THE LAST SONATAS Domenico Scarlatti
Fabio Bonizzoni
GCD P31507
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Performing artists
Fabio Bonizzoni, harpsichord
Production details
Playing time: 74’33 Recorded in Utrecht (Maria Minor), Holland, in June 2003 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Cover design & illustrations: oficina tresminutos 00:03:00 Booklet essays: Fabio Bonizzoni and Stefano Russomanno Booklet in English-Français-Español-Deutsch
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DOMENICO SCARLATTI (1685-1757)
Keyboard sonatas
1 Sonata in si b maggiore K 550 2 Sonata is si b maggiore K 551 3 Sonata in sol minore K 546 4 Sonata in sol maggiore K 547 5 Sonata in mi b maggiore K 507 6 Sonata in mi b maggiore K 508 7 Sonata in fa maggiore K 540 8 Sonata in fa maggiore K 541 9 Sonata in re minore K 552 10 Sonata in re minore K 553 11 Sonata in fa maggiore K 542 12 Sonata in fa maggiore K 543 13 Sonata in si b maggiore K 545 14 Sonata in si b maggiore K 54615 Sonata in si minore K 87
Acerca de este CD
En general, los discos dedicados a las sonatas para clave de Domenico Scarlatti intentan ofrecer el más amplio abanico de aspectos, desde las piezas juveniles, rebosantes de vitalidad, hasta las composiciones de madurez, que privilegian el carácter melódico, pasando por las obras de virtuosismo funambulesco. No es el caso de este disco. Tras años preparando su incursión en el mundo de Scarlatti, el exquisito Fabio Bonizzoni se centra en la producción tardía del compositor, desde la convicción de que es ahí donde pueden encontrarse sus verdaderas obras maestras. Música bellísima, profunda, vivida, introspectiva, en un disco claramente diferente desde todos los puntos de vista.
Hemos querido incluir esta grabación en la colección Glossa Platinum por la afinidad estética de muchos aspectos de la producción de Scarlatti con nuestro mundo contemporáneo, algunos de los cuales se mencionan en el excelente ensayo preparado por Stefano Russomanno e incluido en el libreto que acompaña al disco. Nace además este CD en una nueva etapa para Fabio Bonizzoni en su trabajo para Glossa, tras varios años sacando a la luz músicas injustamente olvidadas del repertorio barroco italiano. Este año 2004 no verá sólo la publicación de esta hermosa joya de Domenico Scarlatti, sino que marcará el inicio de su ambiciosa exploración del universo bachiano, tanto a solo como con su grupo, LaRisonanza.
Fabio Bonizzoni’s attention on record to the music of Handel - which has, thus far, yielded seven discs devoted to the early Italian-texted cantatas - has just now had the good fortune to receive this year’s Stanley Sadie Handel Recording Prize for Apollo e Dafne, the final release in the present series for Glossa. This is the third time that Bonizzoni and his period-instrument ensemble La Risonanza have won this prestigious prize for their series of “Le Cantate Italiane di Handel” (previous winners were the first release, Le Cantate per il Cardinal Pamphili and the fifth, Clori, Tirsi e Fileno); three other recordings have also featured as runners-up. [read more...]
Fabio Bonizzoni’s series, with La Risonanza, of Handel Italian cantate con stromenti for Glossa has now come to a conclusion with seven volumes recorded, but not before the group were awarded the 2010 Stanley Sadie Handel Recording Prize for the fifth instalment, Clori, Tirsi e Fileno (with sopranos Yetzabel Arias Fernández and Roberta Invernizzi and contralto Romina Basso in the three named roles). In commending the disc the jury of the Recording Prize made the following comments, “La Risonanza produces a delightful performance that presents all of the strengths and virtues we have come to associate with their recent explorations of Handel’s music. [read more...]
In the third instalment in Fabio Bonizzoni’s survey of the secular cantatas with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy, come a quartet of works associated with the Venice-born maecenas Pietro Ottoboni – including the substantial Ero e Leandro, the libretto for which is plausibly considered to have been written by the Cardinal Ottoboni himself. As well as the seldom-performed cantata for bass, Spande ancora a mio dispetto and Ah! Crudel, nel pianto mio scored for soprano solo, Bonizzoni also directs the Spanish-texted No se emendará jamás.[read more...]