Johann Straus II - Vergnügungszug (Pleasure Train), op. 281

Johann Strauss II , known for his waltzes and lively compositions, had a unique approach to his creative process. He consistently sought contemporary and relevant themes to serve as the driving force behind his new musical compositions. This approach ensured that his work remained fresh and connected with the audiences of his time.  One notable instance of this creative approach was the composition of this polka, composed in 1864. This piece of music was specifically crafted for a summer concert held in the picturesque Russian town of Pavlovsk. It's fascinating to note that Strauss drew inspiration for this composition from the world around him. In this case, he found it in the emerging technology of the time, namely, the steam locomotive. The composition itself is a testament to Strauss's ability to capture the essence and energy of the subject matter. The rhythm of this dance piece mirrors the rhythmic chugging and movements of the old-fashioned steam trains that were prevale...
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Domenico Scarlatti - Introduction


Domenico Skarlatti had to be released from the paternal domination and emigrate, in order to benefit the music by developing his jealous gifts. In search of the new, he focused his effort on composing for the keyboard instruments (mainly the harpsichord), which in his time, were constantly evolving and had invaded spectacularly in the lives of the music lovers.

The 555 sonatas for keyboard instruments that came to fruition from his creative mind are not just exercises of interpretation (essercizi), as he had named them and as was previously believable. They are an imaginative series of short compositions, which introduce new techniques of interpretation and herald the magnificent form of the tripartite sonata.

A rare arsenal of harmonious and rhythmic wealth is revealed by listening to these compositions by Domenico Skarlatti. He wasn't just a virtuoso performer, he was also a master of imagination. Mixes with exceptional subtlety and balance the polyphony with the monody. His writing is constantly met with the grace, spirit and elegance of the Baroque era. He doesn't imitate anyone. On the contrary, being innovative, he creates the conditions to imitate him.

Sonatas, the cutting edge of Domenico Skarlatti's much-documented work, were the subject of a major investigation and cataloguing. First the Italian pianist and composer Alessandro Logo dealt with the archiving and organization of these works. Their numbering is defined by the prefix L.

Newer is the work of the American harpsichordist Ralph Leonard Kirkpatrick. The list he has drawn up - where sonatas are defined by K - is considered definitive.

(George Monemvasitis)


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