K 394 – 422

29 01 2008

K 422 (L 451) in C-Dur, Allegro. „There is a long-drawn-out opening... It is followed by an unaccompanied passage treated in imitation, leading to another passage containing a single line of flamenco-like chant. The post-crux goes through allthe registers of the harpsichord, octave by octave.” (Alain de Chambure 1988,S.123). In Konstantin Scherbakov´s Interpretation am Klavier (NAXOS 8.554842) ein Vergnügen !


28 01 2008

K 421 (L 252) in C-Dur, Allegro. „The whole atmosphere of Kk 421 is dominated by a semiquaver moto perpetuo.” (Alain de Chambure 1988,S.123). Was gelegentlich doch etwas nervt, vorallem in Eteri Andjaparidze´s Klaviereinspielung (NAXOS 8.553061).


27 01 2008

K 420 (S 2) in C-Dur, Allegro. Die zwei Teile dieser Sonate „...are strongly contrasted: on the one hand, the rhythm of a saeta, announced in the very opening bar, and on the other, the saeta´s melodic incantation.” (Alain de Chambure 1988,S.123). Tatsächlich kontrastreich.


26 01 2008

K 419 (L 279) in F-Dur, Più tosto presto che allegro. „The tempo marking at the beginning of Kk 419 is very precise: Più tosto presto che allegro. The rhythms of the piece are frequently disjointed.” (Alain de Chambure 1988,S.123) – was durchaus reizvoll ist.


25 01 2008

K 418 (L 26) in F-Dur, Allegro. „A continuous stream of quavers, rather in the manner of a toccata, gives way ... to a series of alternate notes.” (Alain de Chambure 1988,S.123). Ein kontinuierlich sprudelnder Strom von Tönen...


24 01 2008

K 417 (L 462) in d-moll, Allegro moderato. Ein lange Fuge, ein wunderschönes Stück!


23 01 2008

K 416 (L 149) in D-Dur, Presto. „This is a splendid, brilliant and highly developed toccata.” (Alain de Chambure 1988,S.122). Auch hier kann ich der Meinung Alain de Chambures nur zustimmen.


22 01 2008

K 415 (S 11) in D-Dur, Allegro. „Kk 415 is entitled Pastorale. There is nothing in the writing or the form which makes it remotely like anything by Scarlatti.” (Alain de Chambure 1988,S.122). Diese Pastorale ist wirklich ein außergewöhnliches Stück !


21 01 2008

K 414 (L 310) in D-Dur, Allegro. „The first part of Kk 414 is in somewhat archaic style of toccata, providing no clue about what is to follow: a quite remarkable development, full of saeta rhythms punctuated by harmonies heavily laden with acciacaturas. The surprise is rendered all the greater by the change of tonality at the double bar.” (Alain de Chambure 1988,S.122). Abwechslungsreich, aber die Überraschung hält sich in Grenzen.


20 01 2008

K 413 (L 125) in G-Dur, Allegro. „Kk 413 is a devil-may-care tarantella – or even perhaps devilish on account of the wide leaps which have to be executed by the left hand.” (Alain de Chambure 1988,S.122). Vielleicht spektakulär anzusehen, der Höreindruck ist es nicht.


19 01 2008

K 412 (L 182) in G-Dur, Allegro. Ein nettes Motiv, das sich durch die ganze Sonate zieht.


18 01 2008

K 411 (L 69) in H-Dur, Allegro. Alain de Chambure ortet die Atmosphäre eines Minuetts (Alain de Chambure 1988,S.122). Zu recht.


17 01 2008

K 410 (S 43) in H-Dur, Allegro. Auch hier werden verschiedene Klangfarben des Cembalos erprobt, nicht so interessant wie in K 409 allerdings.


16 01 2008

K 409 (L 150) in h-moll, Allegro. „There is a long developement at the beginning of the second half of Kk 409, and the colour is changed every four bars by slight chromatic shifts.” (Alain de Chambure 1988,S.122). Sehr interessante, spannende Musik.


15 01 2008

K 408 (L 346) in h-moll, Andante. Ein Ohrenschmaus.


14 01 2008

K 407 (S 4) in C-Dur, Allegro. Hinterläßt mich etwas ratlos, gefällige Musik der etwas anderen Art.


13 01 2008

K 406 (L 5) in C-Dur, Allegro. Ganz nett...


12 01 2008

K 405 (L 43) in A-Dur, Allegro. „This is one of the many 6/8 dance movements to be found scattered throughout Scarlatti’s compositions. It is difficult to say whether it owes more to the gigue or the tarantella, or if, on the other hand, it was not a Spanish bulería which was the main source of its inspiration. It is written in several voices and modulates constantly.” (Alain de Chambure 1988,S.121).


11 01 2008

K 404 (L 222) in A-Dur, Andante. In der Fassung von Mikhail Pletnev fast 9 Minuten lang, kein Stück zum nebenbei Hören, es erfordert schon einiges an Konzentration und sich darauf Einlassen. Aber es lohnt sich.


10 01 2008

K 403 (L 366) in E-Dur, Allegro. Zeitweise hat man den Eindruck zwischendurch Glocken zu hören.


09 01 2008

K 402 (L 427) in e-moll, Andante. Ein ruhiges Stück, das zum Nachsinnen einlädt.


08 01 2008

K 401 (L 265) in D-Dur, Allegro. „Kk 401 nods in the direction of a ‚moto perpetuo’, and its long succession of quavers modulates through a series of remote tonalities.” (Alain de Chambure 1988,S.121).


07 01 2008

K 400 (L 213) in D-Dur, Allegro. Entspannend zuzuhören.


06 01 2008

K 399 (L 274) in C-Dur, Allegro. Barockmusik der Zeit mit einigen Brüchen.


05 01 2008

K 398 (L 218) in C-Dur, Andante. „The Andante of Kk 398 is full of resonant sound effects. All the Cs over four octaves are used, as are all the Gs after the double bar. The bass is set in movement once again by the rhythm of a canari dance.” (Alain de Chambure 1988,S.121).


04 01 2008

K 397 (L 208) in D-Dur. Ein unauffälliges Stück, nett anzuhören.


03 01 2008

K 396 (L 110) in d-moll, Andante. „There is a short three-bar Andante opening in quadruple time to Kk 396, a sonata which then takes on the air of a gigue.” (Alain de Chambure 1988,S.120).


02 01 2008

K 395 (L 65) in E-Dur, Allegro. „Kk 395, too, has an exceptionally intense developement in which a syncopated
Melodic line is sustained by ostinato chords which gradually slide down to the lower end of the keyboard.” (Alain de Chambure 1988,S.120).


01 01 2008

K 394 (L 275) in e-moll, Allegro. „...opens in an austere style and then explodes into a cascade of arpeggios worthy of the great classical concertos. All this leads into a sequence in which the taut line of a flamenco chant is sustained by an accompaniment of parallel fifth.” (Alain de Chambure 1988,S.120).