by a most winning romp (Kk257).
CD17 [46:32]:
Harpsichord Sonatas Nos Kk: 258 in D [5:20]; 259 in G [4:32];
260 in G [5:44]; 261 in B [5:34]; 262 in B [4:33]; 263 in
E minor [4:46]; 264 in E [6:04]; 265 in A minor [3:15];
266 in B flat [3:27]; 267 in B flat [3:12].
Kk258 is an
Andante that is on its own here, although Ross notes
that it is paired with Kk53 in the Parma manuscript. Kk
Nos. 259 and 260 are a well-known duo, the former an Andante
and the latter an Allegro played very quickly (and
delightfully) by Ross. The following pair is in B major
but both sonatas are plaintive in character. In Kk 261 the
second half is much longer than the first, essentially because
of the extended new material at the beginning – bar upon
bar of repeated triplets in right hand and ever-changing
dark chords in the bass. Unusually, Scarlatti here seems
to convey deep disquiet. Inexplicably, the documentation
wrongly gives the keys of Kk Nos. 263 and 264 as E major
and C major – they are in fact a pair in E minor and E major
respectively. Kk 265 is the first sonata for a long time
which does not have a binary structure – it is a rondo with
time signature changes between sections. The final pair
Kk Nos. 266 and 267 are relatively brief and notable for
the playful ending to the latter during which Ross plays
the humour card very well. The empty space at the end of
the disc presumably reflects an imminent change of harpsichord,
more of which later.
CD18 [63:09]:
Harpsichord Sonatas Nos Kk: 268 in A [3:28]; 269 in A
[3:47]; 270 in C [3:50]; 271 in C [3:05]; 272 in B flat
[3:35]; 273 in B flat [4:11]; 274 in F [3:20]; 275 in
F [3:11]; 276 in F [3:00]; 277 in D [2:39]; 278 in D [2:30];
279 in A [3:48]; 280 in A [2:56]; 281 in D [3:46]; 282
in D [3:26]; 283 in G [2:39]; 284 in G [2:29]; 285 in
A [3:54]; 286 in A [2:40].
Here Ross
changes harpsichord to an instrument made by William Dowd/Von
Nagel. This has a rather firmer bass than the Martin used
over the last few discs but is not dramatically different.
There are three pairs to begin with, of which the central
duo Kk Nos. 270 and 271 seems the most remarkable. In
Kk270 Ross unusually declines to repeat either half and
in Kk271 his Vivo is lively indeed. Kk273 is open
and very highly decorated, the second half beginning in
6/8 before reverting to the original 3/8. There follows
the first triptych (of four in the whole series, according
to Kirkpatrick) - Kk Nos. 274-276. The first of these
is an Andante and it is followed by two Allegros
but none of three seems particularly unusual or technically
difficult. The following pair is of more interest, characterful
sonatas marked Cantabile andantino (Kk277) and
Con velocita (Kk278). With the latter comes the
half way point in Kirkpatrick’s catalogue. Kk Nos. 279
and 280 are also splendid, the former notable for its
range of modulations, the latter for continuous development
of the thematic material. The next pair, Kk Nos. 281 and
282 are melodically attractive and the latter has a contrasting
section shifted into triple time after a long pause ten
bars into the second half. Scarlatti returns to common
time and a variant of the opening to round things off
and Ross sees no need to repeat the second half. Kk 283
is apparently marked Andante and Allegro
simultaneously whilst Kk284 is a rondo is five sections.
The final twosome are both rhythmically insistent and
delightful works. Unfortunately the documentation goes
awry again and gives their keys as A minor and B flat
– they are both in A major.
CD19 [48:38]:
Harpsichord Sonatas Nos Kk: 289 in G [2:58]; 290 in G
[3:39]; 291 in E minor [2:55]; 292 in E minor [3:12];
293 in B minor [3:37]; 294 in D minor [3:46]; 295 in D
minor [3:43]; 296 in F [4:29]; 297 in F [4:16]; 298 in
D [4:02]; 299 in D [3:10]; 300 in A [4:19]; 301 in A [4:27].
Kk Nos. 287
and 288 are for organ and are therefore placed with the
other works which are not for solo harpsichord on disc
34. Kk Nos. 289 and 290 are a straightforward pair of
works which do not stray far from the home key of G. The
latter is a good example of what Scarlatti can do with
fairly ordinary material. The next pair in E minor has
more interesting themes, particularly Kk292 which is rhythmically
characteristic of the composer and in 3/8 time. Kk293
is a rare singleton which moves into the major in the
second half to good effect. Kk294 is an Andante
in D minor, at least for the first thirteen bars, following
which it shifts into the major and up a gear. Such contrasting
sections are then alternated throughout both halves. Its
partner, Kk295 is predictably lively throughout. The next
sonata, Kk296 is most imaginative and has an extended
feel to it such that Ross sees no need to repeat either
half. Kk297 is a playful counterpart. In the next pair,
the opener Kk298 has bars of repeated note semiquavers
towards the end of the first half; in the second half
Scarlatti is tantalising in the way he starts to repeat
these and then varies to include a section of arpeggios
for contrast. Kk299 is one of his more thickly scored
sonatas with dark undertones whereas as virtually all
is brightness and light in the final pairing of the disc
(Kk Nos. 300 and 301).
CD20 [60:55]:
Harpsichord Sonatas Nos Kk: 302 in C minor [5:00]; 303
in C minor [3:48]; 304 in G [2:42]; 305 in G [3:47];
306 in E flat [3:58]; 307 in E flat [3:08]; 308 in C
[3:54]; 309 in C [3:24]; 310 in B flat [4:07]; 311 in
B flat [3:50]; 312 in D [3:51]; 313 in D [3:53]; 314
in G [4:37]; 315 in G minor [3:29]; 316 in F [3:59];
317 in F [3:23].
Here are
eight pairs of little-known sonatas, mostly in the major
although the first pair is in C minor. Again, Scarlatti
excels himself in this key. Kk302 is an Andante
which has a contrasting bright major section at the
end of each half. The following Allegro (Kk303)
is very highly decorated. The next pair follows the
Andante – here rather stately – followed by Allegro
mould but could hardly be more different in feeling.
Kk305 is vintage Scarlatti in 3/8 time. Kk Nos. 306
and 307 are both marked Allegro, the first is
“open” and suddenly dark-toned at the beginning of the
second half. Its companion contains almost continuous
semiquavers alternating between the hands giving it
a relentless veneer. Kk Nos. 308 and 309 are a very
attractive pair, the first marked Cantabile then
a bright jumpy Allegro which is most attractive.
There is not much that is unusual about the next two
pairs of sonatas – enjoyable and fairly typical of the
composer. I particularly liked Ross’s performance of
Kk313 in which he brings out the martial element of
the music. Kk314 in G is bright and breezy, and, unusually
for Scarlatti, stays almost completely in the major.
Its companion is logically in G minor and provides a
great contrast. The final pair of sonatas is simply
sparkling and Ross gives both works the champagne treatment.
CD21 [60:55]:
Harpsichord Sonatas Nos Kk: 318 in F# [3:35]; 319 in
F# [3:38]; 320 in A [3:09]; 321 in A [2:41]; 322 in
A [2:58]; 323 in A [1:58]; 324 in G [3:13]; 325 in G
[2:24]; 326 in C [2:47]; 327 in C [3:30]; 329 in C [4;03];
330 in C [2:09]; 331 in B flat [3:29]; 332 in B flat
[3:51]; 333 in D [2:51]; 334 in B flat [2:44]; 335 in
D [3:11]; 336 in D [2:58]; 337 in G [3:34]; 338 in G
[4:03].
Kk328 is
missing from the above list because it is for organ
(see disc 34). The first pair of sonatas are the only
ones in the unusual key of F# major. In both works Scarlatti
includes sections with remote modulations, at the opening
of the second half in Kk318 and, more surprisingly,
after just 7 bars of Kk319. This particularly interesting
pairing is followed by two more conventional works during
which - shock! horror! - Ross seems to have played a
wrong note. In the final bar of Kk321 he put a C natural
in a downward A major scale first time round and then
a C# during the repeat. I can only presume that this
was an error which was missed in the editing process
and, if so, it is the first one I have spotted in more
than 300 sonatas. With Scarlatti there are quite a few
notes which deliberately sound “wrong” but in this case
it is hard to believe that this was the composer’s intent.
I suppose it would be a miracle if anyone could play
all Scarlatti’s sonatas without making any errors. There
is nothing so remarkable in the next, rather straightforward,
pair which are also in A major but for Kk324 it is Andante
time again and its partner Kk325 gives the left hand
a good workout. After that come four sonatas in C major;
the second pair (Kk Nos. 329 and 330) is more interesting
despite there hardly being a semiquaver in sight in
Kk329. Its companion is typically bright and jaunty
Scarlatti, and is based on very little thematic material.
The next pair follows the Andante – Allegro
model, and are bright and attractive in B flat. Kk333
and Kk334 are rare singletons and the former is particularly
unusual in that the two halves have different time signatures
and tempo markings, and no obvious thematic relation.
Did Scarlatti perhaps stick these two disparate halves
together for convenience one wonders? Interestingly,
Kk334 seems to follow on from the end of the previous
sonata, at least rhythmically, although the different
key would seem to rule out an intentional pairing. The
last two pairs are notable only for the use of the lute
stop to produce a pizzicato bass effect in Kk335.
CD22 [56:40]: Harpsichord
Sonatas Nos Kk: 339 in C [3:07]; 340 in C [3:50]; 341 in A minor
[2:18]; 342 in A [3:04]; 343 in A [3:31]; 344 in A [3:08]; 345
in D [4:26]; 346 in D [2:58]; 347 in G minor [4:03]; 348 in G
[2:48]; 349 in F [4:02]; 350 in F [2:46]; 351 in B flat [3:25];
352 in D [4:05]; 353 in D [2:46]; 354 in F [3:08]; 355 in F [3:08].
The first two pairs
of sonatas are fast and furious despite a rather innocent opening
to Kk339. Then Kk343 provides something more sedate at the ambiguous
tempo marking of Allegro andante. The first of the
next pair, Kk345, is in similar vein (but marked merely Allegro)
and is particularly attractive. With the pair of sonatas Kk347
and 348 comes great contrast, both within the pair and in relation
to others written around the same time. Kk347 is marked Moderato
cantabile and opens arrestingly with spread minor chords.
In between lyrical passages are some fearsome upward runs in both
hands. As it draws to a close, there is a real surprise – Kk348
follows attacca subito and is marked Prestissimo.
Effectively the last chord of the first of the pair is missing;
Ross justifies this in the booklet and with performances which
are simply marvellous. A rather more ordinary pair follows before
the only singleton on the disc – Kk351. This is a rondo with alternating
Andante and Allegrissimo sections in 4/4 and 3/8
time respectively. Scarlatti mixes it up for the final, extended
fast section by not altering the time signature. Two fairly conventional
pairs conclude the disc, Kk354 being an Andante. The identical
timing of the last two tracks is coincidence rather than error.
There are now just two hundred sonatas left!
Patrick C Waller
Internal Links
Introduction
Discs 1-11
Discs 23-34
Conclusions
External links
Sale of complete set:
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Sale of single disc sampler:
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Sale of Kirkpatrick’s book:
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John Sankey’s MIDI files:
http://www.midiworld.com/scarlatti.htm
Sonatas listed by Kk, L and P numbers:
http://www.classical.net/music/composer/works/scarlattid
Richard Lester's complete set:
http://www.the-scarlatti-experience.fsnet.co.uk/indexb.htm
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