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Description
This is the second of two Scarlatti-influenced piece composed for pianist Kristina Szutor, who will be recording an CD of this and other contemporary Scarlatti-influenced compositions in 2010. Like practically all Scarlatti sonatas, the form here is ||: A :||: B :||, and I decided to observe the sectional repeats in this recording, unlike my previous one.
The piano sound is the Steinway from Kontakt2.
The great majority of Domenico Scarlatti's professional life was spent on the Iberian peninsula, most of it in Spain, where he had five children, composed most of his single-movement harpsichord sonatas, and became familiar with flamenco music, the influence of which can be heard in some of his sonatas.
I had therefore planned Scarlet Nightfall as a kind of fantasy based on flamenco-like scales (for example, phrygian mode with the possibility of raised third and seventh degrees), but I decided in progress to make it an even-more overt homage to Scarlatti by quoting four bars of his Sonata in B minor (K. 27, transposed to A minor) that use a chord progression known as a "fandango," much associated with the music of Spain: Am - G - F - E, in 3/4 time. This quoted passage is also remarkable for the use of hand-crossings (left hand crossing above the right), an uncommon technique for the time it was written, and I based several other sections of my composition on Scarlatti's fandango material as well.
Here's a link to my first Scarlatti-based piece, in case you missed it: Scarlet Daybreak.
The piano sound is the Steinway from Kontakt2.
The great majority of Domenico Scarlatti's professional life was spent on the Iberian peninsula, most of it in Spain, where he had five children, composed most of his single-movement harpsichord sonatas, and became familiar with flamenco music, the influence of which can be heard in some of his sonatas.
I had therefore planned Scarlet Nightfall as a kind of fantasy based on flamenco-like scales (for example, phrygian mode with the possibility of raised third and seventh degrees), but I decided in progress to make it an even-more overt homage to Scarlatti by quoting four bars of his Sonata in B minor (K. 27, transposed to A minor) that use a chord progression known as a "fandango," much associated with the music of Spain: Am - G - F - E, in 3/4 time. This quoted passage is also remarkable for the use of hand-crossings (left hand crossing above the right), an uncommon technique for the time it was written, and I based several other sections of my composition on Scarlatti's fandango material as well.
Here's a link to my first Scarlatti-based piece, in case you missed it: Scarlet Daybreak.
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Feter
THis is impressive by the way of the tense
the piano trying to show from the first ..
there s kinda forze on specific places ...
then the change into scarlati taste is a real
genius touch ...ye I can relate with what you ve
been saying about flamenco ...this is not just
brilliant written but the melody is there so
strong ...kudos ...thnx alot for sharin !!!!