Scarlatti: Sämtliche Cembalosonaten Vol.5 - K.188-229 / Pieter-Jan Belder [3CD-BOX-SET] – Tonträger gebraucht kaufen

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201 Min.

2004

CD-Box

200 g

Album: NEU und nicht EINGESCHWEISST

Scarlatti: Complete Sonatas Vol V, K 188-229 / Belder

Release Date: 04/04/2004
Label: Brilliant Classics Catalog #: 92201 Spars Code: DDD
Composer: Domenico Scarlatti
Performer: Pieter-Jan Belder
Number of Discs: 3
Recorded in: Stereo
Length: 3 Hours 21 Mins.


Works on This Recording

1. Sonata for Harpsichord in A minor, K 188/L 239 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
2. Sonata for Harpsichord in B flat major, K 189/L 143 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1742; Spain
3. Sonata for Harpsichord in B flat major, K 190/L 250 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
4. Sonata for Harpsichord in D minor, K 191/L 207 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
5. Sonata for Harpsichord in E flat major, K 192/L 216 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
6. Sonata for Harpsichord in E flat major, K 193/L 142 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
7. Sonata for Harpsichord in F major, K 194/L 28 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 1742; Spain
8. Sonata for Harpsichord in F major, K 195/L S18 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century; Spain
9. Sonata for Harpsichord in G minor, K 196/L 38 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 1742; Spain
10. Sonata for Harpsichord in B minor, K 197/L 147 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
11. Sonata for Harpsichord in E minor, K 198/L 22 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
12. Sonata for Harpsichord in C major, K 199/L 253 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
13. Sonata for Harpsichord in C major, K 200/L 54 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
14. Sonata for Harpsichord in G major, K 201/L 129 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
15. Sonata for Harpsichord in B flat major, K 202/L 498 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
16. Sonata for Harpsichord in E minor, K 203/L 380 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
17. Sonata for Harpsichord in F minor, K 204a by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
18. Sonata for Harpsichord in F minor, K 204b by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
19. Sonata for Harpsichord in F major, K 205/L 523 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
20. Sonata for Harpsichord in E major, K 206/L 257 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
21. Sonata for Harpsichord in E major, K 207/L 371 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
22. Sonata for Harpsichord in A major, K 208/L 238 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
23. Sonata for Harpsichord in A major, K 209/L 428 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
24. Sonata for Harpsichord in G major, K 210/L 123 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
25. Sonata for Harpsichord in A major, K 211/L 133 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
26. Sonata for Harpsichord in A major, K 212/L 135 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
27. Sonata for Harpsichord in D minor, K 213/L 108 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
28. Sonata for Harpsichord in D major, K 214/L 165 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century; Italy
29. Sonata for Harpsichord in E major, K 215/L 323 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
30. Sonata for Harpsichord in E major, K 216/L 273 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
31. Sonata for Harpsichord in A minor, K 217/ L 42 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752
32. Sonata for Harpsichord in A minor, K 218/L 392 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752
33. Sonata for Harpsichord in A major, K 219/L 393 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1738; Italy
34. Sonata for Harpsichord in A major, K 220/L 342 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1738; Italy
35. Sonata for Harpsichord in A major, K 221/L 259 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752
36. Sonata for Harpsichord in A major, K 222/L 309 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
37. Sonata for Harpsichord in D major, K 223/L 214 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752; Italy
38. Sonata for Harpsichord in D major, K 224/L 268 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752; Italy
39. Sonata for Harpsichord in C major, K 225/L 351 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
40. Sonata for Harpsichord in C major, K 225/L 351 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
41. Sonata for Harpsichord in C minor, K 226/L 112 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752
42. Sonata for Harpsichord in B minor, K 227/L 347 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: 18th Century
43. Sonata for Harpsichord in B flat major, K 228/L 399 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752
44. Sonata for Harpsichord in B flat major, K 229/L 199 by Domenico Scarlatti
Performer: Pieter-Jan Belder (Harpsichord)
Period: Baroque
Written: by 1752
Customer Reviews


Notes and Editorial Reviews

There are several projects in hand at present to record all of Scarlatti's 555 keyboard sonatas. I won't attempt to list them all. Perhaps the most easily available is the series on Naxos recorded on the piano, each volume featuring a different and often young player. Hearing Benjamin Frith's light-hearted and leisurely account of the D major Sonata K214 on Volume 5 (8.554792) makes a fascinating comparison with Belder. However if I did that I would not be comparing like with like so I will move on.

Brilliant Classics are doing something quite unique here. Pieter-Jan Belder is recording all the sonatas, and although this is already Volume five he will not complete the project until 2007. This, like the other sets, follows a three disc format. Each set features a different instrument recorded on a different date in a different venue. This is a fascinating concept which possibly alleviates any sense of the sense of the routine but also gives the instrument makers a real chance to compare and contrast. All of this is done at budget price.

Is this volume worth consideration? I would say, with just a few reservations most certainly, yes.

I particularly appreciate the fact that the sonatas are presented in Ralph Kirkpatrick's ordering (although the Schirmer edition I possess, edited by Hashimoto, seems to be musically identical). Other orderings are prevalent and arguably have more veracity but Kirkpatrick does attempt, for the most part very successfully, to link these brief works in pairs.

The sonatas are almost all in binary form; normally each half is repeated so it is especially odd when Belder fails to do so as with the second half of the sonata in A, K211. To make life doubly interesting Scarlatti's sonatas can often be considered to be played in pairs therefore creating a binary form within a grander scale binary form. These pairings are often in the same key. This is the case with the two A minor sonatas K217 and 218 marked Andante and then Vivo. These couplings sometimes make for good, complementary and contrasting major/minor pairs as in C major/minor sonatas K225 and 226 and in D minor/major K213 and 214 - a pastoral sonata followed by a Spanish dance. Sometimes the pairings seem ill-matched as in the two in Eb K192 and 193 which both of the same length and both marked Allegro. The two sonatas K197 and K198 are in the more contrasting keys of B minor and E minor and work excellently as a pair.

Stylistically the forty-three sonatas recorded here cover the full range of the baroque and show how versatile Scarlatti really was. They also demonstrate how knowledgeable he was of other music in Europe at that time and this despite his self-imposed exile in a country (Spain) which was considerably away from the mainstream. The sound of castanets is never too far away from Scarlatti as in the second half of the Sonata in B minor K227. However listening to the Sonata in G K210 it seems very 'rococo' almost anticipating J.C. Bach. Some sonatas, like that in A minor K217, remind me of Rameau, and the Sonata in F K194, of Handel. Added to that, the voice of the great Bach himself seems to be almost palpably present at times although Scarlatti hardly ever goes in for Fugues. Imitation, especially at the start of a work, is common. A particularly severe example of this is the Sonata in G minor K196.

Of course many of these are hair-raisingly virtuosic; take K229 in Bb and K216 in E major. Some are just plain awkward like K228 in Bb. Others, like the C major K199, would not tax a young pianist too much. And all of this goes to show that in these works there is considerable interest and variety. In these performances these qualities are mostly very carefully and enjoyably realized often with aplomb by Pieter-Jan Belder for whom any technical difficulties do not seem to exist.

The three instruments are much of a muchness. Volume 1 features a 1999 instrument by Cornelius Bom after Ruckers which for my taste was miked too closely and has more post-resonance than I like. Volume 2 features a harpsichord built by Jan Kalsbeck. This is rather short of bass. Volume 3 features another instrument by Cornelius Bom, this time dating from 2002, which seems ideal.

Incidentally if you are interested in harpsichords you might be happy to learn that the enclosed booklet notes by Clemes Romijn are entirely devoted to the kind of instruments Scarlatti had available to him and for which he composed. The famous castrato Farinelli lived eventually in Spain and he has left some documentation on the subject. There are no comments whatsoever about the music itself.

It has to be admitted that, as might be expected, some of the performances are a little routine but, let's face it, some of the sonatas can be rather routine also. Sadly the two come together quite often as for example in the A major sonatas K219 and K220. It may be that this set suffers from not having any especially well-known pieces.

If I had to pick out favourites I would find it quite difficult,. There is a choice between K204 and K206 in F minor and major with their eccentric and surprising changes of time signatures. K215 has incredibly tangy harmonies in the second section.

I can do nothing but recommend this set. It will appeal strongly to anyone who has a strong interest in Scarlatti. There is much here to enjoy.

-- Gary Higginson, MusicWeb International

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D. SCARLATTI Keyboard Sonatas (complete) • Pieter-Jan Belder (hpd, fp, org); Rémy Baudet (vn); Frank Wakelkamp (vc) • BRILLIANT 93546 (36 CDs: 38:18:38)

For just a second of folly, I fantasized listing each of the 555 sonatas individually in the headnote and writing at least a sentence or two about each of them in the body of the text. The moment passed quickly, however, when I considered the likelihood that our music editor would not share my sense of perverse amusement. If there were 666 sonatas, imagine what fun one could have with that. But alas, there are only 555, at least that we know of. So, where does one start? Well, at the beginning, I suppose.

This is not the first time such a project has been undertaken. Between 1984 and 1985, American born harpsichordist Scott Ross recorded the complete canon for Erato and Radio France. It is still available, now on Warner Classics, for a mere $265.00. The current offering from Brilliant Classics was in the making for eight years, from 2000 to 2007, and is being sold for $100.00 at arkivmusic.com. Even those who have enjoyed Scarlatti's sonatas in smaller doses both on harpsichord and piano may blanche at the prospect of over 38 hours worth of these miniature keyboard masterpieces.

An exact contemporary of J. S. Bach and Handel, the Italian-born Domenico Scarlatti (1685–1757) spent much of his life in Spain and Portugal. Though his dates fix him as a Baroque era composer, it may be a bit too glib to say that Scarlatti's keyboard œuvre is to the Italian-Spanish Baroque what Bach's Well-Tempered Clavier and Clavierübung is to the German Baroque and François Couperin's Pièces de clavecin is to the French Baroque. More so than his German and French counterparts, Scarlatti laid the groundwork for the early Classical sonata; and aspects of his style, particularly some of his more audacious harmonic excursions and daring dissonances, did not go unnoticed by Clementi, Mozart, and even Beethoven.

Unlike many other admired composers, Scarlatti did not “progress” in the way we think of a creative artist undergoing ever-evolving and deepening modes of expression. Not a single manuscript of any of these sonatas exists in Scarlatti's hand, so it is impossible to know exactly when they were written, in what order, or even if 555 are all of them. Based on Alessandro Longo's edition of the sonatas that appeared between 1906 and 1908, famed harpsichordist Ralph Kirkpatrick prepared his own catalog and established a numbering system around 1950 that is still in use today and is reflected by the K numbers used in this set. (Kenneth Gilbert published a later, critical edition in the early 1980s, which was used by Scott Ross in his recordings.) But between K 1 and K 555, though you will hear bountiful cleverness, thrilling feats of keyboard legerdemain, and a seemingly inexhaustible supply of imagination, you will hear little if anything in the way of stylistic or formal evolution.

Granted, no two sonatas repeat themselves or are ever the same (an amazing accomplishment in itself), yet all of them are ultimately and essentially alike: in the main, single movement, allegro, binary structures in which the first and second halves are repeated. Of those I listened to—and no, I didn't listen to all 38 discs; if I had, this review wouldn't be forthcoming until sometime in 2010—Belder observes the repeats. In some number of cases, (a small percentage of the overall total) a sonata will exhibit an open-ended as opposed to a closed-ended form—i.e., its second half material will not be related to its first half. There are also a handful of non-binary movements that are single-span fugues. The majority of the sonatas are in minor keys, and at least eight of them are known to be for other instruments or instrumental combinations—three for organ and five for harpsichord with accompanying parts. These latter you will hear in the K 81 and K 88–91 sonatas with Rémy Baudet on Baroque violin and Frank Wakelkamp on Baroque cello. Of the three sonatas intended for organ, I counted only one that Belder actually plays on an organ, K 328. On the other hand, for variety, spread between discs 22 and 27, he plays several of the sonatas on a fortepiano. As noted, Scarlatti, it seems, was not overly fond of slow movements, a problem that beset Charles Avison when he thought to conjoin a number of these single movement sonatas in a set of concerti grossi. Nonetheless, sprinkled throughout the set are some beauties.

Concerning the instruments, Pieter-Jan Belder has this to say: “For this recording, I've made use of every type of harpsichord I could lay my hands on. I don't believe it bothered anybody in Scarlatti's time whether the instrument used was English, French, Flemish, German, Portuguese, or Italian. Scarlatti himself had many types of harpsichord and (small) fortepianos at his disposal. Nevertheless, I have generally given preference to the Italian form of the instrument, as Scarlatti was an Italian/Spanish composer.” Scott Ross in his complete survey of the sonatas also used a number of different instruments, but interestingly, preferred copies of the French-style double-manual harpsichords.

The Brilliant Classics set is handsomely produced. The discs come packaged in their own individual sturdy cardboard envelopes, the backs of which annotate the specific instruments played in each sonata. The included 27-page booklet with a lengthy and scholarly essay authored by Clemens Romijn covers all aspects of Scarlatti's life and works, a discussion of the instruments in the composer's lifetime, and a personal note from Pieter-Jan Belder. The CDs and booklet come housed in a hinged, heavy-duty, black cardboard coffin, about the size of a box you would bury your pet hamster in when it goes to rodent heaven.

Many readers, even the really serious collectors among them, I suspect will be content to have their Scarlatti sonatas meted out in smaller portions. Remember though that no one is expected to sit down and listen to all 38 discs without a potty break or two. Think of this as a long-term listening project. Pieter-Jan Belder has done an enormous service to Scarlatti, and his playing is never less than alive, fresh sounding, and thoroughly engaged in the music's acrobatics and gymnastics. Bravo to Belder and Brilliant Classics. Very strongly recommended.

FANFARE: Jerry Dubins

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Brilliant 92201A