Scarlatti Sonata in D major K 178: Brouwer (3 of 12)

Cuban guitarist Leo Brouwer plays his transcriptions of 12 keyboard sonatas by Domenico Scarlatti in a magnificent (and long out-of-print) 1974 recording.

Sonata in D major K. 178/ L. 162 (1752)

To hear the whole set uninterrupted, go to
http://www.youtube.com/view_play_list?p=B23CB5D9DF095955

From Brouwer's liner notes from the LP:

"INTERPRETATION
The Scarlatti sonatas --derived from the harpsichord-- cover an infinite range of colour which nevertheless stylistically respects the tone limitations of the manuals of the harpsichord. We may suggest, in full agreement with Kirkpatrick, a variety of obligatory interpretative elements:

1. Changes of tone colour in well-defined periodic sections.
2. "Echo" dynamics for repeated phrases, whether forte-piano or piano-forte.
3. Scarlatti's finales are not heavily textured, neither are his culminating passages. He finishes with suave unisons or concluding arpeggios and only rarely with a complete chord. This has given rise to much stylistically faulty transcription, for both piano and guitar.
4. In general, the dramatic weight or emphasis is to be found in the development or in the second section, and attains its peak of the central part of the structure. The composer thus follows the principle of the arch, which from the time of Gregorian chant despite the perfection of structure in mankind -- birth, growth, maturity, decline, death.
5. With many Spanish-type sonatas the sound must accord with folk style.
6. Indiscriminate changes of tone-colour may distort the style. It is permissible to change timbre in repeated phrases where rests are implicit or in cadential phrases with harmonic repose.
7. Changes of tone and "echo" jeopardise continuity, and are not recommended for an orqanic or monothematic work (K. 208-L. 238).
8. The structural symmetry of some sonatas should also be reflected in their dynamic scheme (K.146-L3491.
9. Ornamentation is practically essential for the slow sonatas (K. 206-L. 257), whereas it is either rare or substantial for the rapid ones (K. 443-L. 418). As we know, ornamentation is of two kinds. There is one cadential type where resolution is "surrounded" and re-affirmed or where it fills the "gap" between notes or big chords. The second type is melodic ornamentation to bring out some notable climax or rhythm or to help to differentiate repeated phrases, and played in place of the "echo" (K. 178-L. 142)."

***
For this recording, Brouwer played a guitar built in 1973 by Daniel Friedrich (Paris).

Recording: D. Scarlatti. Douze sonates par Leo Brouwer. Erato: Florilège de la guitare 17 (1974) STU70786.

Score: 12 sonatas/Domenico Scarlatti; transcribed for guitar by Leo Brouwer. Gendai Guitar Co. 1983, repr. 2004.

Please don't ask for the score -- I don't have it. It can be found at Gendai Guitar (Japan) or at Guitar Solo Publications (San Francisco, CA); both are on the internet.

(Many thanks to Yuri at Universo Violonístico)

Category:

Music

Tags:

• Domenico
• Scarlatti
• Sonata
• K178
• L162
• 1752
• Leo
• Brouwer
• D-major
• transcription
• guitar

[danbo1984]

good grief, what an unappreciated genius Brouwer, truly a beautiful interpretation

[annemariepaule]

splendide...merveilleux....!!!



[langvarig]

The more I listen to Leo Brouwer the more I wonder why he wasn't recognized equal to say John Williams. I first came to know about Brouwer as a coposer and it was only late that I realized he was a performing guitarist at such a high level. One of the reasons for that was that recordsstores in Denmark never have had many records with classical guitar and I doubt that this 1974 recording was ever marketed in Denmark. What a shame. But thanks for sharing this fine recording.

[fraacc1]

wonderful

[MelasChupa]

Absolutamente increible. Gracias por subir esto!

[raiphdude7]

Would love to see some rare footage of these performances- Maybe I'm reaching a bit --

[JaRoWi1647]

Great! My congratulations! :-)