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Toutes les chansons de Domenico Scarlatti à écouter (page 21)

In his piano transcriptions of harpsichord sonatas principally by Scarlatti, Granados tackled the task of presenting virtually unknown works to a contemporary public. His arrangements, with occasional modifications of harmony, transpose these 18th century sonatas into the idiom of the modern piano.

They are presented here for the first time as a complete collection on disc. Not a subscriber yet?

Riva, Douglas , piano. Naxos Records, a member of the Naxos Music Group.


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Sonata in B-flat major, K190

When she and her family moved — to Seville on her marriage; northward to Madrid; elsewhere in Spain on royal 'progresses' — so did Scarlatti. It was in Andalusia that the Italian composer was able to hear and absorb the rhythms and color of Flamenco, folk music and the tunes of what Charles Burney called 'carriers, muleteers and common people'.

Although we don't know very much more about Scarlatti's life in Spain, except that he was married twice and had nine children, it's thought that he wrote the majority of his magnificent keyboard sonatas late — between and These constituted fifteen volumes of thirty sonatas each… Volume X has four extra, so they amount to over in all.


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On Scarlatti's death in the by now Queen Maria Barbara bequeathed the bound volumes to the castrato Farinelli; some time after the death of the latter in they came to be housed in the Biblioteca Marciana in Venice. Thereafter referred to as the 'Venice manuscripts', these are the chief source for this recording.

Complete Sonatas [Import] (CD)

What will make this series by Richard Lester the first and currently the only truly complete recording of Scarlatti's keyboard sonatas is the inclusion in Volume 7 of works extra to the heretofore accepted fifteen-Volume corpus, works authenticated by W. Such manuscripts in Scarlatti's own hand are rare.

Scott Ross

Lester also points out that, although the Kirkpatrick numbers are used throughout this project, the chronology of the sets follows Maria Barbara's manuscripts. The way in which Lester adapts his approach and execution to the atmosphere of each sonata and group of sonatas is inspiring; he never looks for artificial decoration, or forced emotiveness.

His style and execution are relaxed and natural, yet full of energy — all in exactly the right amounts. This is no mean achievement.