Scarlatti Aria In D Minor

[Micol Cohn]

Thisis spectacular programming: we begin with one of those very Sonatas, G-Major, Kk144 (Kirkpatrick = Kk); and just listen to teh magic when we hear the initial "Stabat Mater dolorosa" of the Stabat Mater immediately thereafter (in the absence of Guiller's performance on YouTube, I've substituted Christophe Rousset's, or you can use the Spotify links below for the full Harmonia Mundi experience):

When it comes to the "Eja, Mater, fons amoris" it is almost as if Scarlatti revels in the counterpoint, unleashing this aspect of himself not usually seen with such extravagence in the keyboard sonatas:

The Scatlatti Sonatas Kk 81 and 88-91 were originally for solo instrument and continuo, and the fourmovement (!) D minor Kk 90 is heard in this form here, with solo violin. It is far more than an "interlude," a substantive piece in its own right. Listen to the joyously robust second movement, an Allegro (Leila Schayegh is the violinist):

Fascinating to insert a piece by Charles Avison, a gallant movement from a Concerto grosso (d'aprs Domenico Scarlatti) before a selection of arias and a "Cantata profane", punctuated with but one Sonata.

The programming of this disc is faultless in its mix of chamber and vocal works; it opens our eyes and ears to a new side of Domenico Scarlatti as well as furninshing us with a piece apt to the season, the Stabat Mater. Bertrand Cuiller and his group, Le Caravanserail, are superb throughout - the recording, too, is faultless.

From the late 17th century until well into the 18th century, Alessandro Scarlatti was one of the most important figures in European musical life, influencing musical developments in both opera and instrumental music.

This recording shows the variety of musical works created by the influential Baroque composer: from symphonies, arias and concerti to concerti grossi and sonatas for flauto dolce, strings and basso continuo. Scarlatti was a master in the art of instrumental composition. In the Sinfonia for the Serenata "Venere e Amore", for example, he makes prominent use of the flauto dolce, with rapid changes of affect and recitative-like passages in the interplay with the strings.

The Concerto No. 9 in A minor for recorder, strings and basso continuo, the Sinfonia No. 7 in G minor for recorder, strings and basso continuo or the Sinfonia No. 9 in G minor for recorder, strings and basso continuo are also fantastic baroque pieces and show his high level of skill. A new ensemble arrangement of Scarlatti's Folia for harpsichord by Dorothee Oberlinger also shows his elegant, vocal and affecting tonal language and his rich harmonic vocabulary. For the album, Dorothee Oberlinger and her Ensemble 1700 also collaborate with the fantastic contralto Helena Rasker and (courtesy of Warner Classics / Erato) Bruno de S. Bruno de S's crystal clear male soprano voice and Helena Rasker's dark female alto voice contrast beautifully in the vocal works.

Bruno de S, soprano

Helena Rasker, alto

Ensemble 1700

Dorothee Oberlinger, flute, direction

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