Scarlatti The Complete Keyboard Sonatas Volume 5
VENICE XII (1757) DISC 1 Total playing time 70.25
1 K484 D major Allegro 3.19 2 K485 C major Alla breve-Andante è cantabile 3.26 3 K486 C major Alla breve-Allegro 5.08 4 K487 C major Allegro 4.28 5 K488 B flat major Alla breve-Allegro 4.08 6 K489 B flat major Allegro 3.55 7 K490 D major Alla breve-Cantabile 5.24 8 K491 D major Allegro 5.27 9 K492 D major Presto 4.30 10 K493 G major Alla breve-Allegro 6.02 11 K494 G major Allegro 6.08 12 K495 E major Alla breve-Allegro 5.09 13 K496 E major Allegro 6.13 14 K497 B minor Alla breve-Allegro 3.46 15 K498 B minor Allegro 3.12
VENICE XII (1757) DISC 2 Total playing time 61.45
1 K499 A major Alla breve-Andante 3.40 2 K500 A major Allegro 5.02 3 K501 C major Alla breve-Allegretto 7.06 4 K502 C major Allegro 4.18 5 K503 B flat major Alla breve-Allegretto 4.14 6 K504 B flat major Allegro 3.04 7 K505 F major Alla breve-Allegro non presto 3.06 8 K506 F major Allegro 3.22 9 K507 E flat major Andantino cantabile 4.02 10 K508 E flat major Allegro 6.40 11 K509 D major Alla breve-Allegro 4.08 12 K510 D minor Allegro 2.52 13 K511 D major Alla breve-Allegro 2.48 14 K512 D major Allegro 3.24 15 K513 C major Pastorale: Moderato-Molto Allegro-Presto 3.48
VENICE XIII (1757) DISC 3 Total playing time 64.28
1 K514 C major Allegro 3.32 2 K515 C major Allegro 3.31 3 K516 D minor Allegretto 6.35 4 K517 D minor Prestissimo 3.17 5 K518 F major Allegro 7.02 6 K519 F minor Allegro assai 2.59 7 K520 G major Allegretto 4.30 8 K521 G major Allegro 4.14 9 K522 G major Allegro 4.05 10 K523 G major Allegro 2.31 11 K524 F major Allegro 2.53 12 K525 F major Allegro 3.11 13 K526 C minor Allegro commodo 6.13 14 K527 C major Allegro assai 4.11 15 K528 B flat major Allegro 3.23 16 K529 B flat major Allegro 2.21
VENICE XIII (1757) DISC 4 Total playing time 62.04
1 K530 E major Allegro 4.22 2 K531 E major Allegro 4.14 3 K532 A minor Allegro 4.24 4 K533 A major Allegro assai 3.14 5 K534 D major Cantabile 2.58 6 K535 D major Allegro 3.12 7 K536 A major Cantabile 3.23 8 K537 A major Prestissimo 3.39 9 K538 G major Allegretto 4.11 10 K539 G major Allegro 6.44 11 K540 F major Allegretto 4.30 12 K541 F major Allegretto 4.57 13 K542 F minor Allegretto 6.42 14 K543 F major Allegro 5.34
THE CONTINUO SONATAS DISC 5 Total playing time 46.34
K90 D minor 9.49 K89 D minor 7.41 K91 G major 9.09 K78 G major 2.19 K81 E minor 9.32 K88 G minor 7.21 George Friderick Handel Sonata in F major HWV405 5.51 Alessandro Scarlatti Sinfonia in C minor 6.03
Reviews on MusicWeb of earlier volumes in this series have been wholly positive. Of the seven projected sets in what is a huge undertaking – 550 keyboard sonatas in all - five have so far been released. Volume V (Venice XII – XIII, 1756-7) is equally deserving of the highest praise and can be unreservedly recommended for lovers of this intriguing and evocative repertoire in general, as much as for those (already) ‘collecting’ Scarlatti.
Discs 1 to 4 contain sixty sonatas (K484 – K543) of great wit, beauty, originality and colour. Lester’s playing is as fresh and yet thoughtful as you could want. It’s likely that you’ll listen to them, perhaps disc by disc; what you’ll hear is a superb performer approaching each one with considered enthusiasm, and delight. Yet the presentation of each work is clearly the result of much study and familiarity; these bring extra insight. You quickly appreciate that each sonata has its own logic, references itself and its world and can lay separate claim to our attention. The rationale for and execution of each piece is handled by Lester, almost, with a kind of informed and cohesive humility – rather than as one of series to be pulled off the shelf, heard and stored for future curiosity.
The number of sonatas about which something special needs to be said has increased by the time we get to this volume… K485 has the widest range (F1 – g3) of any in the entire corpus. K490, 491 and 492 represent a Passiontide festival and pack a remarkable amount of figurative colour into solo keyboard music. K491 and 494 make extraordinary use of changes of key; while K502 and 504 bring us similarly up short for their almost violent changes of rhythm and tempo.
The inclusion of these pieces here – and that of the Handel sonata from that composer’s time in Italy (1706 – 1710) – seems to follow from the fact that they too may well have been performed at regular weekly concerts at the Palazzo della Cancelleria, home of Roman patron of the arts, cardinal Pietro Ottoboni.