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Track(s) taken from CDA67359

sonata a 4 No 1 in F minor

composer
Six Concertos, circa 1740

The Parley of Instruments
Recording details: July 2002
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: March 2003
Total duration: 5 minutes 46 seconds
 
1
Grave  [0'51]
2
Allegro  [1'38]
3
Larghetto  [2'09]
4
Allemanda  [1'08]

Reviews

'beautifully lyrical trumpet-playing' (BBC Music Magazine)

'Fascinating … Crispian Steele-Perkins and Alison Balsom play with an assured virtuosity' (The Daily Telegraph)

'It comes as no surprise to have a well researched, well presented and beautifully played issue from this team of artists and recording company. The trumpeters, representing the pioneering and the newest generations of players, are well matched and sparkling in their duets and share the solo works equally. It scarcely needs it, but this gets the warmest of recommendations' (Early Music Review)

'Soloists Crispian Steele-Perkins and Alison Balsam play with utmost delicacy and control' (Early Music Today)

'exemplary performances … The disc as a whole is not only extremely enjoyable in its own right, but is of value for illuminating a major development in the history of instrumental music' (Goldberg)

'Steele-Perkins and Balsom play throughout this recording as robustly and as sensitively as one could wish … Buy this disc' (Early Music)
We do not know anything about the origins of Alessandro Scarlatti’s work, except that it is found in manuscripts in Paris and Münster as a sonata for string quartet ‘senza cembalo’, but as a concerto with continuo and additional ripieno string parts as the first of a set of Six Concertos published in London around 1740. It is likely, however, that the concerto version is not Scarlatti’s work, and was cobbled together in eighteenth-century England; the additional parts certainly do not add anything to the original.

from notes by Peter Holman © 2003

On ignore quelles sont les origines de cette Sonata à 4 d’Alessandro Scarlatti, si ce n’est qu’elle apparaît dans des manuscrits conservés à Paris et Münster sous la forme d’une sonate pour quatuor à cordes «senza cembalo». Pourtant elle apparaît aussi sous la forme de Concerto avec continuo et un ripieno supplémentaire de cordes parmi les Six Concertos publiés à Londres autour de 1740. Il est néanmoins probable que la version concerto ne soit pas de la main même de Scarlatti mais ait été réalisée en Angleterre; les parties supplémentaires n’ajoutent certainement rien à l’original.

extrait des notes rédigées par Peter Holman © 2003
Français: Isabelle Battioni

Über die Ursprünge von Alessandro Scarlattis Werk ist uns nichts bekannt, außer dass es als Sonate für Streichquartett „senza cembalo“ in Manuskripten in Paris und Münster enthalten ist, aber auch mit Continuo und zusätzlichen Ripieno-Streichern als erstes von sechs Konzerten, die um 1740 in London als Six Concertos erschienen sind. Wahrscheinlich stammt die Konzertfassung jedoch nicht von Scarlatti selbst, sondern wurde im achtzehnten Jahrhundert in England zusammengeschustert; jedenfalls tragen die zusätzlichen Parts nichts zur Bereicherung des Originals bei.

aus dem Begleittext von Peter Holman © 2003
Deutsch: Anne Steeb/Bernd Müller

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