Search results
Results from the WOW.Com Content Network
Domenico Scarlatti: The Keyboard Sonatas – Lists at Classical.net, sorted by Longo, Kirkpatrick or Pestelli numbers or key, time signature; Scarlatti Domenico: Catalogue; lists original sources for more than 600 keyboard sonatas including many not listed in this article; newly discovered ones and doubtful ones; other lists such as Fadini's ...
The piece contains many idioms characteristic of Scarlatti, such as hand crossing, [4] a technique most closely associated with the composer. [5] The piece is in D minor, which is Scarlatti's most used minor key. Scarlatti's sonata shows a Spanish influence, especially of Spanish dance music with guitar technique and syncopated rhythms. [4]
According to a legend, Scarlatti was inspired by his cat Pulcinella walking on the harpsichord keyboard The Fugue in G minor ( K. 30, L. 499) by Domenico Scarlatti is a one- movement harpsichord sonata popularly known as the Cat fugue or Cat's fugue (in Italian: Fuga del gatto ).
Giuseppe Domenico Scarlatti (26 October 1685 – 23 July 1757) was an Italian composer. He is classified primarily as a Baroque composer chronologically, although his music was influential in the development of the Classical style.
Keyboard Sonata, K. 141 (Scarlatti) This page was last edited on 5 October 2020, at 23:35 (UTC). Text is available under the Creative Commons Attribution ...
Sonata for harp (1953) Sonata alla Scarlatti, for harp (1964) Sonata for solo clarinet (1957) Sonata for two pianos (1974) Sonata for piano four hands (1975)
The sonatas of Domenico Scarlatti (of which there are over 500) were the hallmark of the Baroque keyboard sonata, though they were, for the most part, unpublished during Scarlatti's lifetime. [1] The majority of these sonatas are in one-movement binary form , both sections being in the same tempo and utilizing the same thematic material.
Bartók assigned opus numbers to his works three times. He ended this practice with the Violin Sonata No. 1, Op. 21 in 1921, because of the difficulty of distinguishing between original works and ethnographic arrangements, and between major and minor works. Since his death, three attempts—two full and one partial—have been made at cataloguing.