Scarlatti, D - Sonatas, Bogner (2016) [FLAC WEB]

Domenico Scarlatti - Johannes Maria Bogner - Sonatas (2016) {Fra Bernardo}
FLAC (tracks) - 44/16 bits - Digital Download
© 2016 Fra Bernardo | FB 1513497
Classical / Baroque / Sonata / Clavichord

Tracklist
1 Keyboard Sonata In A Major, K.208, L.238, P.315
2 Keyboard Sonata In A Major, K.20, L.428, P.209
3 Keyboard Sonata In F Minor, K.238, L.27, P.55
4 Keyboard Sonata In F Minor, K.239
5 Keyboard Sonata In C Major, K.513 'Pastorale'
6 Keyboard Sonata In D Minor, K.32
7 Keyboard Sonata In D Minor, K.141
8 Keyboard Sonata In F Minor, K.185
9 Keyboard Sonata In F Minor, K.184, L.189, P.102
10 Keyboard Sonata In D Major, K.119
11 Keyboard Sonata In G Minor, K.30 'Cat's Fugue'
12 Keyboard Sonata In E Flat Major, K.193
13 Keyboard Sonata In C Major, K.132
14 Keyboard Sonata In C Major, K.133, L.282, P.218
15 Keyboard Sonata In A Minor, K.175

He ignored every rule of traditional composition in order to achieve the effect his music should have; the number of voices changes arbitrarily, parallel octaves and fifths abound, all according to the vigorous, elemental force of his inspiration.
It is very likely that Domenico Scarlatti met Bartolomeo Cristofori in person in Florence on his travels in Italy with his father Alessandro at the start of the 18th century. It was the most exciting time for the development of keyboard instrument building, just as Cristofori completed his first Cembalo col piano e forte in 1709. Scarlatti’s future employer, Maria Barbara of Spain, owned no less than five fortepianos of Florentine design. They were all built by pupils of Cristofori. The fascination of being able to play a keyboard which was touch-sensitive was the ultimate kick which subsequently marked the development of musical history over many decades. This feature is inherent in the clavichord’s construction, despite its being at least as old as its more inflexible brother, the harpsichord. There is as little evidence of Scarlatti playing Cristofoi clavichords as there is for a meeting of the two spirits of the time, neither of whom could be outdone for love of experimentation. Both are likely, however, and such an exchange must have been of a special, inspiring explosive nature. Clavichords were omnipresent both in Italy during Scarlatti’s youth and in Spain, where this instrument had a long tradition. –Johannes M. Bogner