 | Scarlatti, Domenico - Sonata in G Major for Piano K.455 Piano seul |
VoirPDF : Sonata in G Major (K.455) for Piano. (5 pages - 150.05 Ko)79x⬇ MP3 : Sonata in G Major (K.455) for Piano. 11x⬇ 113x
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| Compositeur : | Scarlatti, Domenico (1685 - 1757) | ||||
| Instrumentation : | Piano seul | ||||
| Genre : | Baroque | ||||
| Tonalité : | Sol majeur | ||||
| Arrangeur : Editeur : | MAGATAGAN, MICHAEL (1960 - ) | ||||
| Droit d'auteur : | Public Domain | ||||
| Ajoutée par magataganm, 20 Sep 2023 Giuseppe Domenico Scarlatti (1685 – 1757) was an Italian composer who spent much of his life in the service of the Portuguese and Spanish royal families. Today he is known mainly for his 555 keyboard sonatas. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style and he was one of the few Baroque composers to transition into the classical period. He was born in 1685, the same year as Johann Sebastian Bach and George Frideric Handel. Probably one of the most outrageously individual compositional outputs of the Baroque era is to be found in the keyboard sonatas of Domenico Scarlatti. His sonatas are perhaps the most successful works to migrate from the harpsichord to the modern grand piano. Their transparent texture of simple two- and three-part keyboard writing has one foot in the imitative counterpoint of the Baroque while anticipating the Classical era of Haydn and Mozart in their clarity of phrase structure and harmonic simplicity. Especially appealing to modern performers is their pungently flavourful evocations of the popular folk music of Spain, not to mention the flurries of repeated notes, octaves and register-spanning arpeggios that make them such effective vehicles for pianistic display. The Scarlatti sonatas are typically in binary form, with a first half that ends in the dominant and a second half that works its way back from the dominant to the home tonality. They are now referenced by means of the Kirkpatrick (K) numbers assigned to them by Ralph Kirkpatrick in 1953, replacing the less chronologically precise Longo (L) numbers of Alessandro Longo’s first complete edition of 1906. Scarlatti’s early career was based in Naples, and his introverted Sonata in B minor K 197 displays the recurring streaks of pathos that Neapolitan music revels in. The melodic line whimpers with plaintive little appoggiaturas as harmonic tension accumulates from the use of stubbornly immovable pedal points in the bass. The Sonata in G major K 455, by contrast, is unabashedly dancelike and popular in tone, filled with the rhythmic click and snap of the castanets. Guitar idioms are heard in the repeated notes that dominate the last section of each half, making this piece an impressive showpiece of digital dexterity for the performer. In his Scarlatti liner notes, Yevgeny Sudbin lays stress on the spontaneous, improvisatory quality of these sonatas. “It is very plausible that for each of the notated sonatas,” he writes, “there were 50 or so other versions.” His performance this afternoon may well pay tribute to these “plausible other versions.” As to where this might occur, the smart money is on the repeats. Source: Wikipedia (https://en.wikipedia.org/wiki/Domenico_Scarlatti). Although originally composed for Solo Keyboard (Harpsichord), I created this Transcription of the Sonata in G Major (K.455) for Piano. Partition centrale : | Sonate en Sol majeur (3 partitions) | | |||
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