Composer: Domenico Scarlatti
Works: Complete Keyboard Sonatas Vol. 1 [Kirkpatrick 1-48]
Performers: Pieter-Jan Belder, harpsichord
Recording: Autumn 2000, Remonstrantse Kerk Deventer
Label: Brilliant Classics 99740
Domenico Scarlatti, a composer whose career flourished amidst the vibrant cultural milieu of the Baroque era, is often overshadowed by his more illustrious contemporaries, such as Bach and Handel. Born in Naples in 1685, Scarlatti’s life took a transformative turn when he moved to Portugal to teach the harpsichord to Princess Maria Barbara, later following her to Spain. It was during this period that he composed the majority of his 555 keyboard sonatas, works that defy the traditional sonata form and instead revel in brevity, rhythmic vitality, and the dance idioms of the time. This recording by Pieter-Jan Belder marks the beginning of a comprehensive project to record all of Scarlatti’s keyboard sonatas, a monumental undertaking that invites both admiration and scrutiny.
Belder’s interpretation of these sonatas is marked by an exuberance that is both refreshing and faithful to Scarlatti’s intent. Each sonata, averaging just a few minutes in length, is imbued with a sense of energy that reflects Scarlatti’s penchant for rhythm and dance. For instance, the opening sonata, K. 1 in D minor, is executed with an allegro that captures both the spirited character and intricate articulation of the piece. Belder’s fingers dance across the harpsichord with a lightness that accentuates the syncopated rhythms, while his phrasing maintains clarity amidst the rapid passages. This attention to detail allows the music’s inherent joy and energy to shine through, embodying Scarlatti’s innovative spirit.
Throughout the recording, Belder demonstrates a remarkable versatility that underscores his technical prowess. His performance of K. 32 in D minor, marked as an aria, reveals his ability to shift from exuberance to introspection seamlessly. Here, the slower, lyrical lines are delivered with a sensitivity that highlights the melodic contours, offering a refreshing contrast to the predominantly lively nature of the other sonatas. Such interpretative choices not only showcase Belder’s understanding of the music but also invite listeners to appreciate the emotional range present within Scarlatti’s oeuvre.
The sound quality and engineering of this recording merit particular praise. The recording captures the rich, resonant tones of the harpsichord, allowing the instrument’s character to emerge vividly. Each note is articulated with precision, and the acoustic environment of the Remonstrantse Kerk enhances the overall listening experience, providing a warm backdrop that complements Belder’s dynamic playing. This attention to sonic detail positions this recording favorably against other notable interpretations, such as Scott Ross’s acclaimed complete recordings, which, while offering a comprehensive vision, sometimes sacrifice the immediacy that Belder achieves here.
The ambitious scope of Belder’s project is commendable, and this first volume sets a high standard for the subsequent releases. His interpretations resonate with a joyful spontaneity that invites repeated listening, while the technical execution remains consistently impressive. Scarlatti’s sonatas, each a gem of keyboard literature, are here presented with both reverence and vitality. This recording not only serves as an excellent entry point for newcomers to Scarlatti but also stands as a significant contribution to the ever-expanding discography of his work. Enthusiasts of baroque keyboard music will find this set an invaluable addition to their collections, and it promises to enrich our understanding of Scarlatti’s enduring legacy.
