Margery Halford via Alfred publications has compiled a nice assortment of Domenico Scarlatti’s Menuettos and Sonatas (essercizi) that’s a satisfying “Introduction” to the Baroque era composer’s music. (Scarlatti, An Introduction to his Keyboard Works)
In fact, I snatched at least five of these binary form sonatas for my two-part disc in 2007, combined with the more technically challenging ones I selected from Vladimir Horowitz’s treasured Scarlatti CD.
Horowitz championed Domenico Scarlatti’s works during a time when many concert pianists were not programming the composer’s body of works, so Domenico’s rebirth was a blessing to performers, teachers, and students who realized not only the beauty of his music but its relevance to developing technique and musicianship.
Scarlatti, in fact, is considered the forerunner of the virtuoso school of keyboard playing, and in these less complex examples from Halford’s collection, one can readily flesh out arpeggio and scale passages that easily transfer from Circle of Fifths Scale and Arpeggio study. (Note Scarlatti’s own translation of his Sonatas as Essercizi per Gravicembalo–or exercises)
The other day, I sent this particular gem to my students with the tag, “That’s why we study arpeggios!” Surely such an exemplary beauty cross-fertilizes and enriches their daily technical regimen.
In this second example from the Halford edition, more arpeggios and broken chords permeate, but there are a few selected arpeggio and scale-like passages that are worth examining for their focus on particular wrist forward motions that I will separately examine in my attached sample:
First, a play through:
Snatching measures from this sonata for technical study and fluency:
A most recently learned delightful miniature:
Here’s annother Halford selected gem (a Menuetto, once again) that was rendered on my formerly owned Baldwin Hamilton grand piano (known as the “blind date” beauty) To be sure, it had a brighter timbre which proves that each piano has its own unique character.
(I’m definitely enjoying my new Baldwin 165 model grand with its more mellow character)
Not contained in Halford’s collection, but snatched from James Friskin’s edition, is the celebrated C Major Sonata L. 159 that my late teacher, Lillian Freundlich gave me to study decades ago when I first began lessons with her. (At the time, I was about 13, enrolled at the New York City High School of Performing Arts)
This certainly poses a challenge in the universe of trills, providing an ample practice opportunity for a student needing such focus.
Scarlatti’s LIFE, CAREER, and MUSIC