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The year 1685 bestowed mankind with three geniuses with supernatural talents in composition and improvisation, i.e. Johann Sebastian Bach, Georg Friedrich Händel and Domenico Scarlatti. Only the last two had the opportunity to confront themselves in a direct duel for the title of the winner in the category of the fastest fingers implementing unbridled improvisational ideas. Interestingly, Scarlatti's sonatas, although deeply rooted in the tradition of the turn of the Baroque and Classicism, are ahead of works of both eras in many respects, while the numerous textural solutions suggested by the composer are a harbinger of harmonically advanced Romantic miniatures. The interpretations featured on this album result from the collaboration of two different, seemingly incompatible worlds. The world of interpretation rooted in early music and that represented by contemporary instruments in relation to the Baroque era. The need for making music together, for dialogue and mutual inspiration as well as for the diversity of perception of performance issues are undoubtedly a great asset of this album.
The year 1685 bestowed mankind with three geniuses with supernatural talents in composition and improvisation, i.e. Johann Sebastian Bach, Georg Friedrich Händel and Domenico Scarlatti. Only the last two had the opportunity to confront themselves in a direct duel for the title of the winner in the category of the fastest fingers implementing unbridled improvisational ideas. Interestingly, Scarlatti's sonatas, although deeply rooted in the tradition of the turn of the Baroque and Classicism, are ahead of works of both eras in many respects, while the numerous textural solutions suggested by the composer are a harbinger of harmonically advanced Romantic miniatures. The interpretations featured on this album result from the collaboration of two different, seemingly incompatible worlds. The world of interpretation rooted in early music and that represented by contemporary instruments in relation to the Baroque era. The need for making music together, for dialogue and mutual inspiration as well as for the diversity of perception of performance issues are undoubtedly a great asset of this album.
5902547016689
Sonatas
Artist: Scarlatti / Stawarz / Losakiewicz
Format: CD
New: Available $17.99
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DISC: 1
MP3
1. Keyboard Sonata In A Minor, Kk. 149 (Transcr. For Violin & Piano)
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2. Keyboard Sonata In D Minor, Kk. 32 (Transcr. For Violin & Piano)
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3. Keyboard Sonata In B-Flat Major, Kk. 42 (Transcr. For Violin & Piano)
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4. Keyboard Sonata In G Major, Kk. 153 (Transcr. For Violin & Piano)
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5. Keyboard Sonata In C Minor, Kk. 11 (Transcr. For Violin & Piano)
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6. Keyboard Sonata In G Minor, Kk. 8 (Transcr. For Violin & Piano)
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7. Keyboard Sonata In D Minor, Kk. 34 (Transcr. For Violin & Piano)
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8. Keyboard Sonata In B Minor, Kk. 197 (Transcr. For Violin & Piano)
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9. Keyboard Sonata In D Minor, Kk. 64 (Transcr. For Violin & Piano)
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10. Keyboard Sonata In A Major, Kk. 208 (Transcr. For Violin & Piano)
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11. Keyboard Sonata In D Minor, Kk. 213 (Transcr. For Violin & Piano)
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12. Keyboard Sonata In G Major, Kk. 80 (Transcr. For Violin & Piano)
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13. Keyboard Sonata In D Minor, Kk. 176 (Transcr. For Violin & Piano)
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14. Keyboard Sonata In G Major, Kk. 144 (Transcr. For Violin & Piano)
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15. Keyboard Sonata In E Minor, Kk. 402 (Transcr. For Violin & Piano)
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16. Keyboard Sonata In C Minor, Kk. 58 (Transcr. For Violin & Piano)
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17. Keyboard Sonata In D Minor, Kk. 77 (Transcr. For Violin & Piano)
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18. Keyboard Sonata In G Major, Kk. 63 (Transcr. For Violin & Piano)
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19. Keyboard Sonata In D Major, Kk. 415 (Transcr. For Violin & Piano)
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20. Keyboard Sonata In D Minor, Kk. 247 (Transcr. For Violin & Piano)
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21. Keyboard Sonata In B Minor, Kk. 293 (Transcr. For Violin & Piano)
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22. Keyboard Sonata In F Minor, Kk. 466 (Transcr. For Violin & Piano)
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23. Keyboard Sonata In F Minor, Kk. 481 (Transcr. For Violin & Piano)
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24. Keyboard Sonata In B Minor, Kk. 377 (Transcr. For Violin & Piano)
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More Info:

The year 1685 bestowed mankind with three geniuses with supernatural talents in composition and improvisation, i.e. Johann Sebastian Bach, Georg Friedrich Händel and Domenico Scarlatti. Only the last two had the opportunity to confront themselves in a direct duel for the title of the winner in the category of the fastest fingers implementing unbridled improvisational ideas. Interestingly, Scarlatti's sonatas, although deeply rooted in the tradition of the turn of the Baroque and Classicism, are ahead of works of both eras in many respects, while the numerous textural solutions suggested by the composer are a harbinger of harmonically advanced Romantic miniatures. The interpretations featured on this album result from the collaboration of two different, seemingly incompatible worlds. The world of interpretation rooted in early music and that represented by contemporary instruments in relation to the Baroque era. The need for making music together, for dialogue and mutual inspiration as well as for the diversity of perception of performance issues are undoubtedly a great asset of this album.
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