K 103-107, Scarlatti Tilt

20 03 2007

K 107 (L 474) in F-Dur, Allegro. Diese Sonate klingt eindeutig am Cembalo besser als am Klavier. Der Meinung der Puristen, Scarlatti Sonaten sind ausschließlich am Cembalo zu spielen, sie klingen nur am Cembalo gut, bin ich ganz und gar nicht. Viele Sonaten klingen am Klavier besser, es gibt aber einige, die klingen nur am Cembalo – K 107 gehört zu diesen.


19 03 2007

K 106 (L 437) in F-Dur, Allegro. Ein ruhiges Stück, von dem Kirkpatrick glaubt, es sei für ein zweimanualiges Cembalo geschrieben (Kirkpatrick 1972, S.211f.)


18 03 2007

K 105 (L 204) in G-Dur, Allegro. Ein für mich typisches Scarlatti Stück: wunderschöne Melodien / Musik, bevor´s kitschig wird kommen Dissonanzen zum Einsatz.

Wunderschöne, oft melancholische Musik macht auch die britische Band "Scarlatti Tilt"

Der Name der Band ist der Titel einer Short Story des amerikanischen Autors Richard Brautigan aus dem Jahr 1963, veröffentlicht in der Short Stories Sammlung "The Revenge of the Lawn" (New York: Touchstone/Simon and Schuster 1971, ISBN: 0-671-20961-2)

Sie besteht aus nur zwei Sätzen bzw. 37 Worten:

Scarlatti Tilt
"It's very hard to live in a studio apartment in San Jose with a man who's learning to play the violin." That's what she told the police when she handed them the empty revolver.

"Scarlatti Tilt” hat einige Künstler inspiriert. So gibt es z.B. mit diesem Titel ein collageartiges Bild (Acryl/Tusche/Buntstift, 2004) von Marnie Spencer (USA) und Kompostionen u.a.der brit.Hard Rock Band Josiah (auf ihrer CD "Into The Outside", Molten Records, 2004) sowie des österr.Komponisten Christoph Herndler (The Scarlatti Tilt 1991, 15:00 min, Besetzung: Kammerorchester/Ensemble, Auftragswerk der LIVA)

The Story Of SCARLATTI TILT(so far)
Members of Bristol based band Soma formed Scarlatti Tilt in 2004, with the current line-up being cemented (after losing 2 members - one to misanthropy and the other to the MI5) in early 2005.

A shared love of all things tinged with melancholy meant that initial pop-ditties were abandoned in favour of something a little darker. Now referencing their own sinister world, the songs evoke tales of debauched joyful nights, followed by sorrowful mornings, against a backdrop of barrooms and bedrooms.

Funded purely by determination and enthusiasm, the band formed their own label, Simmo Publications Ltd and in early 2005 recorded their EP "The One Under”. The band worked hard on creating an EP that represented the rich diversity of the band's sound, but yet maintained a consistent feel and interesting balance. The One Under was launched at a headline gig at the Carling Academy, Islington. A jaunt around the UK, in support of the EP, proved successful, despite double bookings with grindcore-metal bands and having to sleep in drug dens along the way.

With all speeding tickets from the tour now paid, the band 2006 re-entered the studio to work on their debut album. "Gathering of the Haunted” was released February 2007 on the band’s own label, the band are following this up with another UK tour in April as well as a trip across the pond to see their American friends, following the support of the LA based Rainy Day Records.
(compiled from different www-sources)

Der Sound der Gruppe wird ganz wesentlich von der Sängerin und Pianistin Daisy Chapman geprägt. Hinzu kommen Greg Simmons (Bass) und Tim Smith (Drums). (Gitarrist Richard Waskell verließ die Band 2006)

Anhören!

www.myspace.com/scarlattitilt
www.scarlattitilt.co.uk


17 03 2007

K 104 (L 442) in G-Dur, Allegro. "Kk 104 is called a toccata in the Münster and the Vienna manuscripts. The piece is full of contrasts, such as alternating notes, ostinato chords supporting melodic commentaries, and hand crossing motifs which create the illusion of the music being played by three hands.” (Begleitbuch zu Scarlatti The Sonatas Scott Ross, Erato Disques 1988,S.86). Na bumm... Es ist allerdings tatsächlich ein beeindruckendes Stück Barockmusik.


16 03 2007

K 103 (L 233) in G-Dur, Allegrissimo. Perlende mit Trillern versehene Läufe, von gelegentlichen Dissonanzen etwas in Schwebe gehalten.

Ein wunderschönes Vokalalbum ist "Domenico Scarlatti: Stabat mater a dieci voci”. Aufgenommen von Rinaldo Alessandrini und Concerto Italiano (© 1999 Naïve / Opus 111 OP 30248). Ein zehnköpfiger Chor singt Stabat Mater (a dieci voci e basso continuo) und die Missa quatuor vocum, auch Madrider Messe genannt. Roberto Pagano schreibt im Begleitheft: "...Domenico Scarlatti takes a unique position; he conceived his Stabat Mater as a ‘return to the past’, and structured it polyphonically, using ten voices, but without recourse to the technique of two antiphonal blocks. ... Latching on to archaic traditions is Scarlatti´s starting point, but the fact that he treats the ten voices completely independently (they double up in five parts in only two sections) and has decided not to use the traditional antiphonal opposition of two five-part groups mentioned above, indicates a deliberate intention to explore unusual paths more than ever neglected by his contemporaries, whether opera composers or not.” Obwohl vierstimmig, wurde die Messe mit dem gesamten Chor aufgenommen. Rinaldo Alessandrini begründet es so: "The Madrid Mass, originally written for four voices, was here recorded using two choirs in unison, laid out in varying dispositions in the course of the work. Diverse sources, especially from Rome, testify this usage. It is even possible that the mass may have been performed in this way by Scarlatti himself. This arrangement of several choirs in unison adds a spatial element to the performance, generating a façade of sound from multiple sources, and creating a greater number of combinations of sonority thanks to the diversity of timbre of the singers.”