Nimbus DOMENICO SCARLATTI • THE COMPLETE SONATAS NI 1729 (K484 – 543) VOLUME V VOLUME (K78, K81, K88 – 91) (K78, K81, K88 Richard Lester Richard Continuo Sonatas Academia Musicali Venice XII – XIII (1756-7) Venice SCARLATTI SCARLATTI Harpsichord & Fortepiano Harpsichord DOMENICO s 5 CD

Nimbus DOMENICO SCARLATTI • THE COMPLETE SONATAS NI 1729 DOMENICO SCARLATTI 5 CD set The Complete Sonatas DOMENICO other titles in this series SCARLATTI Volumes I • II • III • IV • VI • VII VOLUME V

DOMENICO DOMENICO DOMENICO SCARLATTI SCARLATTI SCARLATTI Venice XII – XIII (1756-7) VOLUME I VOLUME II VOLUME III (K484 – 543) Essercizi per Gravicembalo Venice III – V (1753) Venice VI – VIII (1753-4) (K1-30) (K206 – 295) (K296 – 355, K358 – 387)

Venice I & II (1752) (K49, K98, K99, K129, K148-201) Continuo Sonatas RICHARD LESTER RICHARD LESTER Harpsichord RICHARD LESTER Harpsichord & Organ Harpsichord & organ (K78, K81, K88 – 91)

Richard Lester DOMENICO DOMENICO DOMENICO SCARLATTI SCARLATTI SCARLATTI Harpsichord & Fortepiano VOLUME IV VOLUME VI VOLUME VII Venice IX – XI (1754-6) Appendices & Diversities Academia Musicali Venice XIV (1742) (K388 – 451, K454 – 483) 57 Sonatas (K3, 10-12, 17, 31, 36-38, 43-77, 79, 80, 82-87, 92, 93)

RICHARD LESTER Venice XV (1749) RICHARD LESTER (K96, K98-138) Harpsichord Harpsichord & FORTEPIANO RICHARD LESTER Harpsichord

For availability and complete track details please visit www.wyastone.co.uk/nrl/scarlatti.html NI 1729 DOMENICO SCARLATTI Richard Lester Scarlatti’s sonatas. He subsequently recorded an album of Scarlatti sonatas which was hailed by all the The Complete Sonatas Through this single recorded marathon Richard major recording magazines as ‘brilliant’. He has Lester has now established an international reputation written extensively for music magazines and as a virtuoso harpsichordist. His piano teachers have VOLUME V NI 1729 contributed two chapters on Scarlatti to a leading included Bernard Roberts - and on the harpsichord, Hungarian book on early music, Regi Zene. Venice XII – XIII (1756-7) George Malcolm - who sponsored his London debut (K484 – 543) recital. His many solo engagements have included His reputation as an organist is clearly celebrated and broadcasts for BBC radio and television, recitals at the includes numerous recitals at King’s College, Continuo Sonatas Royal Festival Hall Purcell Room, Wigmore Hall, Cambridge, St Paul’s Cathedral, Coventry Cathedral (K78, K81, K88 – 91) Bath International Festival, Bruges Festival, many and many other cathedrals and churches in this concerts abroad - and master classes at Dartington country and abroad. During a busy musical life RICHARD LESTER • Harpsichord & Fortepiano Summer School. Richard Lester has also held positions as Head of music at the Mall school in Twickenham, Oakley Hall Academia Musicali It was at Dartington that he met the great School in Cirencester - and as Master of the Elizabeth Lester, · Nerys Evans, Spanish/American harpsichordist, Fernando Valenti, Choristers at Cirencester Parish church. treble recorder descant and treble recorder who ignited Lester’s enthusiasm and passion for

‘Domenico Scarlatti was without doubt, the most The Court in 1729 moved first to Seville, residing in original keyboard composer of his time’, wrote Ralph the Alcazar, ancient palace of Moorish kings.This area Kirkpatrick, Scarlatti’s biographer.1 of Andalusia in Southern Spain is considered the home He was born in Naples on October 26th 1685, the of Flamenco, and frequent visits by the court to major same year as Bach and Handel. It was not until around towns afforded ample opportunity for a discerning ear, as Burney states to, ‘imitate the tunes sung by 1720 however, that his compositional skills developed 2 fully following an appointment in Portugal as chapel carriers, muleteers and common people’. music master to King João V, - and harpsichord This then, is where Scarlatti first heard the hypnotic teacher to his younger brother Don Antonio - and his sounds of Andalucian gypsy music that were to nine-year-old daughter, Princess Maria Barbara. become an endless source of inspiration for many Following her marriage in 1729 to Fernando, Felipe sonatas, all as far as we know, written for his royal pupil. V’s son (heir to the Spanish throne) Domenico was to This compilation ൿ 2007 Wyastone Estate Limited © 2007 Wyastone Estate Limited remain as her music master for the rest of his life. The court remained in Seville for four years before Issued under license from the copyright owner Privilège Accord moving northward to Madrid. The annual itinerary Cover/inlay photo: © iStockphoto.com/magui80 Design: doubletakedesign.co.uk page 2 Domenico Scarlatti VOLUME V Page 15 respectively fifty-six and fifty-eight keys. The pianos variety. It is not clear, however, if this arrangement is writes Ralph Kirkpatrick, ‘…was then divided Spanish court. Some years after his death in 1782, also had short compasses of fifty-nine, fifty-four and original and on the copy the two pedals operate the between the royal residences. Easter, Buen Retiro they were housed in the Biblioteca Marciana, in fifty-six keys respectively. Many of Scarlatti’s sonatas eight-foots independently. This device allows the near Madrid; Spring and early summer in Aranjuez, Venice. These are now referred to as the Venice demand a full five-octave range which would have performer to make subtle crescendos and the ancient seat of Carlos V and Felipe II in the Tagus manuscripts and constitute the principal source for excluded their performance on many instruments in diminuendos by gradually adding or subtracting a valley between Madrid and Toledo; La Granja, high up these recordings. the collection. It is also interesting that sonatas, register. There is a separate stop for the harp located in the Guadarrama mountains toward Segovia; In addition, a further fifteen duplicate volumes were suggestive of the piano’s expressiveness, actually fall near the jack rail. The length of the instrument (8ft Autumn at the Escorial on a lonely hillside copied out mostly by the same copyist, possibly Padre outside of the instruments’ compass. Of all the 3ins) allows for a rich and resonant bass and the overlooking the great plain toward Madrid, – and Antonio Soler, who studied with Scarlatti. These instruments in Queen Maria Barbara’s collection, the tapering of the soundboard in certain areas produces January to mid-March at the old hunting lodge of the volumes are now housed in the Biblioteca Palatina, in three Spanish harpsichords referred to in her a sonorous treble.The case is of pine with tulipwood Pardo.’ Parma. inventory were probably the most frequently used. veneer, spruce soundboard with walnut bridges and When Felipe died in 1746, Fernando VI and Queen Further sonatas have also been discovered and The Portuguese family of Antunes were prominent the keys, like Queen Maria Barbara’s instruments are Maria Barbara made their state entry into Madrid. It of ebony and mother of pearl. authenticated (included in volume 7 of this series) by harpsichord and piano makers in the 18th century and is thought that between 1738 and 1756, Scarlatti W. Dean Sutcliffe, author of The Keyboard Works of shared a workshop in Lisbon, and it is quite probable I have chosen ten sonatas in this set to be played on the wrote the majority of his keyboard sonatas. Little is Domenico Scarlatti. I am indeed indebted to him for that Scarlatti was familiar with their excellent work. fortepiano, which I have then duplicated on the known of him during his time in Spain, although we furnishing copies of manuscripts, which have enabled Joachim José (1731-1811) was probably the most harpsichord for comparison. Court records suggest a know that he married twice and had nine children. He me to compile what is to date, the only complete notable and at least four instruments exist. It is a fine rapid gain in popularity of piano making in Portugal was knighted in 1738 and remained in loyal service recording of Scarlatti’s keyboard sonatas. Sonatas in copy of the 1785 instrument by Michael Cole of and Spain, although many instruments were thought until his death on July 23, 1757. Scarlatti’s hand have completely disappeared and in Cheltenham that we hear on Disc 3 - 6.The original is to have been destroyed in the 1755 earthquake. An Between 1752 and 1757, thirteen volumes containing fact examples of his writing are scarce. housed in the Finchcocks Collection of Musical interesting fortepiano which could well provide a thirty sonatas in each were copied out for the Queen. Instruments in Kent. On the original there are two missing link is housed in the Museo Provincial de Although the Ralph Kirkpatrick numbers are used in Only volume X contains four extra. To this series of this recorded edition the chronology follows Queen eight-foot registers strung in brass with a harp stop on Bellas Artes in Seville. Unsigned and undated, it is volumes, two others were added numbered XIV and each. There are two pedals, one engaging one eight- attributed to Francisco Perez Mirabel of Seville, Maria Barbara’s manuscripts which are now housed in XV and dated 1742 and 1749.These fifteen volumes the Biblioteca Marciana in Venice. foot, the other operating the harp. Generally dating from around 1745. It has a full five-octave were bound in red morocco and engraved in gold on speaking on instruments of this type, one eight foot keyboard compass and would sound similar to the the front, together with the arms of Spain and 1 Domenico Scarlatti by Ralph Kirkpatrick. (Princeton register was fixed, but it is possible that at some stage instrument on this recording. Portugal. The Queen bequeathed these to Farinelli, University Press) both ‘eights’ were independent allowing greater tonal the famous castrato who carried much favour at the 2 Burney. The present state of music in Germany.Vol.1

page 14 Domenico Scarlatti VOLUME V Page 3 VENICE XII (1757) - DISC 1 VENICE XII (1757) - DISC 2 Details of instruments:- The Instruments 1 K484 D major Allegro 3.19 1 K499 A major Alla breve-Andante 3.40 Elizabeth Lester plays a Treble recorder by Moeck In choosing instruments on which to perform the 2 K485 C major 2 K500 A major Allegro 5.02 after Thomas Stanesby, London (1668 - 1734) A 415 complete cycle of sonatas, I was guided by the Alla breve-Andante è cantabile 3.26 3 K501 C major Alla breve-Allegretto 7.06 Queen’s inventory in which quite a detailed account 3 K486 C major Alla breve-Allegro 5.08 4 K502 C major Allegro 4.18 Nerys Evans plays a Descant recorder by Tim of the instruments in her possession is presented. She 4 K487 C major Allegro 4.28 5 K503 B flat major Alla breve-Allegretto 4.14 Cranmore after an original instrument by Richard owned twelve keyboard instruments distributed 5 K488 B flat major Alla breve-Allegro 4.08 6 K504 B flat major Allegro 3.04 Haka (1645 -1705) A 415, and a Treble recorder by between the royal palaces of Buen Retiro, Aranjuez 6 K489 B flat major Allegro 3.55 7 K505 F major Arnold Dolmetsch after Pierre Bressan c.1700 kindly and the Escorial. Seven were various types of 7 K490 D major Alla breve-Cantabile 5.24 Alla breve-Allegro non presto 3.06 loaned by Simon Pickard. harpsichords and five were pianofortes made in 8 K491 D major Allegro 5.27 8 K506 F major Allegro 3.22 Florence.These were probably made by Cristofori or 9 K492 D major Presto 4.30 9 K507 E flat major Andantino cantabile 4.02 his pupil Ferrini. It is interesting to note that two of 10 K493 G major Alla breve-Allegro 6.02 10 K508 E flat major Allegro 6.40 these instruments had been converted into 11 K494 G major Allegro 6.08 11 K509 D major Alla breve-Allegro 4.08 harpsichords. Either the instruments had been 12 K495 E major Alla breve-Allegro 5.09 12 K510 D minor Allegro 2.52 unsatisfactory as pianos, or were of more use as 13 K496 E major Allegro 6.13 13 K511 D major Alla breve-Allegro 2.48 harpsichords; still the favourite keyboard instrument. 14 K497 B minor Alla breve-Allegro 3.46 14 K512 D major Allegro 3.24 15 K498 B minor Allegro 3.12 15 K513 C major Pastorale: The largest harpsichord in the collection is described Moderato-Molto Allegro-Presto 3.48 as possessing five registers and four sets of strings, one of which was probably a sixteen-foot stop. A Total playing time 70.25 Total playing time 61.45 further two harpsichords with three sets of strings, - and a Flemish instrument with a similar disposition is also referred to. Another harpsichord is listed with two sets of strings and sixty-one keys in ebony and mother of pearl. In addition, two harpsichords of similar specification are also mentioned; all three were quite possibly Spanish in origin. Harpsichord by Michael Cole after José Joachim Antunes, (Lisbon, 1785). The keyboard compass of all these instruments Original in the Finchcocks Collection, Kent, England. presents some interesting puzzles. The most Harpsichord tuned to A 415 Valotti. elaborate harpsichord with four sets of strings had a Recorded at Wistaria Lodge, Cirencester, Gloucestershire, England. limited keyboard compass of fifty-six keys and the Summer 2004, by Raymond Fenton, Atkyns Sound. two instruments with three sets of strings possessed Dedicated to my son Dominic. page 4 Domenico Scarlatti VOLUME V Page 13 ACADEMIA MUSICALI She has appeared regularly as soloist in the Cotswold Like most other volumes, Venice XII contains a beginning on Palm Sunday, enormous floats with In this recording, members of the ensemble Early Music Festival performing most of the virtuoso variety of dance sonatas and a fully mature Scarlatti intricately carved, life-size figures commemorating ACADEMIA MUSICALI used both descant and recorder concerto repertoire with distinguished with lyrical and romantic elements freely realized. the events of Christ’s Passion and Resurrection, are treble recorders; the conventional Gamba or 'cello period instrument orchestras. A review in the K484 opens with scale passages far removed from the slowly borne through the narrow streets to the continuo was dispensed with as the harpsichord's Wiltshire and Gloucestershire Standard described dance world, but these motifs are quickly dispersed magnificent cathedral, the largest in Spain. Hooded sonorous bass register gave all the support and her as 'A musical phenomenon displaying maturity, in favour of leaps that share the dancer’s sense of figures of the ‘cofradias’, religious brotherhoods, richness needed. sensitivity and virtuosity far beyond her years' and breath and poise. Dance-style influences then walk alongside, in front and behind the floats, the Gloucester Echo music critic described her as 'an pervade K487, 489, 491, 492, 494, 500, 502, 504, sometimes in silence but often to the accompaniment Academia Musicali takes its name from the inspiration to recorder players of all ages.' She is also of bugles and drums, which beat a sombre rhythm. regular weekly concerts held at the Palazzo della 506, 510, 512 and 513 (last section). A more a serious student of the flute and at fifteen was reflective mood is chosen for K485, with a ‘romantic’ In eighteenth century Spain, piercing trumpets and Cancelleria in Rome, home of Cardinal Pietro awarded a high distinction in the Trinity College of Ottoboni — renowned 18th century patron of the harmonic sequence that leads to a mouth-watering muffled drums set the scene, as depicted by Goya in London performance diploma. Her teachers include conclusion.This particular piece has the widest range his painting, the Procession. Occasionally the Arts.These soirees under the title 'Academia Poetica Christopher Ball, recorder and Teresa Mclver, flute. - Musicali' featured some of the most prominent of any Scarlatti sonata; F1-g3. Interestingly, by procession stops so that the plaintive sound of an She is a founder member of the period instrument altering the tuning of the lowest four notes, one can unaccompanied saeta may be heard, usually sung musicians of the time including Archangelo Corelli, Band, Academia Musicali. who led the orchestra. Formed in 2006, the ensemble actually perform it on a g-g compass. K487’s opening from a balcony as the cavalcade reaches specific varies in number - from two performers expanding Nerys Evans comes reminds Kirkpatrick of bells.With its scrunching left points along the route. The saeta itself is a to chamber orchestra dimensions according to from a musical family - hand note clusters it certainly has that effect. The compliment, a prayer, a spontaneous offering of repertoire. The players include some of the finest her great uncle was the dance is again implied with wide octave leaps ‘cante’ origin, - an arrow of song directed at the performers on authentic or reproduction late Sir Geraint Evans. together with a real sense of panache. figure of Christ or the Blessed Virgin Mary instruments; experts in authentic style and She has played the Much informative material has been written about (Madonna) resting on the ornate candlelit float. At interpretation. recorder since the age of the triptych that forms K490, 491 and 492, (which is the close of Semana Santa, on Easter Day, the jubilant four and has frequently explained more fully in the booklet that accompanies church and cathedral bells ring out in the clear spring Elizabeth Lester was performed at festivals air of Seville celebrating the glorious Resurrection. I born in 1989 and began the whole set) including fascinating theories on and in concerts inspirational sources.The characteristics of the music feel privileged to have witnessed these celebrations studying recorder at the throughout England on two occasions now, a truly memorable expression age of six. By the age of suggest firm Andalucian roots and I subscribe to the including master classes with Frans Brugen. While view that there is a strong link between K490 with of faith and adoration by the people.The two sonatas ten she was amongst a studying for her Bachelor of Music with honours at that follow are dances possibly influenced by a select few to have solemn drum rhythms and hints of improvised saetas, Exeter University she was under the tutelage of Piers relating to the Holy Week and Easter-tide sevillana and a fandango, both danced after the Holy passed the Guildhall Adams. She now divides her time between week processions at the April Feria that follows. School of Music and celebrations of Semana Santa. Seville, where Scarlatti performing and teaching and since 2006 has been a lived for four years, has been renowned since the Scarlatti’s habit of upsetting tonality is a favourite Drama performance member of Academia Musicali. diploma with honours. sixteenth century for its religious festivals.To this day, trick and K494 is no exception. After journeying page 12 Domenico Scarlatti VOLUME V Page 5 between major and minor we veer off the road in a Another sonata in this volume that leans towards the The Trio sonata in the late seventeenth and early accompaniment. On the other hand they may possibly quite unexpected way - in this case, from C major to more reflective style is K510, quite possibly eighteenth centuries was one of the most popular have been intended, like similar pieces by Pasquini, A flat major. The listener could be forgiven for influenced by the vocal type of fandango associated forms in music. The sonata da camera, or chamber Alessandro Scarlatti, Marcello, Rutini, Telemann and thinking they had nodded off and awakened in the with Huelva, providing opportunities for ornamental sonata indicated that it was normally performed in a J.S. Bach, as simple two-voice pieces for keyboard, of middle of another sonata. Other sonatas include this melismas reminiscent of the folk singer’s art. small room in the home, or at court and was probably which the harmonies were to be filled up by the pleasant ‘jolt’ to the senses, most notably K491 in this K502 is one of those enigmas for which the composer more popular owing to its social aspects and the player’. I think the latter unlikely as no completely volume and K141 in volume 7. Such excursions to the is so fond. In this case, a dance in three-time, is quite diversity of dance movements it contained.The sonata satisfactory performance can be achieved owing to the flattened sub-mediant major are also a harmonic unexpectedly thrown into two. K504 provides da chiesa, or church sonata, a more serious type of disposition of the writing. feature of the folk fandango. another example of rhythmic displacement at the work suited more to ecclesiastical surroundings, was The instruments chosen for this recording, I felt A certain witticism pervades K495 in its simplistic close of each half. If however we subscribe to the standardized by Corelli in a slow-fast-slow-fast captured the inherent melodic qualities of the beauty, which in turn spills into K496. Both share notion that Scarlatti borrowed ideas from the folk format. individual sonatas in the best possible way, although triplet figurations which tease one another in playful music and dances of Spain, this should be no surprise, No one quite knows how Scarlatti intended these other permutations are of course possible. dialogue.After an exciting tirade of effects from K497 as imposing one rhythm on to another is common multi-movement sonatas to be performed. They all Additional works on this CD include the Sinfonia in C in D major, which, never the less, has its own fair practice. Under this giddy whirl of dancing feet, have a figured bass, so presumably a solo instrument minor by Domenico's father, Alessandro and a sonata share of delicious nuances, a more subdued bulerias rhythms are much in evidence. (Below) was intended with the normal harpsichord and ‘cello in F major by George Friderick Handel.The Sinfonia atmosphere returns for K498, 499 and 500, which are providing the accompaniment. One would imagine in C minor (Sinfonia, an alternative name for sonata) marked Allegro, Andante and Allegro, respectively. that according to the practice of the time, whatever is included in a large collection of instrumental works One cannot help, however, but hold back on the solo instruments were available would have been in the Santini library in Munster. The work is dated accelerator pedal to accommodate the luscious used. June 16th 1699 and is contemporary with Scarlatti's nuances contained within. What immediately appeals in these works are the chamber cantatas; the tempo of each movement is K500 has a ‘barcarolle’ atmosphere more commonly It is interesting to speculate on these obvious cribs inventive and exquisite melodic lines spun over an unspecified. Handel's sonata was almost certainly associated with K429. Little is known about the from the folk music idiom. I do feel however that it is imaginative figured bass, therefore laying a perfect written during his time in Italy (1706 — 1710) and is barcarolle’s original form. It means ‘boat song’ and a rather dangerous practice to label a particular sonata foundation upon which the harpsichord can expand. a relatively early work. The autograph bears the probably derives from a type of popular song sung by fandango or bulerias. This particular sonata has been Kirkpatrick says that, ’Although not specified, the inscription 'Sonata a Due Flauti, e Basso Del Sig Gondoliers. Its chief characteristic is an easy, gentle called a peteneras by certain writers. Gypsies upper voice may have been intended for a solo Georgio Federigo Hendel - Flauti was the name given swaying rhythm. Charles Burney in his ‘Present state consider the peteneras as bad luck and refuse to instrument, probably a violin, with continuo.This to the recorder in the 18th century. It is quite of music in France and Italy’ (1771) speaks of the perform it, and when one considers its rather ‘dark’ hypothesis is substantiated by the fact that, unlike probable that the continuo sonatas and the two by Gondoliers or watermen ‘which are so celebrated that nature, it seems far removed from the jolly C major most keyboard pieces, these have a number and Alessandro Scarlatti and Handel were performed at every musical collector of taste in Europe is well Allegro dance that Scarlatti intends. character of movements as the average eighteenth some stage during the regular weekly concerts at the furnished with them’. century instrumental “solo” with continuo Palazzo della Cancelleria referred to later.

page 6 Domenico Scarlatti VOLUME V Page 11 THE CONTINUO SONATAS with Elizabeth Lester, treble recorder* K508 is a curious jumble of ideas on the surface, but Nerys Evans, descant recorder** further study reveals what perhaps is intentionally ad DISC 5 lib’. The word Arbitri is inserted three times in the score suggesting free interpretation in the form of K90** D minor 9.49 K88* G minor 7.21 1 Grave 2.57 18 Grave 2.14 rhythmic or melodic deviations from the written 2 Allegro 4.45 19 Andante moderato 2.08 notes. A sense of experimentation is felt, culminating 3 Allegro 1.08 20 Allegro 1.39 for my part in a very satisfactory result. 4 Allegro 0.59 21 Minuet 1.20 K513 is often associated with a Christmas theme K89* D minor 7.41 George Friderick Handel bearing an uncanny thematic similarity in places to the 5 Allegro 3.56 Sonata in F major Christmas Cantata Pastorale, by Domenico’s father, 6 Grave 1.16 HWV405 5.51 Alessandro. Dean Sutcliffe states that after the 7 Allegro 2.29 22 Allegro 2.03 opening section marked ‘Pastorale’, the theme of the K91** G major 9.09 23 Grave 1.43 second section ‘is an Italian carol. ‘Discendi dale 8 Grave 1.32 24 Allegro 2.05 stelle’ with drones and parallel thirds imitating the 9 Allegro 4.01 Elizabeth Lester & Nerys Evans pifferari (players of pipes or fifes).’ The sonata ends treble recorders 10 Grave 1.15 with a dizzy dance, providing an exciting conclusion 11 Allegro 2.21 Alessandro Scarlatti to one of the most inspired volumes in the collection. K78* G major 2.19 Sinfonia in C minor 6.03 12 Gigha Allegro 1.34 25 (Largo) 1.56 13 Minuet 0.45 26 (Allegro) 1.15 K81** E minor 9.32 27 (Sarabande) 1.45 14 Grave 1.40 28 (Allegro) 1.07 15 Allegro 3.26 Elizabeth Lester & Nerys Evans 16 Grave 2.51 treble recorders 17 Allegro 1.35 Total playing time 46.34

Recorded at Wistaria Lodge, Cirencester, Gloucestershire, England. Autumn 2006 by Raymond Fenton, Atkyns Sound.

Harpsichord by Michael Cole after José Joachim Antunes, (Lisbon, 1785). Original in the Finchcocks Collection, Kent, England. Harpsichord tuned to A 415 Valotti. page 10 Domenico Scarlatti volume V Page 7 VENICE XIII (1757) - DISC 3 VENICE XIII (1757) - DISC 4 This volume ends the Queen's series of manuscripts The pairing of sonatas has been discussed in previous 1 K514 C major Allegro 3.32 1 K530 E major Allegro 4.22 copied out in 1757, the same year as the composer's volumes and I must confess that I am not convinced 2 K515 C major Allegro 3.31 2 K531 E major Allegro 4.14 death on July 23rd. This final set, before the two that it was intentional. However, there are certain 3 K516 D minor Allegretto 6.35 3 K532 A minor Allegro 4.24 earlier collections of 1742 and 1749 were added, acts puzzles, and in this particular volume K516 & 517 in 4 K517 D minor Prestissimo 3.17 4 K533 A major Allegro assai 3.14 as an epic epitaph combining dazzling virtuosity, the Parma manuscript were wrongly copied out in 5 K518 F major Allegro 7.02 5 K534 D major Cantabile 2.58 K517, 519, 523, 529, 532, 533, 535 and 537, and as reverse order, but an indication preceding K517 in 6 K519 F minor Allegro assai 2.59 6 K535 D major Allegro 3.12 Kirkpatrick muses, 'after more than four hundred Parma makes it quite clear that K516 is to be 7 K520 G major Allegretto 4.30 7 K536 A major Cantabile 3.23 sonatas, examples that make us gasp with surprise and performed first. (La que sigue se debe taner 8 K521 G major Allegro 4.14 8 K537 A major Prestissimo 3.39 pleasure.' (K516, 518, 526 and 531). primero). K518 & 519 are similar in tonal scheme and 9 K522 G major Allegro 4.05 9 K538 G major Allegretto 4.11 K516 in D minor is especially poignant, perhaps in K526 & 527 in C minor and C major respectively, 10 K523 G major Allegro 2.31 10 K539 G major Allegro 6.44 drawing inspiration from the vocal fandango which the accidentals of K527 are cancelled so as to 11 K524 F major Allegro 2.53 11 K540 F major Allegretto 4.30 often combines song with dance. The guitar’s modulate into the major. I do however perform these 12 K525 F major Allegro 3.11 12 K541 F major Allegretto 4.57 accompanying role is ever present, especially in the six sonatas without the customary break. 13 K526 C minor Allegro commodo 6.13 13 K542 F minor Allegretto 6.42 second half where the flattened supertonic is strongly Again, Kirkpatrick sums up this volume, ‘Like the 14 K527 C major Allegro assai 4.11 14 K543 F major Allegro 5.34 felt and is a device common to flamenco. final displays in an evening of fireworks, scintillating 15 K528 B flat major Allegro 3.23 Opportunities for ornamentation are numerous in riches and ever varying spectacles are being showered 16 K529 B flat major Allegro 2.21 this piece and I include some flamenco ornamentation on us until they suddenly disappear into blackness. that although unorthodox in the normal sense, Now Scarlatti is showering the largesse of his whole Total playing time 64.28 Total playing time 62.04 hopefully works here. musical legacy on us in an ever-increasing crescendo There are also in this volume of sonatas, a countless that is interrupted only by death.’ range of wide emotions between humour and pathos, K515 and 526, and we gradually form an impression of a complex character who expresses the extremes of his temperament from court jester to almost manic- depressive. Harpsichord by Michael Cole after José Joachim Antunes, (Lisbon, 1785). Original in the Finchcocks Collection, Kent, England. Harpsichord tuned to A 415 Valotti. Recorded at Wistaria Lodge, Cirencester, Gloucestershire, England. October 2004, by Raymond Fenton, Atkyns Sound. Dedicated to the memory of my beloved daughter, Suzanne Marie. 21st April to 26th September 1968. page 8 Domenico Scarlatti volume V Page 9 Domenico Scarlatti was born in Naples on October 26th 1685, DOMENICO SCARLATTI the same year as Bach and Handel. It was not until around THE COMPLETE SONATAS Nimbus Nimbus 1720 however, that his compositional skills developed fully VOLUME V following an appointment in Portugal as chapel music master to King João V, - and harpsichord teacher to his younger Venice XII – XIII (1756-7) (K484 – 543) brother Don Antonio - and his nine-year-old daughter, Continuo Sonatas (K78, K81, K88 – 91) Princess Maria Barbara. Following her marriage in 1729 to Fernando, Felipe V’s son (heir to the Spanish throne) RICHARD LESTER Domenico was to remain as her music master for the rest of VOLUME 5 • RICHARD LESTER Harpsichord & Fortepiano VOLUME 5 • RICHARD LESTER his life. Elizabeth Lester · Nerys Evans recorders Between 1752 and 1757, thirteen volumes containing thirty 5 Hours 6 mins 5 CD set sonatas in each were copied out for the Queen.To this series of volumes, two others were added numbered XIV and XV and dated 1742 and 1749.These fifteen volumes were bound in red morocco and engraved in gold on the front.The Queen bequeathed these to Farinelli, the famous castrato who carried much favour at the Spanish court. Some years after his death in 1782, they were housed in the Biblioteca Marciana, in Venice. They are now referred to as the ‘Venice’ manuscripts and constitute the principal source for these recordings.

The complete Keyboard sonatas with appendices and recent discoveries, plus six Continuo sonatas are issued on 38 CDs in 7 volumes. NI 1729 NI 1729 Made in the UK by Nimbus Records ൿ 2007 Wyastone Estate Limited © 2007 Wyastone Estate Limited LC 5871 http://www.wyastone.co.uk