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Discover the album "Concerti Grossi After Scarlatti" by Concerto Köln: BC.lnk.to/ck_concertigrossisc...
Avison orchestrated Scarlatti’s sonatas and formed them into concertos, generally in the pattern slow - fast - slow - fast. As a rule, Avison kept the mood of the original, but occasionally he turned fast pieces into slow ones (Concerto no. 4) or based his works on Scarlatti manuscripts (Concerto no. 6) that have not come down to us. He abridges, modifies, expands and enhances wherever he judges it necessary.
The best insight into Avison’s way of working is provided by direct comparison between original and arrangement - which can be made on this CD with harpsichord sonata K29, which is also the Con furia of Concerto Nr. 6. This is where Scarlatti and Avison are at close quarters with one another.
Avison summed up his work and his observations in 1752 in An Essay on Musical Expression, giving his detailed specifications for sound and orchestra.
Concerto Köln has studied the essay closely for the purposes of this recording and its findings have resulted in an interpretation that is both historically informed and has contemporary relevance. Justly recognized as one of the leading ensembles for period performance practice, Concerto Köln offers fresh proof of its ability on this CD: a dynamic, fresh and masterful reading of Early Music.
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