Domenico Scarlatti (1685-1757)
Sonate en ré majeur, F 62/K 96
Sonate en ré mineur, F 460/K 516
Sonate en ré mineur, F461/K 517
Sonate en fa mineur, F 425/K 481
Sonate en fa majeur, F 425/ K 482
Sonate en sol majeur, F 83/K 124
Sonate en solmajeur, F 84/K 125
Sonate en sol mineur F 372/K 426
Sonate en sol majeur, F 373/ K 427
Sonate en si bémol majeur, F 495/K 544
Sonate en si bémol majeur, F 496/K 545
Sonate en fa mineur, F 332/K386
Sonate en fa mineur, F 333/K 387
Sonate en fa majeur, F 391/K 445
Sonate en sol mineur, F497/K 546
Sonate en sol majeur, F 498/K 547
Sonate en ré mineur, F508/K 141

Enrico Baiano, clavecin et pianoforte

Another chapter from the Stradivarius’ Domenico Scarlatti: Complete Sonatas (directed by Emilia Fadini). How much of Scarlatti there is in the history of keyboard instruments and piano? This CD, whose title is Toward Modern Pianism, explains us the importance of Domenico Scarlatti for the whole classical music, especially for piano. Traces of his style can be found in many composers, from Mozart to Salvatore Sciarrino. From the liner notes by Enrico Baiano: [...] Starting from the second half of the eighteenth century, the sonatas then known (perhaps little more than 200) were loved and studied with interest by sonata-lovers with curiosity and in great depth. I have the impression that in the music of the composers of the late eighteenth and early nineteenth century there is much more Scarlatti than they are aware of. They have absorbed and metabolized him, so that in their music traces of him emerge here and there, often not obvious to the ear that does not seek them. For the present recording Enrico Baiano have played three instruments: two harpsichords made by Olivier Fadini and a fortepiano by Ugo Casiglia.