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John Williams  D Scarlatti - Sonata K213
John Williams D Scarlatti - Sonata K213 John Williams - D. Scarlatti - Sonata K.213
Big Guitar - Sonata K.213 - D. Scarlatti - André Madeira
Big Guitar - Sonata K.213 - D. Scarlatti - André Madeira Domenico Scarlatti - Sonata K.213 Player: André Madeira Website: www.madeiraguitareditions.com Biography: André Madeira began his musical studies with Américo Fernandes and the study of classical guitar with Ragner Tovar. He attended the Conservatory Calouste Gulbenkian of Aveiro with the teacher Miguel Lelis. After that, he joined to the Department of Communication and Art of the University of Aveiro getting the Graduation with Professor Paulo Vaz de Carvalho. In 2000, André Madeira was accepted at the Hochschule für Musik Köln in Germany pursuing his studies in guitar and chamber music under the supervision of Roberto Aussel, getting the "Diplom Instrumetausbildug" in 2005. He also studied for five years at the same school with "Contemporary Music" under the supervison of the pianist Paulo Álvares, integrating the "Ensemble of Improvisation and Alaeatoric Music" of Musikhochshule Köln performing in cities in Germany, Belgium and Italy. In 2005 continues his postgraduate studies with Odair Assad at the Conservatoire Royal de Mons, École Supérieure dés Arts, Musique Théâtre Déclamation and, after that began the Master in Guitar with Odair Assad too finishing with in 2010. During his artistic career participated in several courses of guitar with David Russel, Costas Cotsiolis, Roberto Aussel, Leo Brouwer, Eduardo Issac, Robert Brightmore, Ricardo Gallen, Álvaro Pieri, Joaquin Clerche, Josef Zsapka, Eduardo Baranzano, Carles Trepat and Pablo Marquez. André Madeira has won ...
Donal Fox: Scarlatti Jazz Suite Project
Donal Fox: Scarlatti Jazz Suite Project Donal Fox's jazz plays upon many traditions

"Fox's band has the Modern Jazz Quartet's poise
and John Coltrane Quartet's power"

Composer/pianist Donal Fox has forged a unique amalgam of jazz, Latin American, and classical music. Past projects have focused on Johann Sebastian Bach, but the centerpiece of Saturday night's Regattabar performance was a jazz suite incorporating the music of Domenico Scarlatti .

Fox was accompanied by vibraphonist Stefon Harris, bassist John Lockwood , and drummer Terri Lyne Carrington. This instrumentation inevitably brings the Modern Jazz Quartet to mind, but Fox's band married that group's cool poise with the power and momentum of the John Coltrane Quartet.

The opening number was based on an Astor Piazzolla tango. Rather than presenting the usual string of solos, piano and vibraphone engaged in a fluid, improvisatory dialogue. Lockwood and Carrington's bass and drums provided active but essentially supportive background for the friendly jousting of Fox and Harris.

The second number was Fox's ``Inventions in Blue," which drew from Bach's Two-Part Invention No. 4 in D Minor. It began as a rapid, African-sounding vamp, spelled by lyrical piano chords that floated over the pulsating rhythm. Harris's swinging, bluesy solo was bouyed by Lockwood's walking bass and Carrington's urgent ride cymbal.

By Kevin Lowenthal, Globe Correspondent June 2006
© Copyright 2006 The New York Times Company
Pierre Hantaï plays D. Scarlatti
Pierre Hantaï plays D. Scarlatti Composed by: Domenico Scarlatti (1685-1757) Played by: Pierre Hantaï Sonatas K535 and K371 ---------------------- Enjoy!
Rare Classical Guitar Video: John Williams - Scarlatti Sonata K159
Rare Classical Guitar Video: John Williams - Scarlatti Sonata K159 Original Video: Praetorius - 3 Dances Roncalli - Passacaglia Weiss - Suite in F Scarliatti - Sonata K213 (in Dm) Scarlatti - Sonata K159 (in D) Scarlatti - Sonata K208 (in A) Scarlatti - Sonata K380 (in E)
Scarlatti: Sonata in B minor, K. 27 (L. 449) - Gilels
Scarlatti: Sonata in B minor, K. 27 (L. 449) - Gilels Emil Gilels Plays Domenico Scarlatti's Sonata for keyboard in B minor, K. 27 (L. 449)
Aline d'Ambricourt plays Domenico Scarlatti Sonate K.141
Aline d'Ambricourt plays Domenico Scarlatti Sonate K.141 Aline d'Ambricourt plays the sonata K.141 of Domenico Scarlatti on the harpsichord Taskin (1787 - Museum of Art, Hamburg) in the musical documentary film "Domenico Scarlatti l'Intemporel" produced by Aline d'Ambricourt.' DVD in sale on www.clavecin.com
Glenn Gould - Scarlatti sonata in D minor "Pastorale"
Glenn Gould - Scarlatti sonata in D minor "Pastorale" Glenn Gould plays a Domenico Scarlatti sonata, K. 9 (L. 413)
Domenico Scarlatti - Sonata K178 transcribed for guitar
Domenico Scarlatti - Sonata K178 transcribed for guitar Visit my website! www.rick-graham.co.uk A piece written for the harpsichord by Domenico Scarlatti transcribed for classical guitar
Scarlatti Sonata in A major K 208: Brouwer (2 of 12)
Scarlatti Sonata in A major K 208: Brouwer (2 of 12) Cuban guitarist Leo Brouwer plays his transcriptions of 12 keyboard sonatas by Domenico Scarlatti in a magnificent (and long out-of-print) 1974 recording. Sonata in A major K. 208/ L. 238 (1753) To hear the whole set uninterrupted, go to www.youtube.com From Brouwer's liner notes from the LP: "FORM It would be wrong to attempt to find in Scarlatti's work the formal plan of a classical sonata; but there are nevertheless analogies in structure, formal relationship and thematic conception. Whereas the traditional form is in three sections, Scarlatti maintains a balance between his two sections, including development periods at the start of the second. Contrary to traditional procedure, the final ideas presented in the first section are those which run parallel with the second half. Nor is it to be expected that the opening themes should start the second section (as is customary with German baroque). This occurs in some sonatas of the first period, called by Kirkpatrick "closed sonatas" -- see K. l (L. 336). The "open sonata" is one where the initial ideas do not open the second section. Summarising, it can be said that, excluding the initial theme which Scarlatti in general uses in the form of an "opening", the rest of the thematic ideas are developed and periodically re-presented in nearly all the compositions. Typical Scarlatti thematic patterns are in general: 1. Generative rhythmic patterns (K. 443-L. 418). Thematic cells of popular character --predominantly Spanish ...
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