Beginning Study on Scarlatti's Sonata L 33

Each of us has our own timing. Of course, one cannot study a Scarlatti sonata for a year straight. However, let's keep in mind that even when we have reached sufficient knowledge to perform it, once set aside, it continues to mature within us. Remarkably, after having played it in concert and/or performed it at an exam, its "maturation" continues. Certainly, after a year, we will play it even better....if we have studied it well.

After a study session, we must always examine the added value of this effort. What remains with us extra is what we have gained.

In Scarlatti's case, I note two aspects: rhythmic-harmonic understanding and the resolution of "technical" skills. In the case of No. 33, we are faced with a polyphonic sonata that resembles neither Bach nor any other composer. Its texture is "weeping." I find it "dramatic" and I find Horowitz's interpretation extraordinary. He loved this sonata very much and performed it in several concerts. Thus, we have several recordings. Listen to them, even if you should not take them as a "model," which belongs to him and him alone.

Here the difficulty lies in the intense and legato sound. This, I believe, cannot be achieved without good participation of the arm and shoulder. Almost with "pressure."

I do not believe expression should be sacrificed.

I believe there are two interpretative tendencies:

1) Scarlatti must be performed as if on the harpsichord, trying to reconstruct a sound at the piano that evokes that of the instrument for which these 550 sonatas were written (Essercizi per gravicembalo)

2) Updating the sound by exploiting the possibilities of our modern instrument, intended for the listening of a 21st-century ear.

I am not decisively in favor of just one of these choices. I believe that some sonatas are closer to the harpsichord sound and brilliance, while others can take advantage of an expressive and complex instrument like the piano.

I also want to remind you that the harpsichord and the fortepiano, although weaker in sound and attack, are instruments that develop a harmonic spectrum superior to that of the piano.

Of course, the "attack transient" on the piano is powerful and stimulates the modern ear "by necessity"....which is much more deaf than that of that time.

Our emotional state is also different.

At that time, enthusiasm "burst" more easily and frequently. Consider that today we cannot listen to a harpsichord if we are in the middle of the hall. At that time, audiometric listening capacity was much higher and people would applaud standing up after a particularly bold or difficult passage......Other times!!!!!

Alright, I don't want to go on too long.

Start with hands separate and choose a comfortable fingering to play very legato. However, the pedal must not be absent. Put small episodes together with both hands. Slowly. Greatly emphasize the cantability of the thematic parts. Good luck, it is not one of the easiest sonatas....but it is one of the most beautiful.

If you want, send me an MP3 of how you are approaching your study.

Bye

Paolo

fabio73 wrote:

Hi Paolo and Simone. I am starting to read the Scarlatti sonata (L 33 in B minor) and it wouldn't be bad if some advice popped up. I will then try to record the study phase as well so you can give me advice, okay? The sonata in B minor seems four-part to me, even though I had only just started studying the harmony when I gave up. I am starting voice by voice but I haven't done variations yet. Furthermore, I am trying to understand its meaning well (especially the phrases). Any tips?

My teacher helped me immensely with fingerings, and Scarlatti is always difficult because right hand and left hand are always very close and intertwined.... in fact, even the fugue from the first prelude, volume 1 of Bach's Well-Tempered Clavier, was not simple at all. I think the best thing is to finger the whole thing while trying to understand where to slur and where to keep the voices, trying to create a fingering compatible with slurs and accents. Right? Let me know. Thank you very much.

P.S. Generally and on average, how long does it take to bring a sonata of this type to performance? Or at least in how many hours of study? It is a curiosity I have always had, which would also help me understand if I am a slow learner or not.

Hi Fabio.

Recording the study phases is certainly something that can help us understand your methods and your timing. Obviously, learning times vary based on countless variables, so everyone has their own. Regarding the study of voices, I believe that at the beginning it should be more of a desk study; therefore, recognizing the themes and marking them, the execution, and the "implementation" of the theme is something that happens once the piece is standing on its own. In fact, themes should not be accented but thought. The thought of the theme will make it come out naturally without that mechanical and intentional effort to make it heard at all costs. In polyphonic compositions, in fact, every voice has its importance; the main themes must be heard without a shadow of doubt, but it is the thought of the theme in your head that generates the intention, and not vice versa. It is a sonata that suggests many dynamic variations, and perhaps it is among Scarlatti's works that best valorize his thought on the piano, which indeed provides the possibility to differentiate dynamics, unlike the harpsichord which, despite having a character very different from the piano, left almost no possibility for dynamic expression. During the study phase, I advise you to start marking the correct fingerings. Start by taking a phrase and then just a few measures. Begin slowly with the right hand and write down the fingerings; however, I advise you to adopt a moderate tempo after a few repetitions because it allows you to observe if the fingering you chose at a slow tempo is effective enough even at speed. Repeat the same thing with the left hand. Once you have fingered both hands and gained confidence with the measures you have performed, immediately start playing with both hands together, slowly increasing the tempo only when you notice that at the current tempo you have no problems with fingering and notes.

When you have finished reading, you will realize that the voices you previously highlighted at your desk, by thinking about them in your head, will come out on their own. Try it to believe it...

We look forward to your recording.

Happy studying...

Dearest Paolo and most meticulous Simone, thank you infinitely for your time.

I actually strongly agree regarding the piece that continues to mature over time because it can only be so; once all problems are reached and resolved, the mind opens up toward new intentions and discoveries. I think performing a musical piece corresponds to digging underground.... one digs and digs, but even if the desired depth has been reached, nothing prevents us from continuing to dig. I also strongly agree with the fingering using a tempo that is not too slow, because it is a classic case where the fingers work well at a slow tempo only to then fail at a fast one.

This sonata, Paolo, you said correctly that it is "weeping," but I cannot define it as dramatic. In effect, it has its own drama, but it is a melancholy and sad drama where it seems that every voice belongs to a character who, in some way, "muttering, declaims memories or reasons for existence." I don't know what to say in the face of this composition, but I will only try to perform it with humility and dedication.

P.S. Simone, what you say about the voices and their entry along with the intentionality of making them heard is very true, and I too have always fought for this point. When studying the piece, however, it truly seems like a forced thing to make the voices enter with intention. Thank you so much again, I will post again as soon as possible.