Right
now the music of Alessandro Scarlatti is getting more attention
than ever before, but musicians are still very selective
in what they are performing. One part of Scarlatti's oeuvre
that is widely neglected is his keyboard music. Alexander
Weimann is not the first to pay attention to this genre:
the Italian keyboard player and director of the Concerto
Italiano, Rinaldo Alessandrini, devoted a disc to the genre.
But Weimann is the first to plan to record it all. He writes
in the booklet, "as a composer for the keyboard, Alessandro
Scarlatti ... deserves the same respect that we show for
his vocal works." That statement is in strong contrast
to the verdict of Malcolm Boyd in New Grove: "One would
hardly recognize the father of Domenico Scarlatti from the
keyboard works that have survived, most of which seem to
have acted as pupil fodder." It is perhaps a negative
view like this which has prevented Alessandro's keyboard
works from becoming standard repertoire for modern keyboard
players.
The
present disc concentrates on Scarlatti's toccatas, which
are varied in character. Some toccatas contain several sections,
which are distinguished by contrasting tempo indications.
Other pieces are called 'toccata' after the first movement,
which is mostly followed by a fugue and one or two other
movements, including dances like corrente and minuetto.
Many
pieces are very virtuosic, and the most striking example
is the first item on this disc, the 'Toccata d'ottava stesa',
which contains some passages which are almost impossible
to play. No less virtuosic is the next composition, 29 variations
on the famous ostinato bass, known as 'Follia'. Striking
is the use of acciaccature which creates strong dissonances,
and there is an abrupt ending without returning to the original
key. Acciaccature are also used in the Toccata in
A minor (track 7).
Scarlatti's keyboard works are mostly
connected to the past, like the Toccata
in g minor (track 5). Stylistically
this toccata can be compared with the
'toccate all'elevazione' which were
so popular in the 17th century, and
which made use of durezze (harsh
sounds) and ligature (notes to
be played legato). Especially interesting
from the perspective of performance
practice is the Toccata prima, in which
Scarlatti gives indications in regard
to fingering. These are conflicting,
but "some parts do not differ from
modern fingerings" (Alexander Weimann).
As
these compositions contain frequent arpeggios they seem to
be written for the harpsichord. But some can also be played
at the organ, as Weimann writes in the booklet: "There
are hints that everything that is played arpeggio on
the harpsichord should be played tenuto on the organ".
The
fact that Alessandro Scarlatti's keyboard works have circulated
throughout Europe and have been found even in North-American
archives indicates that contemporaries favoured the views
of Alexander Weimann over those of Malcolm Boyd in regard
to the quality of Scarlatti's keyboard works. And Weimann's
plea for this music is very convincing and eloquent. His
playing is technically brilliant, and his interpretation
bold, imaginative and tasteful. I am curious what future
volumes will bring. We should be thankful to Weimann for
taking this ambitious initiative. Listening to this music
one recognizes the father of Domenico Scarlatti. Moreover
this recording colours the blank pages in the history of
Italian keyboard music between Frescobaldi and Domenico Scarlatti.
Johan van Veen
Alexander
Weimann (harpsichord) 
