Лучшие книги Доменико Скарлатти

Настоящий сборник содержит 21 сонату Доменико Скарлатти (1685-1757), итальянского композитора, клавесиниста. Сонаты Скарлатти весьма разнообразны как по форме, так и по содержанию и представляют собой значительную новизну по сравнению с искусством рококо.
Сборник адресован пианистам, педагогам и учащимся музыкальных учебных заведений.
3-е издание, стереотипное.

Вашему вниманию предлагается нотное издание Д.Скарлатти "Избранные сонаты для фортепиано"

The number of Scarlatti sonatas heard on the concert platform and learned by piano students is relatively small. We can understand this if we consider that the publications including a greater amount of material have not been accessible to larger sections of the public. For this reason the chief task of this selection is to widen the circle of these few and with reason popular works. At the same time it aims to give a comprehensive view of Scarlatti's sonatas, following the composer's development from the Essercizi of 1738 to the pieces written towards the end of his life. As a result the more important types of sonata are introduced so as to be characteristic of Scarlatti's various creative periods as well. For practical reasons, however, it was possible to apply this principle only within certain limits. Thus apart from anything else several works of interest are not included in the selection, for example the only sonata in variation form (K 61) or the sonatas in more than one movement which were probably written for violin and harpsichord (K 81, 88, 89, 90, 91).
The sonatas are not grouped according to their degree of difficulty; they are given in the order which corresponds with the Kirkpatrick numbering. This is approximately identical with the order in which they were composed. In this way it became possible for the pairs of sonatas included in the selection to be placed closely after one another.
Apart from inevitable minor alterations this edition follows the original text and its markings exactly. This does not apply to the fingering which is entirely an editorial addition. (In the original there is no fingering).
Since for the musician of today Scarlatti's markings are no longer self-explanatory, some remarks are made in what follows which it is hoped will help towards a correct interpretation. On problems which are not treated here further information is given in the foot-notes of the notepart.

The number of Scarlatti sonatas heard on the concert platform and learned by piano students is relatively small. We can understand this if we consider that the publications including a greater amount of material have not been accessible to larger sections of the public. For this reason the chief task of this selection is to widen the circle of these few and with reason popular works. At the same time it aims to give a comprehensive view of Scarlatti's sonatas, following the composer's development from the Essercizi of 1738 to the pieces written towards the end of his life. As a result the more important types of sonata are introduced so as to be characteristic of Scarlatti's various creative periods as well. For practical reasons, however, it was possible to apply this principle only within certain limits. Thus apart from anything else several works of interest are not included in the selection, for example the only sonata in variation form (K 61) or the sonatas in more than one movement which were probably written for violin and harpsichord (K 81, 88, 89, 90, 91).
The sonatas are not grouped according to their degree of difficulty; they are given in the order which corresponds with the Kirkpatrick numbering. This is approximately identical with the order in which they were composed. In this way it became possible for the pairs of sonatas included in the selection to be placed closely after one another.
Apart from inevitable minor alterations this edition follows the original text and its markings exactly. This does not apply to the fingering which is entirely an editorial addition. (In the original there is no fingering).
Since for the musician of today Scarlatti's markings are no longer self-explanatory, some remarks are made in what follows which it is hoped will help towards a correct interpretation. On problems which are not treated here further information is given in the foot-notes of the notepart.

В издании представлены сонаты видного итальянского композитора и клавесиниста XVIII века, создателя нового, импровизионного исполнительского стиля - Доменико Скарлатти.
Адресуется учащимся старших классов ДМШ, студентам музыкальных училищ, а также широкому кругу любителей фортепианной музыки.