Espona, sometimes, is as good as Scarlatti, but you have
to be selective. (though it must be said that some Scarlatti is a bit
ordinary, and a lot more is so awkward to play, with its cross-hands work, that
it's best avoided)
Here are my experiences with the pieces published by Scala
Aretina in 2001 - the "Clavichord or Harpsichord Sonatas". *** denotes an outstanding
piece worthy of serious practice and good enough to
record on cd.
Very beautiful. Vary the ornamentation on the repeat,
and do not be afraid of adding extra ornamentation in rh
and lh. For example: bar 59 - mordents on the strong beats, rh; bar 61 -
fill in the gaps in the left hand, so you play Bb-A-G,
C#-B-A, A-G-F with the first two notes of each "triplet" being demisemiquavers.
This can be done in various places throughout the piece.
Another excellent sonata in Dm. Half the ornaments, however, seem to
be missing. For example, mordents on second beat of bars
16, 18, 20, 22, 27 and many others...Fill in some of the
gaps in the rh, e.g. bar 34 - could play semiquaver B-A instead
of quaver B on the 5th note, also bar 72: play semiquaver
E-D instead of quaver E on 5th note. Bar 74 - play
semiquaver E-D instead of quaver E on 5th note. The printed
score is not a holy relic - it is a framework around which you
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