Domenico

SCARLATTI
Complete Keyboard Sonatas Vol. 21
Soyeon Kate Lee, Piano
Domenico Scarlatti (1685–1757) 4 The Sonata in A major, K.268/L.41/P.369, is included in a set of Scarlatti sonatas. Starting with a descending
Complete Sonatas Vol. 21 the fifth Venice collection, dated to 1753, and is marked arpeggio and with the tempo marking Allegro, it includes
Allegro. It brings various shifts of key and makes use of wide leaps and makes considerable technical demands, with
Domenico Scarlatti was born in Naples in 1685, sixth of 42 sonatas published in London by Thomas Roseingrave scale passages and wide-ranging arpeggios. its chains of thirds, sixths and octaves.
the ten children of the composer Alessandro Scarlatti, in 1739, including the 30 already available from the 5 The primary source for the Sonata in D minor, ! The Sonata in E flat major, K.51/L.20/P.151, is included
Sicilian by birth and chiefly responsible for the early earlier publication. In more recent times the sonatas were K.34/L.Supp.7/P.15, is the publication of 1739 by Thomas in the 14th Venice volume. An Allegro in 4/4, the sonata is
development of Neapolitan opera. The Scarlatti family edited by Alessandro Longo, who provided the numerical Roseingrave in London. Irish in parentage, Roseingrave had impelled forward by virtually uninterrupted perpetual
had extensive involvement in music both in Rome and in listing under L, and in 1953 the American harpsichordist first met Scarlatti in Venice and, strongly impressed by his motion, with added interest in chromatic passages.
Naples, where Alessandro Scarlatti became maestro di Ralph Kirkpatrick offered a new listing, distinguished by performance, did much in later years to promote his music @ From the 14th Venice volume comes the Sonata in G
cappella to the Spanish viceroy in 1684. Domenico the letter K. Stylistic grounds have suggested a further in London, where Roseingrave was employed as organist minor, K.60/L.13/P.29, a study in gentle serenity, lacking a
Scarlatti started his public career in 1701 under his changed listing by Giorgio Pestelli, under the letter P, and at St George’s, Hanover Square, until an unfortunate love- tempo indication.
father’s aegis as organist and composer in the vice-regal proposing a new chronology, while Emilia Fadini, in a affair brought his career as a musician to an end. Marked # The Sonata in G major, K.2/L.388/P.58, has its primary
chapel. The following year father and son took leave of complete edition for Ricordi, offers a further re-ordering, Larghetto and in triple metre, the sonata offers a moment of source in the Essercizi published in London in 1739.
absence to explore the possibilities of employment in based in part on the Venice volumes. respite. Marked Presto and in 3/8, the sonata is one of particular
Florence, and Alessandro was later to exercise paternal Kirkpatrick’s listing of the sonatas, based on the 6 The Sonata in F major, K.168/L.280/P.182, is from the charm.
authority by sending his son to Venice, where he chronological order of the available sources, starts with first Venice volume, dated 1752, and marked Vivo. Its use $ The primary source of the Sonata in F major,
remained for some four years. In 1709 Domenico entered the 30 Essercizi per gravicembalo offered for sale in early of syncopation brings emphasis on weaker beats. K.194/L.28/P.479, is the second Venice volume, dated 1752.
the service of the exiled Queen of Poland, Maria 1739 by Adamo Scola, ‘Musick Master in Vine Street, 7 The Sonata in C minor, K.84/L.10/P.45, appears in the Marked Andante and in 3/8, the sonata makes particular use
Casimira, in Rome, there meeting and playing against near Swallow Street, Piccadilly’. The publication 14th Venice volume, dated 1742. Introduced by a tonic of a descending motif, duly taken up in left-hand octaves.
Handel in a keyboard contest, in which the latter was included a dedication in Italian to the King of Portugal arpeggio and without tempo indication, this unusual sonata % The Sonata in C minor, K.129/L.460/P.148, marked
declared the better organist and Scarlatti the better and a prefatory note for the purchaser, denying serious makes use of chains of thirds and sixths. Allegro, is included in the 15th Venice volume, dated 1749.
harpsichordist. It has been suggested that he spent a intention and modestly suggesting rather ‘lo scherzo 8 The Sonata in G major, K.290/L.85/P.396, has its Starting with an ascending arpeggio, the sonata is propelled
period from 1719 in Palermo, but his earlier connection ingegnoso dell’Arte’. The listing continues primarily with primary source in the fifth Venice volume, dated 1753, forward, barely pausing for breath. Use is made again of
with the Portuguese embassy in Rome led him, before the Venice volumes, in chronological order of marked Allegro and in 3/8. It makes much of contrasted passages in thirds and unusual harmonic clashes.
long, to Lisbon, where he became music-master to the compilation, if not necessarily of composition. repetitions and ornamentation. ^ The Sonata in C major, K.250/L.174/P.461, is from the
children of the royal family. This employment took him 1 The Sonata in B flat major, K.202/L.498/P.173, is 9 The Sonata in G major, K.91/L176/P.11, is found in the fourth Venice volume of 1753. It is marked Allegro and in
in 1728 to Madrid, when his pupil the Infanta Maria included in the fourth volume of the sonatas preserved in 14th Venice volume of 1742. It starts with a Grave aria, 2/4, leading to rapid passages of triplet semiquavers, as it
Bárbara married the heir to the Spanish throne. Scarlatti Parma, dated 1752 and in the same hand as the Venice with a figured bass, a continuing feature, more or less, of presses forward.
apparently remained there for the rest of his life, his most volumes. A work of some originality, its first section, this sonata. An Allegro in 2/4, its two sections repeated, is & The Sonata in F major, K.78/L.75/P.26 is found in the
considerable achievement the composition of some marked Allegro is followed by a central section in the followed by a shorter Grave, leading to a final Allegro 6/8, 14th of the Venice volumes. It starts with a Giga, followed
hundreds of single-movement sonatas or exercises, manner of a siciliano and the sonata ends with a Vivo the whole forming a miniature suite. by a brief Minuetto, and is a graceful conclusion to the
designed largely for the use of the Infanta, who became similar in character to the first section. 0 The Sonata in C major, K.143/L.–/P.267, is included in a present recording, a demonstration of Scarlatti’s originality
Queen of Spain in 1746. 2 The Sonata in F major, K.276/L.Supp.20/P.433, is collection of sonatas apparently copied out for Sebastián de and genius within the limits of his chosen forms.
The keyboard sonatas of Domenico Scarlatti survive marked Allegro and in 3/8, its primary source in the fifth Albero, an organist in the Spanish royal chapel, and later the
in part in a number of 18th-century manuscripts, some of the Venice volumes, dated 1753. Excursions into the property of John Worgan, who in 1752 published in London Keith Anderson
clearly from the collection of Queen Maria Bárbara, minor lead to a final restoration of the F major key,
possibly bequeathed to the great Italian castrato Farinelli, ending the repeated second half of the sonata.
who was employed at the Spanish court, and then in 3 The Sonata in A minor, K.110/L.469/P.129, is pre- This album is dedicated, with my deepest gratitude and love, to my teachers and mentors who have
Venice. Various sets of sonatas were published during the served in the 15th of the Venice volumes, dated 1749. It shaped, and who continue to be an inspiration in my musical life: Robert McDonald, Jerome
composer’s lifetime, including a set of 30 Essercizi per makes use of repeated notes, often between the two Lowenthal, Ursula Oppens, Richard Goode, and Julian Martin. Soyeon Kate Lee
gravicembalo, issued, seemingly, in London in 1738, and hands.
Soyeon Kate Lee

Photo: Lisa Marie Mazzucco

First prize winner of the Naumburg
International Piano Competition and the
Concert Artist Guild International
Competition, Korean-American pianist,
Soyeon Kate Lee has been rapturously
received as guest soloist with the
Cleveland Orchestra and the Louisiana
Philharmonic Orchestra, as well as many
symphony orchestras across the US. On
the international stage, Lee has appeared
with the London Symphony Orchestra,
the Daejeon Philharmonic Orchestra and
the Ulsan Symphony Orchestra (South
Korea), the Orquesta de Valencia
(Spain) and the Orquesta Sinfónica
Nacional (Dominican Republic),
including performances under the batons
of Rafael Frühbeck de Burgos, Jahja
Ling, Jorge Mester and Otto-Werner
Mueller. As an active chamber musician,
she frequently collaborates in many
chamber music festivals throughout the
US. Soyeon Kate Lee is a Naxos
recording artist. Her discography spans
Domenico Scarlatti Keyboard Sonatas,
Volume 8 (8.570010), Liszt Trans-
criptions and Arrangements (8.572589)
and two volumes of Piano Music by
Scriabin (8.573527, 8.573528), with
upcoming releases of Clementi Sonatas.
A graduate of The Juilliard School, Lee
was awarded every prize available to a
pianist at Juilliard, including the William
Petschek Piano Debut Award at Lincoln
Center and the Arthur Rubinstein Award.
She is a Yamaha Artist and an associate
professor of music in piano at the
University of Cincinnati College-
Conservatory of Music.
www.soyeonkatelee.com
Domenico Scarlatti, like his father Alessandro, wrote music in various genres, but he is best
known for his 555 keyboard Sonatas. These remarkable single-movement works were mainly
composed for his pupil in Madrid, the Infanta Maria Bárbara, who became Queen of Spain
in 1746. Maria must have been a talented performer as Scarlatti was able to pour endless
variety into his creations, from sparkling virtuoso showpieces with sometimes audacious 8.573795
harmonic clashes to sonatas of serene beauty; all demonstrating his originality and genius
within the frameworks of his chosen form. DDD
Playing Time
Domenico 72:15
SCARLATTI

7
(1685–1757)

47313 37957
Complete Keyboard Sonatas Vol. 21
1 Sonata in B flat major, K.202/L.498/P.173 3:48
2 Sonata in F major, K.276/L.Supp.20/P.433 3:31
3 Sonata in A minor, K.110/L.469/P.129 4:20
4 Sonata in A major, K.268/L.41/P.369 5:05
5 Sonata in D minor, K.34/L.Supp.7/P.15 2:45
6 Sonata in F major, K.168/L.280/P.182 3:32

6
7 Sonata in C minor, K.84/L.10/P.45 2:56

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Booklet notes in English

Naxos Rights US, Inc.
 & 훿 2018
8 Sonata in G major, K.290/L.85/P.396 3:27
9 Sonata in G major, K.91/L.176/P.11 8:45
0 Sonata in C major, K.143/L.–/P.267 4:53
! Sonata in E flat major, K.51/L.20/P.151 3:09
@ Sonata in G minor, K.60/L.13/P.29 5:11
# Sonata in G major, K.2/L.388/P.58 1:58
$ Sonata in F major, K.194/L.28/P.479 7:11
% Sonata in C minor, K.129/L.460/P.148 4:09
^ Sonata in C major, K.250/L.174/P.461 4:27
& Sonata in F major, K.78./L.75/P.26 2:20

Soyeon Kate Lee, Piano

Recorded: 3-4 January 2017 at the Performing Arts Centre, The Country Day School, King, Ontario, Canada
Producers: Norbert Kraft and Bonnie Silver • Engineer: Norbert Kraft • Editor: Bonnie Silver
Booklet notes: Keith Anderson • Cover photo: Fountain at palace gardens of La Granja de san Ildefonso,
near Segovia, Spain (ID 27877562 © David Herraez / Dreamstime.com)