DOMENICO SCARLATTI (1671-1750)

Keyboard sonatas

The keyboard sonatas of Scarlatti’s day had a far smaller range than the modern piano, but within these confines he created music of extraordinary variety, ranging in character from helter-skelter urgency to the most delicate lyricism. Scarlatti may not possess the depths of his contemporary J.S. Bach, but he boasted a seemingly inexhaustible fertility and was the first really to explore the limits of what ten fingers could achieve – his music is littered with jumps over two octaves, crossed-hand passages and rapid note repetitions. Indeed, like Beethoven, Scarlatti can be credited with the invention of a totally new keyboard technique.

Scarlatti’s sonatas bear no resemblance to the multi-movement form mastered by Haydn, Mozart and Beethoven – to Scarlatti the term sonata signified nothing more precise than that a piece was purely instrumental. Scarlatti’s one-movement compositions do not develop thei material in the organic way that classical sonatas mould their themes, but rather proceed by the interweaving and juxtaposition of motifs which reappear throughout the sonata. The charm of Scarlatti’s melodies, the quick-wittedness with which he conductes his musical arguments and the quasi-romantic expressive effects he achieves through sharply contrasted motifs, make these sonatas as absorbing as any instrumental music of the eighteenth century.

Every so often a major pianist reclaims Scarlatti for the piano with an outstanding recording. As harpsichordist Ralph Kirkpatrick put it, Scarlatti’s harpsichord sound could hadly be closer – one can hardly argue on that point – and of course it wouldn’t have been composed the way it is for a different instrument. Scarlatti is marvellous at suggesting imaginary orchestrations and stimulating our own imagination and phantasy. He makes us aware of the different vantage points as the music passes before us, of the different tones of voice and rhetorical inflexions – as various in these sonatas as the events in them are unpredictable. There are dances, fiestas and processions here, serenades, laments and evocations of everything from the rudes folk music to courtly entertainments and churchly polyphony; and as the keildoscope turns you marvel at the composer who could embrace such diversity, shape it and put it all on the keyboard.

Some cd recordings of pianoversions

Vladimir Horowitz (Sony 53460)

Horowitz was one of the pianists to regularly programme Scarlatti’s sonatas, usually at the beginning of a recital. These performances highlight the quirkiness of the music and use the piano’s full resources to produce textures beyond the scope of the harpsichord. The choice of the sonatas is stimulating and the playing is enchanting – this is one of the mercurial pianist’s greatest recordings. Providing you are prepared to accept sometimes less than flattering and often rather dry recorded sound, this is marvellous playing which sweeps away any purist notions about Scarlatti having to be played on the harpsichord. The 18 sonatas were chosen by Horowitz after he had recorded nearly twice as many throughout 1964. The very opening, staccato D major K. 33 is made sound very brittle by the close balance, but in the following K. 54 in a minor the pianist’s gentle colouring is fully revealed. Here, as in the two slow f minor sonatas K, 466 and 481, the music is particularly beautiful in a way not expected of Scarlatti.

Murray Perahia (Sony 62785)

This marvellous recording, made in 1996, fully deserves all the plaudits that have been showered upon it. Murray Perahia’s playing is warmer and more fluid than Horowitz’, with a sinewy elegance which is completely captivating. One of the highlights is the extraordinar Sonata in b minor (K. 27) with its mesmerizing repetitions of a single phrase, which Perahia handles with wonderful subtlety. A pity he plays only seven of these miniature works…..

Ivo Pogorelich (DG 435.855-2, 073-4046 dvd)

Here Pogorelich for once plays with captivating simplicity and convinces the listener that this is music whivh sounds far more enjoyable on the piano than on the harpsichord. His dazzling execution, using the lightest touch, consistently enchants the ear with its subtle tonal colouring, and the music emerges ever sparkling and fresh. The performances can be measured against those of Horowitz and not found wanting. Moreover Pogorelich is beautifully recorded in an ideal acoustic and his program is admirably chosen to provide maximum variety.

Michael Lewin (Naxos 8.553067)

The American Michael Lewin’s playing bursts over with high spirits. Briljant, in high spirits he plays lively and dramatic sonates and only in the more restrained ones like K. 32 and 208 he could have shown a bit more poetic expression.

Yevgeny Sudbin (BIS CD 1508)

The very positive impression of this cd is underlined by the variety of the program and the feeling Sudbin has for changing moods. His recital is mainly characterised by vitality, variety and a sense of adventure. This is one of the best recent recordings

Mikhail Pletnev (Virgin 561.961-2, 2 cd’s)

This is strongly individual playing, be warned. Pletnev’s free-ranging poetic licence may not be to everyone’s liking. Not that his spectacular virtuosity is likely to be controversial: this is really hors de catégorie and enormously enjoyable. And the evocations of the harpsichord are often very witty, but Pletnev doesn’t shrink from using the full possibilities of the piano, sustaining pedal included and if you baulk at the prospect of that as a means to an end he may not be for you.

The sustaining pedal is indeed dangerous in music which is almost wholly to do with lines, not washes of colour; its effect is to make us see Scarlatti as if through Mendelssohn’s eyes. Yet moments of such falsification are rare. As often as not when Pletnev appears to be on the verge of stepping outside Scarlatti’s world, or reinventing a little bit of it, it’s because of some shaft of insight vouchsafed to his extraordinary musical mind that is well worth hearing. Characterization is everything, and though he can be a mite coy in the reflective sonatas he generally goes straight to the heart of the matter. The vigourous, full tone in the quick numbers is a joy, and most admirable is the way he makes sound immediately command character.

In the opening sonata K. 443 in D Pletnev establishes a firm pianistic approach, yet the staccato articulation reminds us that the world of the harpsichord is not so far away. However, in the the G major sonata K. 283, and in the following K. 284 his fuller piano sonority transforms the effect of the writing. The second cd opens with the almost orchestral K. 96 in D with its resonant horn calls, and later the lovely, flowing c minor and the even more expressive K. 11 in fis bring a reflective poetic feeling which could not have been matched in colour by a plucked instrument. This carefully chosen selection stretches over 2 cd’s and lasts 140 minutes. It gives the fullest opportunity to demonstrate the extraordinary range of this music.

Jenö Jando (Naxos 8.555.047)

Naxos have planned their Scarlatti survey to include different pianists, and the Hungarian Jenö Jando – normally Naxos house-pianist – demonstratesa brisk, crisp and clean style. His articulation at times offers remarkable bravura (witness K. 10 in d minor, or K. 212 in A major). The e minor K, 203 and G major K. 105 are certainly characterful, while the c minor K. 126 has an appropriate pensive quality. Yet other performers find more diversity of colour and delicacy of feeling in this music.

Eteri Andjaparidze (Naxos 8.553061)

The Georgian pianist Eteri Andjaparidze, one of the youngest prize-winners in Moscow’s Tschaikovsky competition, proved an excellent choice for the first collection of the Naxos survey of the Scarlatti sonatas. She plays with finesse, elegance and style, and is at her finest in the reflective minor-key sonatas. The snag is that this recital was recorded over three days in June 1994, and for some reason the piano pitch is not consistent and changes disconcertingly between some items. Otherwise the recording is of high quality.

Micheal Lewin (Naxos 8.553067)

Michael Lewin is an American pianist as dexterous and assured as he is audacious. Here there is no sense of ‘studio’ caution but only of liberating and dazzling music-making, live and on  the wing. K. 492 in D could hardly provide a more briljant curtain-riser, and in K. 3 in a minor (the one where Scarlatti’s impish humour offers the musical equivalent of someone slipping on a banana skin) Lewin’s playing positively brims over with high spirits. The D major sonata K. 33 is all thrumbing guitars and bursts of sunshine and in K. 141 with its cascades of repeated notes, Lewin even gives Martha Argerich a run for her money.

There is a no less appealing balm and musical quality in the more restrained numbers such as K. 32 in d minor and K. 208 in A, though the recital comes to s suitably ebullient conclusion with K. 517 in d minor which is here like a river full spate. The recording is suitably lively and not even the most persistent lover of Scarlatti on the harpsichord could accuse Michael Lewin of an absence of the necessary glitter, panache and stylistic awareness.

Inger Södergren (Calliope CAL 6670)

Inger Södergren gives an appealing recital of 16 well-contrasted sonatas plus a brilliant account of the highly individual Toccata in d minor. Some might feel that her gentle, almost wistful treatment of the lyrical sonatas errs towards being too romantic but her keen sensitivity and crisp articulation in the lively pieces are unimpeachable, and she is very well recorded.

András Schiff (Decca 421.422-2)

Exquisite and sensitive playing, full of colour and delicacy. As always András Schiff is highly responsive to the mood and character of each piece. At times one wonders whether he is not a little too refined: in some, one would have welcomed more abandon and fire. However, for the most part this is a delightful recital, and the Decca recording is exemplary in its truthfulness.