Domenico Scarlatti (1685-1787)
Sonatas – A 1791 publication edited by Muzio Clementi for the Piano-Forte
Charles Metz (square piano)
rec. 2023, Skywalker Studios Lucas Valley, USA
Navona NV6558 [71]

Two novelties. First, presenting selected Scarlatti sonatas edited by Clementi in 1791, influential in boosting awareness of him, with added expression marks to aid performance. We now know, see the contents list below, two sonatas weren’t by Scarlatti and two transposed as explained in Charles Metz’s notes where you’ll also find a sound sample of Sonata Kk378. Second novelty, playing a square piano made by Clementi in 1806, a lovely, fuller sound than earlier fortepianos yet more intimate than the more versatile choices by other pianists in my selected comparisons, Carlo Grante favouring the Bösendorfer Imperial concert grand launched in 1909, the others Steinway Model D launched in 1884. More on square pianos here.

The Sonata in E major, Kk380 (tr. 3), in Scarlatti’s original key here, showcases his often-high spirits, its first theme a brightly tricking fanfare in soprano register. A descending phrase followed by three trills, repeated then echoed an octave lower in alto register. In its second strain (0:27) the descent is more flamboyant, now for soprano and bass in turn. The soprano then has a gleeful five-note phrase repeated four times before closing and pausing. The second theme (0:46) is another fanfare, this military style, soprano echoed by bass. Again, soprano leads, now in triumphant running semiquavers, and in a joyous codetta (1:25). The second part of the sonata (3:11) begins with its development section offering a mellower treatment of the second theme rising into coloratura register in crisis then easing back to recapitulation of the second theme. Charles Metz gives a trim and clear account with equal focus to the soprano and lower lines, though this makes the often-plain bass seem dour.  Metz’s added ornamentation in the parts’ repeats is judicious.

I compare Federico Colli recorded in 2017 (review). Timing at 5:22 against Metz’s 6:14, Colli’s approach is lighter, rhythms more springing, the overall effect more humorous, the fanfares enlivened by contrasting moderately loud and softer dynamics and more zealous focus given the soprano’s five-note phrase. Coli treats the highest register ‘crisis’ more musingly, the military fanfares more jolly owing to the freedom and flow of his phrasing. He makes the sections’ ends more climactic. You get more feel of how everything fits together.

Another Sonata in E major, Kk531 (tr. 9) sports a first theme of spectacular four-octave waterfall descent. To compensate, the second strain (0:10) has a seven-note rising figure dovetailed between the ‘voices’. The second theme (0:40) is like the second strain modulated and marking time until late sleight-of-hand gets all back on track. How well the waterfalls sound on Metz’s square piano, with delicacy but also glow and how clear the explosive quality of the rhythm. The second part of the sonata (1:56) is dominated by the reworking of the marking time in starker modulations and animated playing from Metz, the climax of which is ascents to coloratura E (2:24, 2:30).

Colli, recorded in 2019 (Chandos CHAN 20134), makes the waterfall first a thing of beauty, emphasising smooth flow. His repeat of the opening section is then vigorous and through arpeggiating some phrase openings he spurs the piece on. Arguably his dynamic contrasts are too extreme. The second part marking time passages mysteriously emerge from nothing, Colli goes for sheer glistening beauty in the coloratura ascents, but I prefer Metz’s marking the effort required to gain them.

Yet another Sonata in E major, Kk206 (tr. 8), is masterly discursive and mood changing, the longest on this disc. The soprano melody has become arioso, precious and extended. The second strain (0:48) is pained, beginning with a descant layered over the melody and then turns from reflection to direct pleading (1:24), only resolved by a rising chromatic scale. The second part (5:28) is a melody of pathos elaborated, with unwavering, often dissonant chords in the left hand also in the treble clef graphic through Metz’s clarity. The resolution (6:11) then seems a recall of happier times in a search for normality, the returning pleading a prayer for it, as is Metz’s quietly wished top C climax (8:12).

I compare Christoph Ullrich recorded in 2020 (Tacet 268). Timing at 9:21 to Metz’s 11:17 he’s more flowing, less declamatory, smooth and beautiful, but the second strain is only a little clouded. The problems, while more insistent, are readily swept away. The second part is icier, but again the resolution comes quick, ditto the return of the pleading and even top C.

Now the more typical Scarlatti, a Sonata in D major, Kk400 (tr. 5). Metz presents an uproarious carillon of semiquavers’ descents begun by soprano with tenor soon asserting. Then enjoy frequent emphatic cadences in quavers. The second part (1:35) contrasts a melody largely in quavers, semiquavers’ presence reduced then returning and a climax of coloratura descant over the recapped first part material and stratospheric top Ds layered over the returning carillon.

I compare Carlo Grante, performer of the only complete Scarlatti sonatas on piano, this sonata in volume 4 recorded 2013 (review). Amazingly he times at 2:23 against Metz’s 3:22, but I find Metz easier to live with and Grante’s emphatic cadences less punchy. But he does bring more tension to his headier second part with dissonances in the melody clearer.

My final selection, the Sonata in F minor, Kk462 (tr. 10), is a rare Scarlatti use of minor key. Metz’s account for me a rarefied, savoured melancholy, the soprano lead constantly supported by a ‘tenor’ who eventually turns to leading. But in the second part (3:30) the soprano leads and tenor becomes conciliatory. In repeats Metz’s tastefully increased ornamentation confirms meticulously crafted expression.

This sonata is in volume 5 of Grante’s set recorded 2016 (review). Timing at 6:47 against Metz’s 7:20, I find Grante more moving in his more flowing Andante. There’s more poignancy here in restraint, yet when the man leads the lady becomes more agitated. In Grante’s second part I find more sense of climax from the soprano (4:06 in Metz), not being overstated key to the integrity of the expression.

Michael Greenhalgh

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Contents
Sonata Kk378 in F
ANON attrib. Samuel WESLEY, Sonata in F
Sonata Kk380 in E (Clementi edition F)
Sonata Kk490 in D
Sonata Kk400 in D
Sonata Kk475 in E flat
Sonata Kk381 in E (Clementi edition E flat)
Sonata Kk206 in E
Sonata Kk531 in E
Sonata Kk462 in F minor
Sonata Kk463 in F minor
Antonio SOLER, Sonata 29 in F