Sonata G Major K105 - Keyboard

Sonata G Major K - Keyboard eBook: Domenico Scarlatti: leondumoulin.nl: Kindle Store.
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Sonata in G Major, K, a song by Domenico Scarlatti, Michele Benuzzi on Spotify

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Domenico Scarlatti: Sonatas for Harpsichord

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Customer reviews There are no customer reviews yet. Share your thoughts with other customers. Write a customer review. Amazon Giveaway allows you to run promotional giveaways in order to create buzz, reward your audience, and attract new followers and customers. Such virtuosic composition is evident throughout this set - in such sonatas as K53, 54, 56, 57, , and — the latter almost manic in complexity and, frankly, unlikely to have been within the grasp of the young princess.

Piano Sonata in G major, D 894 (Schubert)

Lester goes into some detail in his accompanying notes about such techniques current at the time, and how they were reproduced or, better perhaps, reflected in his approach to this recording. Venice XV contains some of the more demanding pieces, and the most profound. K has a lachrymose despondency rather atypical of the generally upbeat feelings in which Scarlatti is most at home.

It almost goes without saying that the playing in this set is well up to that of the other CD sets in the series. Lester is adventurous where experiment is needed; he holds back when restraint aids interpretation, and has a lightness of touch that is most persuasive. Significantly he never varnishes the surface of the music.


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It could easily be spoilt by cloying effects for the sake of it. Above all, he plays with a consistent clarity and attention to detail — every phrase is articulated in crystalline fashion.

More By Michele Benuzzi

The opening theme of the third movement is remarkably similar to the second theme of the first movement of Schubert's second Piano Trio both in rhythm and in note progression. Sviatoslav Richter stated that this was his favourite Schubert sonata.

From Wikipedia, the free encyclopedia. Piano Sonata in G major, D.

Performed by Randolph Hokanson. Richter's argument is that Schubert's marking, Molto moderato, refers to the quaver beat, not the dotted crotchet. In pure musicological terms, I don't imagine many Schubertians will be convinced, yet somehow Richter's concentrated, intensely absorbed playing persuaded me to suspend disbelief.