Since we are here, this time let's talk about bookworms instead of writers.
The opportunity is given to me by this chat about our Domenicuccio : (oh yes, I also come from those parts and not by chance all are diminutives: Domenicuccio, Giacomino, Gennarino, etc.).
Reference was made to two numbering systems: the Lxxx and the Kxxx. (there is also a Pnumbering, due to Giorgio Pestelli, who published "Le sonate di Domenico Scarlatti" in 1967)
Anyway, I don't have everything with me, but at least I found something; so, here is the history of the L and the K.
The Neapolitan Alessandro Longo (1864-1945), son of Achille, piano teacher, organist and composer, was the author of the first complete work on the harpsichord works of Domenico Scarlatti, published in 1906 by Ricordi.
For years Scarlatti's sonatas were identified, following this edition, by the initials "L" followed by the order number.
The work certainly had the merit of making 545 sonatas known, whereas at the time of publication only a few dozen were barely known.
Unfortunately, the criteria adopted by Longo did not take into account the author's intentions or temporal succession, neglecting the concepts of pairing and grouping suggested by the manuscripts.
For this reason as well, today the reference critical edition is that of Kirkpatrick from 1953 and the Scarlatti works are designated with "Kirkpatrick Numbers" (KN).
The American Ralph Kirkpatrick (1911–1984) is known as a harpsichordist, but above all as a musician and musicologist who dedicated more than ten years of his life to the knowledge of our Domenico Scarlatti.
His concerts and recordings are famous, including the complete works for harpsichord by J.S. Bach.
Scarlatti was at the center of his interests, and to find the traces and documents necessary for his work, Kirkpatrick traveled through Italy, Portugal, Spain, and other European countries where his manuscripts were kept.
After many years, his work remains unsurpassed and represents, besides a historical document of great value, also a work full of precious elements for the performer, dictated by an expert in the subject matter.
What can I say at this point?
All that remains for me is to show you L33-K87, where the four polyphonic lines of writing and the interesting rhythmic pattern that will also be found in many of the subsequent sonatas appear prominently.
Even if not of high quality, listen, besides Pogorelich, also to the harpsichord performance of the sonata by Scott Ross, in his opera omnia on Scarlatti's sonatas.
Bye
