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My friend, there are tons of lists and compilations on the internet that people have already made. Instead of giving you my favorites (after all, you and I don't even know each other -- something being a favorite of mine would be meaningless to you!), I am going to suggest that you attend a wide variety of concerts where you live, and use that as a starting ...


5

If you take a look at music like the two-part inventions and three-part symphonies by Bach, they make a lot of musical sense, and while they are intended as practice pieces, the prevalent problem (and increase of diffuculty when going from inventions to symphonies) is not one of hitting particular combinations of notes at the same time but rather of ...


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Gould is both the most appreciated and most criticised performer of Baroque music! And he's translating the music to piano, which has a quire different set of expressive possibilities to the instruments the composers knew. Enjoy!


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The are two basic types of editions; performing editions where the editor tells you how he/she thinks the piece should go, and urtext editions which tell you what the composer wrote, or show you all the alternatives if that is not known exactly. Longo is unashamedly a performing edition in the style of piano-playing 100 years ago, and almost every note of ...


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I'd go with the Venice archive variants, but then, I probably wouldn't go with Longo's edition - he had some tendency to "correct" things. Kenneth Gilbert's Urtext edition (Volume 5 here) goes entirely with Venice. I don't know if K. 208 is to be found in the M√ľnster (Santini) or Parma archives as well (can't find indexes), but then, we lack anything ...


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I am by no means a Scarlatti expert, and have no specific knowledge of this piece, but in general: It depends on your audience. If this is something formal (like an audition), you'll want to find out if they have a preference as to source material. If you're playing it for your own benefit, or your friends, or even a college recital, go with your ear. Just ...


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Well, the thing to remember is that the harpsichord and organ have no touch sensitivity like piano, and the piano wasn't invented yet. So any kind of keyboard music was written to be played all at the same volume, and composers made the sound fuller or emptier by managing the voicing. If you play a Bach fugue on a piano, you can add dynamics but it won't ...



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