Scarlatti

Max Emanuel Cencic, Karsten Erik Ose, Ornamente 99 - Vivaldi, D.Scarlatti, Caldara: Cantatas (2012)

Max Emanuel Cencic, Karsten Erik Ose, Ornamente 99 - Vivaldi, D.Scarlatti, Caldara: Cantatas (2012)
EAC | FLAC | Image (Cue & Log) ~ 912 Mb | Total time: 60:34+60:32+61:50 | Scans included
Classical | Label: Capriccio | # C7142 | Recorded: 2003-2005

This series of Italian cantatas by three eminent contemporaries makes for refined and focused listening.
Cencic…marries virtuosity with colour. The result is singing of great reach and range, in which verbal sensitivity and bravura execution are usually put at the service of the music.
Fabio Biondi, Europa Galante - Alessandro Scarlatti: La Santissima Trinita (2004)

Fabio Biondi, Europa Galante - Alessandro Scarlatti: La Santissima Trinità (2004)
EAC | FLAC | Image (Cue & Log) ~ 382 Mb | Total time: 67:27 | Scans included
Classical | Label: Virgin Veritas | # 5 45666 2 | Recorded: 2003

With this exciting release, Fabio Biondi, the outstanding Europa Galante, and a cast led by stars Véronique Gens and Vivica Genaux strike a decisive blow for Alessandro Scarlatti's obscure Oratorio per la Santissima Trinità. Old-fashioned even in its day, the work is a musicalized instructional debate about the mysteries of the Holy Trinity between the allegorical personae of Faith, Theology, Faithlessness, Time, and Divine Love. If you're asleep already, it's for good reason. The libretto is the definition of dry – boring both for its rhetorical contrivance and its verbosity. But before you run for the nearest exit, know that Scarlatti responded to this uninspired mess of ideological bickering with outstanding music, entertaining from beginning to end. Drawing only on a small ensemble of strings and continuo, he created an improbably diverse-sounding score full of infectious rhythms, appealing vocal melodies, and rich textures. The recitatives are lavished with the same melodic care and detail as the arias and ensembles, and the personality of each character is etched into his music. Listening, one might think the plot revolves around a love affair, or a social intrigue. Certainly not wave upon wave of phrases like "One cannot believe it, but only raise one's eyebrows in stupefaction." In other words, if you can ignore the text it's an immensely fun listen, and a great example of the stylistic fluidity of Scarlatti's music in 1715.

Skip Sempe - Scarlatti: Duende & Pandora's Box (2007)  Music

Posted by tirexiss at Feb. 17, 2018
Skip Sempe - Scarlatti: Duende & Pandora's Box (2007)

Skip Sempe - Scarlatti: Duende & Pandora's Box (2007)
EAC | FLAC (image+.cue, log) | Covers Included | 02:16:36 | 940 MB
Genre: Classical | Label: Paradizo | Catalog: PA0003

This collection of 17 Scarlatti harpsichord sonatas isn't systematically compiled, but includes the favorites of harpsichordist and scholar Skip Sempé, and it's a diverse and attractive selection. Citing the strong Spanish influences on Scarlatti's writing, Sempé describes "Duende" as a Spanish term that refers to the mysterious power of an event or activity to move a person into a state of sensory overload, or even transcendence.
La Stagione, Michael Schneider, Soloists - Alessandro Scarlatti: Cinque Profeti (Christmas Cantata) (1993)

Alessandro Scarlatti: Cinque Profeti (Christmas Cantata) (1993)
Heike Hallaschka (Soprano), Barbara Schlick (Soprano), Kai Wessel (Alto)
Christoph Prégardien (Tenor), Michael Schopper (Bass)
La Stagione; Michael Schneider, conductor

EAC | FLAC | Image (Cue&Log) ~ 280 Mb | Mp3 (CBR320) ~ 175 Mb | Scans included | 01:05:43
Classical, Choral, Baroque | Label: Deutsche Harmonia Mundi | # 05472-77291-2

Cinque Profeti is a little known Christmas cantata by Alessandro Scarlatti. It has a power and subtlety redolent of Handel coupled with touches of early Monteverdi. Sung here to great effect by the five soloists with sensitive instrumentalists, they play together to bring the gentle and subtle melodies - surely written to confer a sense of the special nature of the Christmas season - to life. It’s a recording which is sure to please. Opera was not performed in Rome for much of Alessandro Scarlatti's lifetime; that's why his vocal church music mostly comprised oratorios and cantatas, of which he wrote three for the Palazzo Apostolico. Only one survives: to a libretto by Silvio Stampiglia. Cinque Profeti takes the inventive form of a conversation between the five old testament prophets, Daniel, Ezekiel, Isaiah, Jeremiah and Abraham (the cinque profeti) about the birth of Christ – which was about to be celebrated on the occasion of the cantata’s first performance, in 1705 at the Papal Palace in Rome.
Alessandro Stradella Consort & Estevan Velardi - Scarlatti: Il dolore di Maria Vergine (2017)

Alessandro Stradella Consort & Estevan Velardi - Scarlatti: Il dolore di Maria Vergine
Classical, Vocal | WEB FLAC (tracks) & d. booklet | 145:46 min | 597 MB
Label: Brilliant Classics | Tracks: 52 | Rls.date: 2017

Alessandro Scarlatti (1660‐1725) is one of the most important composers of the Italian Baroque and the founder of the Neapolitan School. His immense output includes instrumental music but above all an enormous amount of vocal music, both sacred and profane.
Avison Ensemble, Pavlo Beznosiuk - Avison-Scarlatti: 12 Concerti Grossi (2008)

Avison Ensemble, Pavlo Beznosiuk - Avison-Scarlatti: 12 Concerti Grossi (2008)
EAC | APE (image+.cue, log) | Covers Included | 02:35:52 | 850 MB
Genre: Classical | Label: Divine Art | Catalog: dda 21213

This release, helmed by prolific Ukrainian-British violinist Pavlo Beznosiuk, might better be titled Scarlatti-Avison; the original music is by Domenico Scarlatti, as arranged by British composer Charles Avison just a few years after the fact. The eighteenth century was a time in which musical recycling, either by an original composer or by others, was an entirely acceptable practice, and the beginnings of the practice of reducing orchestral works for keyboard date from this period also.
Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: Nisi Dominus, Salve Regina (2010)

Marcello Di Lisa, Concerto de' Cavalieri - Alessandro Scarlatti: Nisi Dominus, Salve Regina (2010)
EAC | FLAC | Image (Cue & Log) ~ 364 Mb | Total time: 68:12 | Scans included
Classical | Label: CPO | # 777 476-2 | Recorded: 2008

Alessandro Scarlatti is justly famed for his contributions to Read more opera seria and cantata, and indeed it may even be said that he was one of the main progenitors of the Neapolitan style of the early 18th century. In Naples and earlier in Rome he was obligated to write a considerable amount of sacred music, much of it for smaller settings that would be useful in the local churches. Since his music is now becoming more common on disc, it is good to have this recording of a set of four pieces—a gradual, a Marian antiphon, a motet, and a Psalm—all of which reflect rather different approaches to each portion of the liturgy and yet contain a certain commonality in form and structure. Interspersed within these, and no doubt both to provide a transition between then and to fill out the disc, are three organ works, two of which are of substantial length. Given that Scarlatti’s pieces for this instrument are not common, their appearance here is a real treat.
Ralph Kirkpatrick - Scarlatti: Sonatas for Harpsichord (2004) (REPOST)

Ralph Kirkpatrick - Scarlatti: Sonatas for Harpsichord (2004)
XLD Rip | FLAC (tracks+.cue, log) | Covers | 360 mb | MP3 CBR 320kbps | RAR | 139 mb
Classical | Label: Archiv Produktion - 00289 477 5003

Since the very dawn of the compact disc era, Ralph Kirkpatrick's seminal recordings of Domenico Scarlatti have mainly been conspicuous only by their absence from the active catalog. It's hard be sure just why, as all along listeners and reviewers alike have been requesting their return. Kirkpatrick's Bach has been reissued here and there, along with some oddities, including a live, all twentieth century recital Kirkpatrick performed in 1961, released on Music and Arts. But of the Scarlatti, nothing - how could the man who put the "K." in Scarlatti go neglected; were not his performances once considered the acme in Scarlatti played on the harpsichord?
Rinaldo Alessandrini, Fabio Biondi - Pergolesi, A.Scarlatti, Leo: Stabat Mater, Salve Regina, Messa di S. Emidio (2010)

Rinaldo Alessandrini, Fabio Biondi - Pergolesi: Stabat Mater, Salve Regina, Messa di S. Emidio; A.Scarlatti: Stabat Mater, Messa per il Santissimo Natale; Leo: Salve Regina (2010)
EAC | FLAC | Image (Cue & Log) ~ 884 Mb | Total time: 79:39+58:39+58:00 | Scans included
Classical | Label: Naïve | # OP 30507 | Recorded: 1995, 1998, 2008

The legendary Italian composer Giovanni Battista Pergolesi was born 300 years ago, in 1710. To mark the anniversary, Naïve re-issues three renowned recordings to feature his choral music, in a specially-priced box set, headed by the Gramophone award-winning version of his Stabat Mater by Rinaldo Alessandrini and Concerto Italiano, considered one of the best ever recorded…
Also featured in the bargain “3 for the price of 1” set are other short pieces by Pergolesi, plus more by Alessandro Scarlatti and Leonardo Leo.
Franck-Emmanuel Comte, Le Concert de l'Hostel Dieu - Alessandro Scarlatti: Il Martirio di Sant’Orsola (2006)

Franck-Emmanuel Comte, Le Concert de l'Hostel Dieu - Alessandro Scarlatti: Il Martirio di Sant’Orsola (2006)
EAC | FLAC | Image (Cue & Log) ~ 261 Mb | Total time: 59:20 | Scans included
Classical | Label: Ligia Digital | # Lidi 0202176-07 | Recorded: 2006

Il Martirio di Sant'Orsola was probably written and sung in Rome between 1695 and 1700. The identification of the author of the libretto and the circumstances of composition remain unknown. The handwritten score and its separate parts, preserved in the Bibliothèque Municipale de Lyon and returned here, is indeed the only European version of the work. It was copied for the Academy of Fine Arts of Lyon to which it belonged, probably by amateurs bringing back from their travels many works, as evidenced by the importance of the Italian music in the funds Lyons. The orators of Scarlatti were played from 1718 to 1731 at the Academy.