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40 Sonatas of
Domenico Scarlatti
Arranged for solo guitar by Andrew Zohn
Publication's Style:
Soft Cover |
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40 Sonatas of Domenico Scarlatti The Sonatas of Domenico Scarlatti (1685-1757) are so common to the guitarist’s repertoire that one could easily assume that they were written originally for the instrument. In fact, despite the prodigious output of this composer, Scarlatti never composed for guitar. This is a bit surprising considering he spent much of his adult life on the Iberian Peninsula where the guitar (chitarra spagnola) was, at that time, enjoying considerable popularity. The following sonatas are transcriptions of a small portion of the 555 sonatas which Scarlatti composed for the keyboard. These works were most likely composed after 1720 when Scarlatti left his native Italy to take a post as chapelmaster at the court of King João V of Portugal. One of his duties in this appointment was to tutor the daughter of the King, Maria Barbara, who would eventually become Queen of Spain. Scarlatti would follow her to Seville and then to Madrid. Maria Barbara was known as an accomplished harpsichordist, and it is quite possible that these sonatas were the product of her close relationship with the composer. The first known catalogue of Scarlatti’s sonatas was compiled by Alessandro Longo (1864-1945). Though it remains an important historical document, this publication [D. Scarlatti, Opere Complete per Clavicembalo, (a cura di A. Longo) 10 vol. e 1 supplemento (Ricordi, Milano, 1906/10)] is largely considered antiquated by modern historians. Longo purposely regrouped the sonatas into suites and, in some cases, changed tempo indications and harmonies. A more commonly accepted catalogue of the Sonatas of Scarlatti was assembled by Ralph Kirkpatrick (1911-1984). His catalogue [Ralph Kirkpatrick, Domenico Scarlatti (Princeton University Press, Princeton, 1953)] attempted to order the sonatas chronologically and provided insight into how the works were grouped: often in pairs, sometimes in groups of 3 or 4 and some with multiple movements contained within. The following transcriptions were adapted from facsimile editions taken from the Biblioteca Nazionale in Venezia, and the Biblioteca Palatina in Parma and compiled by Kirkpatrick [Domenico Scarlatti, Complete Keyboard Works (edited by Ralph Kirkpatrick) 18 vol. (Johnson Reprint Corporation, New York and London, 1972)]. Each work is identified by both Kirkpatrick’s (K.) and Longo’s (L.) catalog numbers. Within these sonatas lay a wealth of creativity and variety. Although most of them fall into the category of binary form, there exists great diversity in tone, tempo, and internal construction. Beyond the generic title Sonata, Scarlatti makes little use of the term as a unifying factor for his collection. Some works are to be played slowly and lyrically and thus have indications as Larghetto and Adagio e Cantabile, while others are meant to be played rapidly, having tempo indications as Allegro, Vivo, and Allegrissimo. Additionally, Scarlatti models some of his sonatas after common dance forms of his day titling some as Minuetto or Gavotta. Examples of all the above appear in this collection. Moreover, Scarlatti’s mastery of the keyboard and, in some cases, his disregard of common voice-leading and harmonic practices, have produced works of unique diversity with striking harmonies, sudden and unusual modulations, and passages of uncommon texture and virtuosity. Andrew Zohn Guitarist Andrew Zohn has been hailed internationally for his work as a performer, instructor, and composer. He has earned prizes in five international competitions including the Guitar Foundation of America and the Stotsenberg International. In addition to concertizing throughout North America and in Europe and South America as a soloist, Andrew Zohn is active as a chamber musician, orchestral soloist, and as a part of Duo Spiritoso with acclaimed Canadian guitarist and Naxos recording artist Jeffrey McFadden. Since 1999, Zohn has served on the faculty of Columbus State University, where he founded and directs the annual CSU Guitar Symposium. He also currently serves on the faculty of the Guitar on the Mediterranean Festival in Cervo, Italy, and the Guitare Lachine festival in Canada, each summer. Students of Andrew Zohn have won prizes in several international competitions, and have been featured on National Public Radio. Beginning a career in composing in 1998, Zohn has received numerous commissions for new works from performing artists, music festivals, and cultural foundations. Zohn was three times selected as a recipient of a Plus Award from the American Society of Composers, Authors, and Publishers (ASCAP) in recognition of his compositions. Classical Guitar Magazine (UK) has hailed Zohn as “…a gifted composer with something unique and interesting to say.” PREVIEW
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