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Joined: Feb 2007
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I also love that he dedicates his recordings to Clara Haskil, an inspiration he has often mentioned in other interviews and in his words one of the greatest interpreters of Scarlatti.

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Jon: A couple of curiosity questions:

-- Along the way, did you sort of 'stop' to work up any of them, or did you just keep plowing through? (or "ploughing," dunno which is the correct word or if there's any difference between them or if the second one is even really a word) grin

-- There's a thing that happens to me whenever I turn the page to whichever one of these and see that it's one that starts with a fugal or quasi-fugal or canonic thing, that my immediate reaction is two things, which combine into a feeling of "oh no, not one of these": grin ....it's going to be kind of academic rather than playful or beautiful; and it's going to be really hard to sight-read and make any sense of. (The first thing is generally wrong, but the second one is generally right.) Just wondering if you similarly had that same mind-reflex when you'd get to those.

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This is a great thread.

I'm actually doing a similar thing using the IMSLP app. Playing all the Scarlatti sonatas in the order presented (which is alphabetical by key). I'm onto the final sonata in A major. Play between one and ten a day, depending on how I feel and how much time I have.

Why? To improve my sight reading and to get a better feel for his style. I'm learning K551 with the future possibility of playing it as part of a Cert. of Performance (AMEB) exam.

I was a little concerned that my sight reading would be a little lop sided, so I've added Mozart to my sight reading regime. Playing through the Henle edition of all his sonatas, one or two a day.

Last edited by L'Orfeo; 07/21/20 03:16 AM.

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Originally Posted by Mark_C
Jon: A couple of curiosity questions:

-- Along the way, did you sort of 'stop' to work up any of them, or did you just keep plowing through? (or "ploughing," dunno which is the correct word or if there's any difference between them or if the second one is even really a word) grin

-- There's a thing that happens to me whenever I turn the page to whichever one of these and see that it's one that starts with a fugal or quasi-fugal or canonic thing, that my immediate reaction is two things, which combine into a feeling of "oh no, not one of these": grin ....it's going to be kind of academic rather than playful or beautiful; and it's going to be really hard to sight-read and make any sense of. (The first thing is generally wrong, but the second one is generally right.) Just wondering if you similarly had that same mind-reflex when you'd get to those.

I was tempted but I never did. The closest I got was when I read through one I had previously played. That happened with K87, for example, which was under my fingers maybe 10 years ago. I read through it and decided to spend some time on it.

I will say there were plenty of these which I didn't make too much sense out of because I basically read them all at adagio. But I got pretty good at reading and hearing Scarlatti, so I could get an idea of the piece even playing it slowly. Occasionally I would seek a recording of one after I read it and liked it, and usually found myself disappointed at how fast it was being played. lol


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Originally Posted by L'Orfeo
I was a little concerned that my sight reading would be a little lop sided, so I've added Mozart to my sight reading regime. Playing through the Henle edition of all his sonatas, one or two a day.

Yeah, I was afraid that instead of getting good at sight reading I'd get great at sight reading Scarlatti.

So I'm definitely going to change it up now. Been thinking about the Sibelius recommendation from earlier in the thread.


If you don't talk to your children about equal temperment, who will?
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