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Harpsichordist Amaya Pozuelo performs these works with a nice passion. Her articulation is clear and bright. She alters registration as needed, outlining the often static lines, especially in... — Fanfare, March/April 2020 More…

Release Date: 6th Sep 2019
Catalogue No: STR37140
Label: Stradivarius
Length: 67 minutes

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Scarlatti, D: Sonata for harpsichord K 213 in D Minor

Work length10:34

$3.00

$3.85

$5.25

Amaya Fernández Pozuelo (harpsichord)

Soler, A: Sonata for harpsichord No. 84, R 413, in D Major

Work length4:41

$1.00

$1.30

$1.75

Amaya Fernández Pozuelo (harpsichord)

Scarlatti, D: Sonata for harpsichord K 1 in D Minor

Work length3:24

$1.00

$1.30

$1.75

Amaya Fernández Pozuelo (harpsichord)

Albéniz, M P: Sonata for harpsichord in D Major

Work length3:37

$1.00

$1.30

$1.75

Amaya Fernández Pozuelo (harpsichord)

Scarlatti, D: Sonata for harpsichord K 201 in G Major

Work length5:32

$1.00

$1.30

$1.75

Amaya Fernández Pozuelo (harpsichord)

Scarlatti, D: Sonata for harpsichord K 98 in E Minor

Work length4:35

$1.00

$1.30

$1.75

Amaya Fernández Pozuelo (harpsichord)

Scarlatti, D: Sonata for harpsichord K 208 in A Major

Work length4:40

$1.00

$1.30

$1.75

Amaya Fernández Pozuelo (harpsichord)

Albero: Sonata for harpichord No. 12 in D Major

Work length6:19

$1.00

$1.30

$1.75

Amaya Fernández Pozuelo (harpsichord)

Lopez, F M: Variaciones al Minué afandangado in D Minor, for harpsichord

Work length8:44

$2.00

$2.60

$3.50

Amaya Fernández Pozuelo (harpsichord)

Scarlatti, D: Sonata for harpsichord K 184 in F Minor

Work length7:23

$2.00

$2.60

$3.50

Amaya Fernández Pozuelo (harpsichord)

Scarlatti, D: Sonata for harpsichord K 115 in C Minor

Work length7:55

$2.00

$2.60

$3.50

Amaya Fernández Pozuelo (harpsichord)

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Amaya Fernández Pozuelo writes of her new release: “In front of a score, the performer - as in a play of shadows - is always and unfailingly faced with difficult interpretative choices between appearance, reality and imagination. Domenico Scarlatti’s language in its simplicity and immediacy goes beyond the direct meaning of notation. What should be read according to convention for other authors, in Scarlatti’s pieces a potential changeable meaning is to be sought, never exactly the same. Everything becomes more understandable if one thinks of Scarlatti as a composer who performed his sonata before noting it on paper. The development and the definitive draft have always perfectly blended the alea of improvised execution and formal completeness. The limits of notation, almost perfect for those times, lie in the performer’s profound understanding of the author style and of the relationship intertwining structural rigor, stylistic-formal perfection, and free inventiveness. For this to occur, the musician-performer’s intuition is to transcend and make the written signs meaningful and make them his or her own. Only in this way can the non-writable, the unsaid but thought of, the changeable meaning, emerge as well as the allusion to and participation in the vast panorama of human emotions. In my interpretation of Scarlatti sonatas and of his imitators and epigones on the album, I intended to make these hidden elements audible, palpable: its effects and affects, which are rich, varied and manifold.”

Reviews

March/April 2020

Harpsichordist Amaya Pozuelo performs these works with a nice passion. Her articulation is clear and bright. She alters registration as needed, outlining the often static lines, especially in the Scarlatti.

Alio modo

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