Domenico Scarlatti 30 Sonatas

An exact contemporary of Bach and Handel, Domenico Scarlatti was already a celebrated composer in Italy by the time he moved to Portugal. Later he traveled to Spain, where he worked as a harpsichord instructor for Princess Maria Barbara. The lessons he wrote for her are among the most imaginative and unpredictable pieces from the whole baroque period. His music translates very well to the guitar, an instrument where his style is completely at home. This set of 30 sonatas transcribed by acclaimed guitarist Fabio Zanon includes new transcriptions of all-time favorites and some rarer ones as well.

Volume I of this critically acclaimed three-part collection features introductory text and performance notes to 30 Scarlatti sonatas, from Sonata I to Sonata XXX. The works appear in chronological order and with Kirkpatrick numbers. This Urtext edition preserves the sonatas' original presentation, save for the addition of accidentals and the inversion of treble and bass clefs, in accordance with modern practices and ease of playing.

W. Dean Sutcliffe investigates one of the greatest yet least understood repertories of Western keyboard music: the 555 keyboard sonatas of Domenico Scarlatti. Scarlatti occupies a position of solitary splendour in musical history. The sources of his style are often obscure and his immediate influence is difficult to discern. Further, the lack of hard documentary evidence has hindered musicological activity. Dr Sutcliffe offers not just a thorough reconsideration of the historical factors that have contributed to Scarlatti's position, but also sustained engagement with the music, offering both individual readings and broader commentary of an unprecedented kind. A principal task of this book is to remove the composer from his critical ghetto (however honourable) and redefine his image. In so doing it will reflect on the historiographical difficulties involved in understanding eighteenth-century musical style.

Domenico Scarlatti composed some 555 sonatas for the harpsichord. As their texture is light and the music is usually homophonic they transcribe very well for the guitar. In this book, Jamey Bellizzi presents 30 Scarlatti sonatas in standard classical guitar notation. Performance notes, facsimile reproductions of Scarlatti's original manuscripts, and a biographical sketch of the composer are an added bonus.

Volume II of this critically acclaimed three-part collection features introductory text and performance notes to 30 Scarlatti sonatas, from Sonata XXXI to Sonata LX. The works appear in chronological order and with Kirkpatrick numbers. This Urtext edition preserves the sonatas' original presentation, save for the addition of accidentals and the inversion of treble and bass clefs, in accordance with modern practices and ease of playing.

The editor has chosen 40 keyboard sonatas from the more than 500 written by Domenico Scarlatti. These serve as a progressive initiation into Scarlatti's keyboard artistry. The sonatas generally follow the simple structure of a single movement divided into two symmetrical refrains, as in the pre-classical dance suites. Embellishments are written in regular note values for ease of playing, and dynamic indications, which were sparse for the harpsichord, are added for the modern piano. Fingerings are included as a suggested guide.

Split into two volumes (item 29 and 107), this edition concentrates on areas of performance practice such as dynamics, expressive character, fingering, ornamentation, phrasing, rhythmic treatment and tempo. This collection has been compiled for intermediate to moderately advanced students, and to assist the teacher and performer, utilizes four levels of grading (early intermediate, intermediate, late intermediate and early advanced.)

The 30 Sonatas of Sebastián de Albero (1722-1756), who worked for the Spanish court in Madrid along with Italian-born Domenico Scarlatti and fellow-Spaniard Antonio Soler, is a remarkable contribution to the vital Iberian keyboard literature of the 18th century. Lively, colorful, melancholy - with the Spanish-style harmonic and melodic inflections, irregular phrases, dissonances, and ingenious modulations characteristic of the best work of his contemporaries - Albero's 30 Sonatas displays his distinctive personality. While enriching the repertoire of pianists and harpsichordists, Albero's work affords new insights into the vivid and expressive music of the Iberian keyboard tradition, as well as many hours of delightful music for performance and practice. The 30 Sonatas are newly edited from the manuscript source, clearly typeset and formatted for optimal page turns, and prefaced with a biographical and editorial introduction in English, Spanish, French, and German.

"A selection of sonatas from ... Opere complete per clavicembalo, edited by Alessandro Longo ... 1906-08, by G. Ricordi, Milan."