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There are also a handful of non-binary movements that are single-span fugues. Of the three sonatas intended for organ, I counted only one that Belder actually plays on an organ, K 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. Scarlatti himself had many types of harpsichord and small fortepianos at his disposal.

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 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.


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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. Bravo to Belder and Brilliant Classics.

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D Scarlatti Keyboard Sonata in F major, K.194 ; L.28 ; P.479 (sight read)

The perfect gift for the classical music enthusiasts! The sonata consists of three movements and takes approximately 18 minutes to perform 25 minutes with repeats. The first movement is in a classical sonata form , with repeats for the exposition , the development and recapitulation.


  1. Piano Sonata No. 12 (Mozart).
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  4. Mozart uses diverse styles including galant homophony , learned counterpoint , and even the intense Sturm und Drang style. In the first theme of the exposition begins with a right hand melody over a left hand Alberti bass figure. Immediately following thereafter is parallel motion in both hands in very similar rhythm. A sudden change follows, with the F major key changing into the relative minor key, D minor at measure The second theme m. The exposition ends at measure 93 in C major.

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    The development section begins at measure 94 with a new melody, focusing on the transitional passage between the second and closing themes in the exposition. The first movement concludes with the recapitulation starting at measure , where the first thematic area returns unchanged, the transition modulates to distant harmonies yet closes on the tonic, and the remainder of the exposition returns, transposed into the tonic.


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    The second movement structure is in B-flat major in an elaborately ornamented sonatina form. At the beginning, there is a melody accompanied by an Alberti bass figure in the left hand. The next phrase is the same, except the key immediately changes to the parallel minor, B-flat minor.

    Toutes les chansons de Domenico Scarlatti à écouter

    A lyrical passage with a minor descending scale ends with the dominant key. The music then turns happy and joyful, until the end, when the phrases end with a dominant seventh chord of B-flat major, which resolves into the first degree. In the film Immortal Beloved , Giulietta Guicciardi is heard playing this piece during a piano lesson with Ludwig van Beethoven. This is directly followed by parallel sixths between the left hand and right hand lower voice, creating a harmony contrasting to the opening single 16th notes passage.

    Scarlatti: Complete Keyboard Sonatas, Vol. 21

    Measure 22 displays yet another character change, where both hands are playing in unison one octave apart forte and staccato while moving in an ascending sixth sequential pattern. The music briefly modulates to D minor through octaves and broken chord patterns.

    vipauto93.ru/profiles/spiare/localizzare-cellulari-rubati.php This is then followed by C major mm. Throughout the entire exposition, Mozart uses the model sequence technique , passages of broken chords, parallel motion, scales, and contrasting dynamics and articulations. The development section begins at measure 91, restating the theme from the exposition, but in C minor. The first half of the development uses the model sequence technique, repeating a 4-measure idea of continuous 16th notes constructed of a descending scale, followed by parallel sixths between the left and right hand lower voice, followed by a broken dominant seventh chord.

    This section goes through modulations from C minor, to D major , G major , C major again, F major, and then finally to B-flat major beginning at measure The second half of the development section starting at measure presents a new melodic theme, followed by several broken chords before finally arriving at a dominant chord at measure It is implied that the music is 'standing on the dominant' from measure until the recapitulation returns at measure , ending on a perfect authentic cadence.