Scarlatti is unlike any other composer I know. He is just so so original. The most anti-derivative composer I’ve ever come to know! Definitely one of my absolute favourite composers.
His harmonies are really magical, after all these many years of composers Scarlatti's harmonies are just too magical, this piece in particular is just so haunting.
This is a very unusual piece: the melodics sound as though it were written only yesterday and not hundreds of years ago! And Paul you bring out the very best of this splendid sonata - thank you for recording it!
The more I listen to Scarlatti’s music, the more I realize how unique of a composer he was compared to his contemporaries. IMHO, he should be regarded as great a composer as Bach. Thank you for sharing these wonderful Sonatas.
I have listened to every Scarlatti interpreter out there. Paul's take on Scarlatti is simply outstanding. This interpretation is the most satisfying of anything I heard from others. More, please!
When I first heard Alice Ader play this sonata I was absolutely floored. So many beautiful and haunting moments. The slower tempo you play it really allowed me to feel how some of the more tense moments build up (like the hands crossing parts at the end of the first section). Thanks for the upload! I doubt I will ever get sick of Scarlatti interpretations!
You’re quite right that this is yet another exceptional sonata by Scarlatti, but it is a million miles away from anything from planet Mozart with which to my ears, it has pretty much zero in common.
We know that JS clearly appreciated the Italian style of Vivaldi, but quite what he would have made of the rather more exotic and fantastical creations of Domenico Scarlatti is an interesting question.
Hi Paul, I think the particular way you represent each part of each composoition (not just this one) it´s really wonderfull and so representative about the composer´s feelings. I also think that this new way of uploading videos with the sheet music above it's so helpful for those who always have wonder themselves: How would this sound like? And also so helpful for the ones like me that study the music and enjoy the plasure of hearing it isn´t just enough for us. Beause it´s so beautiful to hear the music and follow it with the sheet, so thank you very much for your contribution to the society of musicians, and the society in general. PD: Excuse me for the ortographic and linguistic errors, I don´t speak very well the languaje.
@Raden Laksmana Scarlatti was a transitional figure. Though an exact contemporary of Bach and Handel, he also overlaps with Gluck and Haydn and died in the year that Mozart was born.
I have some criticisms/suggestions, if you're up for it. - I think playing the 32-th as 16-th notes takes away too much emphasis on the main 8-th note that it precedes at for example precisely 1:35. It's true that it's an appoggiatura, and not an acciaccatura, so it starts on the count and not before it, and it is usually given some emphasis as well, but the timing is still as a 32-th note, presumably to give the 8-th note some emphasis as well, and in my opinion it indeed sounds nicer than just four 16-th notes. - You start the thriller on the note above the main note, instead of on the note. This again takes away some emphasis from the main note, while I think the melody is really made to have an emphasis on the c at for example 1:46. - At 2:02 you play the first bar as if it were a 4/4 time signature. I guess it feels natural to want to slow down at the end of this part towards the fermate, but I think that changing the end of the main melody rithmically is a bit much. The melody sounds really nice with the 8-th b note in my opinion, it really sounds like a appoggiatura, as a final short delay of the resolution in the c note. - In the part 2:30-2:40 you start play the melody the first time load, then the repitition soft, then the final time loader. This makes it a sort of conversation-type of phrasing, like a question-answering kind of thing. With this melody it fits well I think, because it downplays the dramatic tones of the melody, to allow for a bigger tension curve towards the more dramatic later melody. The second part, a bit more dramatic, is at 2:43-2:53, which I would play a bit louder to emphasize the drama already a bit, also since the previous part already had this held-drama feel to it. 2:53-3:05 is to me more the epitome of this dramatic middle part of the piece, which is to me the most inventive part of this piece, way ahead of its time, almost sounding like it could be a modern peace if played differently. I think that the loader-softer reptition-louder second repetition routine you're using here really does not do this aspect justice, it downplays all the drama and build-up that you could have in this part. Suddenly going back to the main melody of the piece could then perhaps be like this big unexpected anticlimax feeling thing, as if suddenly some fighting stops and everyone pretends nothing happened in the first place. - The bass notes in the left hand are always the same soft volume, as if they are not really part of the piece. I would play more with those notes, let them be fully part of the sound as well. Anyway, thank you for recording it, it sounds really nice. Try this recording as well: ruclips.net/video/uanlg4Au-T4/видео.html it seems to have the drama in the middle part that I'm missing. On harpsichord you can hear that as well: ruclips.net/video/u7wwYlScTrY/видео.html 5:19:42.
Beautifully performance of an attractive and unusual sonata but this reminds me why I almost never play Scarlatti - I just can't do the crossed hands stuff! It makes perfect sense on a two-manual harpsichord but I can't get my brain round it on the piano. You make it look so effortless.
Hi Paul, would it be possible for you to record Scarlatti's K.54? It's such a wonderful piece and it's rather rare to hear it played well or even played at all. Many thanks :).
8 лет назад+11
I had 'kind of' stopped listening to Scarlatti, since for me his sonatas were getting boring and repetitive (Because of the binary sonata form AA-BB). But since both themes in this piece are interesting and beautiful, i had no trouble going through this one. :) Beautiful playing as always.
es barroco puro en su más alta expresión. La repetición y el contraste entre ambas manos queriendo cada una llevar su voz por separado de la otra cuando en realidad es un truco de armonía en el cruce de manos inventado por Domenico Scarlatti maestro de música del Rey Fernando VI de España. La influencia de la música española y sus vivaces Aires influyó mucho en el Maestro italiano es algo que puede apreciarse tanto en algunas sonatinas de la Colección Longo como en la Colección Kirpatrick.
Mr Barton, I have looked in the I-Tunes store for any CD's, recordings, etc. of yours playing Scarlatti for purchase- i do not see anything in there- Do you by chance have any digital recordings i can purchase so i can listen to you play while i work? Thank you, and fantastic playing.
I love the pedalling on this interpretation but I can't really tell how it's done - when is it regular sustain and when is it the harmonic pedal? Any advice anyone?
@@rogercarroll2551 This is my big complaint with this edition; the totally un-international editorial decision to change Scarlatti’s specifically Italian instructions into French is a travesty. Scarlatti’s instructions were explicitly clear: ‘Per accennarti la disposizione delle mani, avvisoti che dalla D vien indicata la Dritta, e dalla M, la Manca: Vivi felice. (To indicate the position of the hands, the marks D for the right hand, and M for the left hand have been used: May success be yours/ Live happily). The unauthentic and entirely spurious French markings are an abomination; neither - as Scarlatti himself explained - do they refer to manuals, but rather to which hand should be used which was important when faced with the large number of crossed-hands passages in many of the sonatas.
Es porque esta es extraída de la transcripción que hizo K. Gilberth para la editorial francesa “Le Pupitre”, por eso las indicaciones están en francés, es algo irrelevante, ediciones en inglés ponen L. o R. y nadie se queja. La editorial alemana Henle si pone el italiano original en su edición, pero creo que el poner una u otra letra es peccata minuta.
@@ruperttmls7985 Scarlatti wrote his instructions in Italian, and Italian is widely used - and more importantly, understood - across classical music as the lingua franca; English, German, French, and occasionally other languages are used sometimes as well - in their rightful place they are fine. I have a Le Pupitre edition and they are clearly sold outside France, hence my objection; the alteration to French is as unnecessary as it is annoying. Henle as you say have got it right, and have taken a proper internationalist approach to the issue, not a small-minded nationalistic viewpoint. Your point about English editions is irrelevant, though I would object to R and L just as much as I object to the alterations to French; perhaps it is only a minor sin, but rather like a fly buzzing about, it’s very irritating.
@@GIGADOPE Scarlatti wrote an explanation of the crossed hand markings which were in Italian, unfortunately this edition has uninternationally changed them to French.
I love so many of your performances but with Scarlatti you have to push the lines forward. He is not Bach. Faster the pulsating sections. Too refined and some of those passages are like raw guitar riffs not some refined Lutheran chorale.
DyzioTheDreamer; personal taste entitles you to believe that this Scarlatti piece is better than what you’ve heard by Bach. On reason might have to do with some people not liking his fugues. I found that to be an acquired taste which took some time to develop.
DyzioTheDreamer wtf then you know nothing about music. It is apparently not as Genious composed as Bach composes. This is also nothing about personal taste.
Nobody plays this right! Paul please can you do a proper allegro of this without pedal just see what it sounds like. More metronomic and disciplined. The Ross recording of this which is usually definitive is crap. Feel like this is such an amazing sonata but not one recording gets it right always taken way too rubato and slow! It’s a heater!
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Scarlatti is unlike any other composer I know. He is just so so original. The most anti-derivative composer I’ve ever come to know! Definitely one of my absolute favourite composers.
scarlatti was ahead of his time
I was about to comment this myself. He makes some really daring harmonic choices for the time he was around, and I honestly love them.
Scarlatti is timeless
His harmonies are really magical, after all these many years of composers Scarlatti's harmonies are just too magical, this piece in particular is just so haunting.
I get your point, but he was actually a very unique, and highly original part of his own time.
@@語弊-s5q I was going to say, “Scarlatti was _out_ of time.”
This is a very unusual piece: the melodics sound as though it were written only yesterday
and not hundreds of years ago! And Paul you bring out the very best of this splendid
sonata - thank you for recording it!
scarlatti work looks like something recent, that's true, but it is his marvellous style !! LOVE HIS MUSICS !!
@@kayholand_ me too! You should also watch harpsichord performances of Scarlatti's sonatas, if you didn't have done yet.
The more I listen to Scarlatti’s music, the more I realize how unique of a composer he was compared to his contemporaries. IMHO, he should be regarded as great a composer as Bach. Thank you for sharing these wonderful Sonatas.
Scarlatti never ceases to amaze me... And the performance, flawless as always
Many times I keep returning to listen to this. Your interpretation and the sound of the piano are simply top-notch. More Scarlatti. This is addictive.
Vlad The Monster very addictive
I have listened to every Scarlatti interpreter out there. Paul's take on Scarlatti is simply outstanding. This interpretation is the most satisfying of anything I heard from others. More, please!
totally agree! :)
sounds like a mysterious/romantic theme. Wonderful sonata!
I don't believe I've heard this one before but yet another gem of Scarlatti! Nicely played!
So strange. So beautiful.
Fantastic Paul!
Than you for playing an unusual Sonatas. We and Scarlatti deserve it!
These videos are my favourite thing on the internet right now.
When I first heard Alice Ader play this sonata I was absolutely floored. So many beautiful and haunting moments. The slower tempo you play it really allowed me to feel how some of the more tense moments build up (like the hands crossing parts at the end of the first section).
Thanks for the upload! I doubt I will ever get sick of Scarlatti interpretations!
Yes, I completely agree. I was floored also. Alice Ader's interpretation of K. 99 is wonderful. Best I've heard.
Such a beautiful and haunting melody. Strangely not one of Scarlatti's top 10. Thank you for this video. Your Scarlatti is perfection
What do you mean with top 10?
@@kofiLjunggren l meant that K99 is played so infrequently which is a pity. It’s definitely one of my top 10 Scarlatti favourites
Haven't heard this one before, i absolutely love it!
What an incredible beautiful piece is this. And I am in awe on how you played it. Excellent!!! Thank you for sharing this!
This is an extremely expressive sonata! It's like the darker pieces by mozart, but avant la lettre.
You’re quite right that this is yet another exceptional sonata by Scarlatti, but it is a million miles away from anything from planet Mozart with which to my ears, it has pretty much zero in common.
I second that
Wonderful execution! Thanks for sharing so beautiful pieces.
Such a good piece. I'm really starting to love Scarlatti's work
Incredibly beautiful
love this music. thank you for playing it and sharing
The theme is really unique...
Very, very, very well done.
His portrait of music will endure. Great stuff.
Beautiful, first time I have heard this, and your playing and interpretation is exquisite, so lovely to discover yet another Scarlatti gem.!
Sounds quite Romantic!
Beautiful.
Imagine if DS and JSB could have met. What would they have discussed? What would each play for the other? What would they think of each other’s music?
We know that JS clearly appreciated the Italian style of Vivaldi, but quite what he would have made of the rather more exotic and fantastical creations of Domenico Scarlatti is an interesting question.
Hi Paul, I think the particular way you represent each part of each composoition (not just this one) it´s really wonderfull and so representative about the composer´s feelings. I also think that this new way of uploading videos with the sheet music above it's so helpful for those who always have wonder themselves: How would this sound like? And also so helpful for the ones like me that study the music and enjoy the plasure of hearing it isn´t just enough for us. Beause it´s so beautiful to hear the music and follow it with the sheet, so thank you very much for your contribution to the society of musicians, and the society in general.
PD: Excuse me for the ortographic and linguistic errors, I don´t speak very well the languaje.
This sonata is melodic and interesting. Thank you for your video.
I’ve really been enjoying your channel. I love the format of these videos because I can study your fingering in some of the thornier passages.
thanks for your performance.
1:15 - 1:28 is so NOT Baroque!! 😮
Why not
@Raden Laksmana Scarlatti was a transitional figure. Though an exact contemporary of Bach and Handel, he also overlaps with Gluck and Haydn and died in the year that Mozart was born.
WilliamOccamensis it doesn’t really sound classical or even rococo, either.
@@gspaulsson he died a year after Mozart was born
That section is more like alternative rock.
Wonderful, Paul.
오늘 오후 운이 좋군요 ! 이렇게 평온하면서 생기가 넘치는 음악을 들었으니 ! 감사 !!!
나는 당신의 오후를 음악으로 채워졌다 행복
음악을 통해 행복은 전달됩니다. ^^"
+Paul Barton 어디나라 사람이세요?
폴 바튼'은 영국음악가 ,,별나라 사람같습니다. ? ^^"
여기서 같은 한국인 유저분을 뵈어서 반갑네요ㅎㅎ
확실히 이 분의 연주는 생기 넘치고 아름답습니다
I have some criticisms/suggestions, if you're up for it.
- I think playing the 32-th as 16-th notes takes away too much emphasis on the main 8-th note that it precedes at for example precisely 1:35. It's true that it's an appoggiatura, and not an acciaccatura, so it starts on the count and not before it, and it is usually given some emphasis as well, but the timing is still as a 32-th note, presumably to give the 8-th note some emphasis as well, and in my opinion it indeed sounds nicer than just four 16-th notes.
- You start the thriller on the note above the main note, instead of on the note. This again takes away some emphasis from the main note, while I think the melody is really made to have an emphasis on the c at for example 1:46.
- At 2:02 you play the first bar as if it were a 4/4 time signature. I guess it feels natural to want to slow down at the end of this part towards the fermate, but I think that changing the end of the main melody rithmically is a bit much. The melody sounds really nice with the 8-th b note in my opinion, it really sounds like a appoggiatura, as a final short delay of the resolution in the c note.
- In the part 2:30-2:40 you start play the melody the first time load, then the repitition soft, then the final time loader. This makes it a sort of conversation-type of phrasing, like a question-answering kind of thing. With this melody it fits well I think, because it downplays the dramatic tones of the melody, to allow for a bigger tension curve towards the more dramatic later melody. The second part, a bit more dramatic, is at 2:43-2:53, which I would play a bit louder to emphasize the drama already a bit, also since the previous part already had this held-drama feel to it. 2:53-3:05 is to me more the epitome of this dramatic middle part of the piece, which is to me the most inventive part of this piece, way ahead of its time, almost sounding like it could be a modern peace if played differently. I think that the loader-softer reptition-louder second repetition routine you're using here really does not do this aspect justice, it downplays all the drama and build-up that you could have in this part. Suddenly going back to the main melody of the piece could then perhaps be like this big unexpected anticlimax feeling thing, as if suddenly some fighting stops and everyone pretends nothing happened in the first place.
- The bass notes in the left hand are always the same soft volume, as if they are not really part of the piece. I would play more with those notes, let them be fully part of the sound as well.
Anyway, thank you for recording it, it sounds really nice. Try this recording as well:
ruclips.net/video/uanlg4Au-T4/видео.html
it seems to have the drama in the middle part that I'm missing. On harpsichord you can hear that as well:
ruclips.net/video/u7wwYlScTrY/видео.html 5:19:42.
Stfu
This is great
That is absolutely amazing. Very moving interpretation.
Some magic happenes around 2:52 and Im like 😍
Paul is amazing
Hmm. Have to learn this.
I didn't know Scarlatti but now I like it!
awesome...
1:15
Dont mind me, just leaving myself a timestamp.
Lindo demais.
fantastic
Beautifully performance of an attractive and unusual sonata but this reminds me why I almost never play Scarlatti - I just can't do the crossed hands stuff! It makes perfect sense on a two-manual harpsichord but I can't get my brain round it on the piano. You make it look so effortless.
a diamond!!
Cox Xasa 👌
Lovely
Brawo.
Estou aprendendo essa música para tocar no meu recital de conclusão de curso
Wow!
To taste it fully , play it back at .75 speed. You will hear all the arabian influence , the dramatic emotion of c minor etc......
Linda melodia.
this one is quite different from many of the others,unusual
Hi Paul, would it be possible for you to record Scarlatti's K.54? It's such a wonderful piece and it's rather rare to hear it played well or even played at all. Many thanks :).
I had 'kind of' stopped listening to Scarlatti, since for me his sonatas were getting boring and repetitive (Because of the binary sonata form AA-BB). But since both themes in this piece are interesting and beautiful, i had no trouble going through this one. :) Beautiful playing as always.
That line at 4:57 is soooo spicy
es barroco puro en su más alta expresión. La repetición y el contraste entre ambas manos queriendo cada una llevar su voz por separado de la otra cuando en realidad es un truco de armonía en el cruce de manos inventado por Domenico Scarlatti maestro de música del Rey Fernando VI de España. La influencia de la música española y sus vivaces Aires influyó mucho en el Maestro italiano es algo que puede apreciarse tanto en algunas sonatinas de la Colección Longo como en la Colección Kirpatrick.
Te invito a visitar mi canal de RUclips tengo mucha música de Czerny, Czerny tiene música muy hermosa
Mr Barton, I have looked in the I-Tunes store for any CD's, recordings, etc. of yours playing Scarlatti for purchase- i do not see anything in there- Do you by chance have any digital recordings i can purchase so i can listen to you play while i work? Thank you, and fantastic playing.
I can't have an iTunes account as I live outside USA. Thank you so much for thinking about me -- truly appreciated.
I love the pedalling on this interpretation but I can't really tell how it's done - when is it regular sustain and when is it the harmonic pedal? Any advice anyone?
In measures 32-35 why is he playing a high A and not a C with his left hand?
Hi Paul. Amazing!! How long have you been playing?
very nice paul, could you please play Liszt's ave maria die glocken von rom, "the bells of rom"
😍👏👏👏👏👏
I assume the G and D notations have something to do with the manuals on the harpsichord, but which is which? Is it something else?
G "gauche" for left hand
D "droit" for right hand
@@rogercarroll2551
This is my big complaint with this edition; the totally un-international editorial decision to change Scarlatti’s specifically Italian instructions into French is a travesty.
Scarlatti’s instructions were explicitly clear: ‘Per accennarti la disposizione delle mani, avvisoti che dalla D vien indicata la Dritta, e dalla M, la Manca: Vivi felice.
(To indicate the position of the hands, the marks D for the right hand, and M for the left hand have been used: May success be yours/ Live happily).
The unauthentic and entirely spurious French markings are an abomination; neither - as Scarlatti himself explained - do they refer to manuals, but rather to which hand should be used which was important when faced with the large number of crossed-hands passages in many of the sonatas.
Es porque esta es extraída de la transcripción que hizo K. Gilberth para la editorial francesa “Le Pupitre”, por eso las indicaciones están en francés, es algo irrelevante, ediciones en inglés ponen L. o R. y nadie se queja.
La editorial alemana Henle si pone el italiano original en su edición, pero creo que el poner una u otra letra es peccata minuta.
@@ruperttmls7985
Scarlatti wrote his instructions in Italian, and Italian is widely used - and more importantly, understood - across classical music as the lingua franca; English, German, French, and occasionally other languages are used sometimes as well - in their rightful place they are fine.
I have a Le Pupitre edition and they are clearly sold outside France, hence my objection; the alteration to French is as unnecessary as it is annoying.
Henle as you say have got it right, and have taken a proper internationalist approach to the issue, not a small-minded nationalistic viewpoint.
Your point about English editions is irrelevant, though I would object to R and L just as much as I object to the alterations to French; perhaps it is only a minor sin, but rather like a fly buzzing about, it’s very irritating.
Effortless. I would love to be able to play like that.
in the video player settings at play speed, if you apply x1.5, it sounds to tempo.
Why does it say G there in bar 13...?
because that part is meant to be played by the left hand, which is "Gauche" in French.
@@ChristianPerrotta Gotcha. I figured it had something to do with the crossing over but I couldn't quite make sense of it... thanks!
@@GIGADOPE
Scarlatti wrote an explanation of the crossed hand markings which were in Italian, unfortunately this edition has uninternationally changed them to French.
Did Scarlatti borrow Sephardic or Moorish tunes? This piece clearly shows the two traditions.
It sounds like Grieg.
I love so many of your performances but with Scarlatti you have to push the lines forward. He is not Bach. Faster the pulsating sections. Too refined and some of those passages are like raw guitar riffs not some refined Lutheran chorale.
I would just remove so much pedal
This is waaaaaay better than Bach.
DyzioTheDreamer Hahahahahaha. No.
Its one of those things where you nod your head while saying no
DyzioTheDreamer; personal taste entitles you to believe that this Scarlatti piece is better than what you’ve heard by Bach. On reason might have to do with some people not liking his fugues. I found that to be an acquired taste which took some time to develop.
No fucking possible way, just no.
DyzioTheDreamer wtf then you know nothing about music. It is apparently not as Genious composed as Bach composes. This is also nothing about personal taste.
Nobody plays this right! Paul please can you do a proper allegro of this without pedal just see what it sounds like. More metronomic and disciplined. The Ross recording of this which is usually definitive is crap. Feel like this is such an amazing sonata but not one recording gets it right always taken way too rubato and slow! It’s a heater!