# All 555 Scarlatti Sonatas played at once



## Bwv 1080 (Dec 31, 2018)

Fortunately, its done properly on harpsichord in accordance to standards of the period


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## Art Rock (Nov 28, 2009)

I thought this would be a freakishly long concert, but it even more strange than that.


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## Logos (Nov 3, 2012)

Too many notes.


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## Portamento (Dec 8, 2016)

This is genius.


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## DeepR (Apr 13, 2012)

Scarlatti was ahead of his time.


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## flamencosketches (Jan 4, 2019)

I like how it gets quieter toward the end and around 6:30 there's only one harpsichord playing because it's apparently the only sonata of that length :lol:


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## Bwv 1080 (Dec 31, 2018)

flamencosketches said:


> I like how it gets quieter toward the end and around 6:30 there's only one harpsichord playing because it's apparently the only sonata of that length :lol:


 But which sonata?


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## Larkenfield (Jun 5, 2017)

I sensed a wrong note in Sonata No. 34 and it kind of ruined the mix.  The dense mix reminded me of the final note of A Day in the Life by the Beatles. All it needed was a decrescendo that lasted into infinity...


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## Resurrexit (Apr 1, 2014)

A cacophonous racket. So what?


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## Phil loves classical (Feb 8, 2017)

My imitation of rock critic Piero Scaruffi:

The cosmic radiance of the first 5 minutes of the piece is unprecedented. The dramatic shifts in energy, the profound heartbreak of hearing each melody striving to be freed from the multitude into its own existence. It is the Big Bang encapsulated into music. The passage of time is inverted upon itself. The brush stroke of notes from Michaelangelo meets Picasso. Its central theme is of 
multiplicity of humanity, its good, its evil... death, rebirth....
(Multiply and expound the above into 5 paragraphs).


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## BrahmsWasAGreatMelodist (Jan 13, 2019)

Phil loves classical said:


> My imitation of rock critic Piero Scaruffi:
> 
> The cosmic radiance of the first 5 minutes of the piece is unprecedented. The dramatic shifts in energy, the profound heartbreak of hearing each melody striving to be freed from the multitude into its own existence. It is the Big Bang encapsulated into music. The passage of time is inverted upon itself. The brush stroke of notes from Michaelangelo meets Picasso. Its central theme is of
> multiplicity of humanity, its good, its evil... death, rebirth....
> (Multiply and expound the above into 5 paragraphs).


You forgot: 9.5/10


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## SONNET CLV (May 31, 2014)

My word! It's happened! Finally!

I've been working my way through the Scarlatti sonatas (I have two complete sets in my disc collection) for years, and I can now say with certainty that I've heard them all!

The only issue now is: I'm wondering if I prefer _this_ performance over any of those I've heard of the John Cage piece titled 4'33". I'll have to listen to them both again, carefully. And, maybe simultaneously, too!

By the way, this Scarlatti performance has a really weird ending. I mean, those last couple of measures. Wow. Freaky!


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## Trout (Apr 11, 2011)

And in related news, here's every Haydn symphony played at once:






Eat your heart out, Ives!


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## EdwardBast (Nov 25, 2013)

That was quite an interesting listening experience, the last minute and a half especially, where the texture gradually clears and details become more and more apparent. The first movement of Schnittke's Third Symphony, toward the end, does something similar. The individual threads of a dense texture gradually come into focus.


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## jegreenwood (Dec 25, 2015)

As performed by Dr. T?


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## SONNET CLV (May 31, 2014)

Trout said:


> And in related news, here's every Haydn symphony played at once:
> 
> 
> 
> ...


This may be the only recording of the Complete Haydn Symphonies that one needs! Especially if one is not a big fan of Haydn!

I remain a big fan of Haydn, and I love it. But I won't stop listening to the symphonies one at a time, either. Haydn's music allows for multiple accesses to its enjoyment.


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## AeolianStrains (Apr 4, 2018)

I think I prefer the Haydn pieces better. The Scarlatti just sounds like noise, but the Haydn compilation sounds like a nightmarish hellscape that only at the very end resolves into pleasantry (around the 28 minute mark), though not without some lingering raucousness until the final measures give a sense of real completion.


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## Iota (Jun 20, 2018)

Oh my, kind of wildly lovely that ending to the Haydn!  I love the drops and surges in energy in the last minute or so. What foresight Haydn had in allowing for the possibility that this one day might be done and constructing the symphonies accordingly! 

The sound for the large part, sounds not dissimilar to an ice rink organ to my ears.


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