D. Scarlatti: Venezia 1742 La Tempestad

• Doménico Scarlatti (1685 - 1757), Silvia Marquez: Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla):
• 1Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): I. Grave02:38
• 2Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): II. Andante moderato02:32
• 3Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): III. Allegro01:27
• 4Keyboard Sonata in G Minor, Kk. 88 (Arr. S. Márquez Chulilla): IV. Minuetto01:26
• Keyboard Sonata in E Minor (After D. Scarlatti's Kk. 77):
• 5Keyboard Sonata in E Minor (After D. Scarlatti's Kk. 77): I. Moderato cantabile04:18
• 6Keyboard Sonata in E Minor (After D. Scarlatti's Kk. 77): II. Menuet01:32
• Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble):
• 7Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave01:48
• 8Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro03:31
• 9Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Grave01:11
• 10Keyboard Sonata in G Major, Kk. 91 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro02:00
• Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble):
• 11Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave01:46
• 12Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro03:03
• 13Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Grave01:32
• 14Keyboard Sonata in E Minor, Kk. 81 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro01:20
• Keyboard Sonata in G Major, Kk. 79:
• 15Keyboard Sonata in G Major, Kk. 79: Allegrissimo02:28
• Keyboard Sonata in G Major, Kk. 80 (Arr. S. Márquez Chulilla for Chamber Ensemble):
• 16Keyboard Sonata in G Major, Kk. 80 (Arr. S. Márquez Chulilla for Chamber Ensemble)01:33
• Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble):
• 17Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Allegro03:30
• 18Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Grave01:18
• 19Keyboard Sonata in D Minor, Kk. 89 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Allegro02:00
• Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble):
• 20Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Grave02:49
• 21Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Allegro04:26
• 22Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): III. Allegro00:45
• 23Keyboard Sonata in D Minor, Kk. 90 (Arr. S. Márquez Chulilla for Chamber Ensemble): IV. Allegro01:00
• Keyboard Sonata in C Minor, Kk. 73 (Arr. S. Márquez Chulilla for Chamber Ensemble):
• 24Keyboard Sonata in C Minor, Kk. 73 (Arr. S. Márquez Chulilla for Chamber Ensemble): I. Allegro02:31
• 25Keyboard Sonata in C Minor, Kk. 73 (Arr. S. Márquez Chulilla for Chamber Ensemble): II. Minuetto03:12
• Total Runtime55:36

Info zu D. Scarlatti: Venezia 1742

Imagine how the rhythmic emphasis of Scarlatti’s sonatas sounds on other instruments, beyond the harpsichord or other keyboards, can be a temptation difficult to overcome. It was difficult for us and it must have been, too, for those who had in their hands some of the hot manuscripts, fresh out of the oven, in the eighteenth century. Because, in this point, a new mystery emerges: what happened to all those acquaintances that Scarlatti had the opportunity to find in Rome or Venice? Did he keep in contact with other European composers, such as Thomas Roseingrave, once at the service of the court in Madrid? What happened to the bridges built with London? How is it possible that some of the sonatas that today are only preserved in the manuscript of Venice were known in England as early as 1744 (even before)?.

La Tempestad
Silvia Márquez Chulilla, harpsichord. direction

La Tempestad
Lead by Silvia Márquez, La Tempestad, founded in 2000, has become a force to reckon with in the Spanish early music world. “The precision, finesse and insight of its musicians catch the listener from the first note”. Dependent on the repertoire covered in any given program, the ensemble can fluctuate between a small and a medium-sized format, with recognized musicians educated at the finest Spanish and European music conservatories and trained in the most prestigious ensembles dedicated to this repertoire. The “expressivity and fascination” attributed by music critics to La Tempestad’s interpretations have resulted in invitations to the principal halls and festivals for early music, including the National Auditorium and the Royal Theatre in Madrid, the Fundación Juan March, the International Music Festival in Santander, the Festival Musika-Música del Palacio Euskalduna in Bilbao, the San Sebastián Musical Fortnight, the Early Music Festival in Aranjuez, International Festivals in Daroca, Cádiz, Seville, Marbella, and Santillana del Mar, II Sacred Music Series in Almería, VII International Festival of Music Interpretation in Jaca, Musical May in Bolea (Huesca), Festival Pau Casals in El Vendrell, the Early Music Series in the Royal Chapel of Santa Isabel (Zaragoza), and the Cantata Series of Madrid City Hall, among others. La Tempestad gradually expands its presence in international festivals (Italy, The Netherlands, Austria, Croatia, Panamá, Andorra). Noteworthy is their participation in both the 7th and the 8th International Festival of Renaissance and Baroque Music “Misiones de Chiquitos” in Bolivia, the Euro-Bolivian Encounter in La Paz or the Haydn Festival in Eisenstadt (Austria). With an unmistakable predilection for chamber music, the instrumental focal point of the ensemble is reflected in its regular programming of quintets by Boccherini, Bach’s Musical Offering, Pièces en concert from J. Ph. Rameau, C.P.E. Bach’s later trios, or J. Haydn’s London Symphonies, without neglecting Spanish composers such as A. Soler, J. Oliver y Astorga or M. Cavasza and always paying attention to their musical heritage. Thus, in 2014 they played the integral of the Concertos for 2, 3 and 4 harpsichords of J. S. Bach and in 2015 they prepared a program with the examination sonatas to the Royal Chapel of Madrid in the last third of the eighteenth century. The program, premiered at the National Auditorium of Madrid, included the first Spanish harpsichord concerto, by Manuel Narro, and the concerto for two harpsichords by G. B. Pergolesi (broadcasted by RTVE). In addition to all of this, La Tempestad seeks interaction with other artistic disciplines and has worked with actors Antonio M. M. and Núria Espert. After the excellent reviews they received for Caro Dardo: Sopranos y castrati en el Londres de Farinelli (MAA 006, 2007) and Carl Philipp Emanuel Bach: Música a tres (Arsis 4204, 2009), the publication of their recording of the 12 London Symphonies of Joseph Haydn, arranged by J.P. Salomon now deserves mention. This is, worldwide, the first complete recording ever of Salomon’s arrangements, and was sponsored by the Ministry of Culture for the Region of Murcia and Címbalo Productions (Música Antigua Aranjuez, 2012). Following this train of thought, they presented Mozart infrecuente (Arsis 2013) with their own arrangement of Jupiter Symphony KV 551. In 2017 a new and fruitful collaboration with IBS Classical began, with the CD Iberian Harpsichord Concertos: the first ever Iberian keyboard concertos (by Manuel Narro and José Palomino) together with the Neapolitan heritage (Pergolesi’s Concerto for two harpsichords).

Booklet für D. Scarlatti: Venezia 1742