Notes and Editorial Reviews
"The Neapolitan Pietro Domenico Paradies (1710–92), who bore the nickname “Paradisi,” likewise emigrated to London early in his career. There his Sonate di gravicembalo were first published in 1754. Evidently these sonatas were some of the most popular keyboard music of the later 18th century, to judge from the several reprints published in Paris (1765) and London (1770, 1781, and 1790). The music bears the heavy stylistic imprint of Domenico Scarlatti, which is not surprising since the very first printed editions of Scarlatti’s sonatas appeared in London during the 1740s, and quickly took the British capital, and later all of Europe, by storm. Paradies expanded on the sonata concept of Scarlatti, creating extended sonata-allegro
movements with a complex thematic and tonal structure that foreshadows later developments by Emanuel Bach, Haydn, and Mozart. The music is often dazzling in its rhythmic and thematic complexity—it’s not the sort of music that you walk away from whistling a memorable tune. The unflagging height and breadth of Paradies’s invention—not unlike that of Scarlatti—are proof that the French and Germans did not have a lock on keyboard music during this period—far from it.
Ravizza brings his considerable keyboard skills to bear on this challenging music, with excellent results. This time in addition to the Taskin, he plays a copy of a two-manual harpsichord by J. D. Dulcken. With its more transparent sound and sharper attack, it’s a good match for the music. Highly recommended."
FANFARE: Christopher Brodersen
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