This recital puts Beethoven's music in dialogue with Iberian composers, and in particular with João Domingos Bomtempo, his almost exact contemporary and an ardent admirer of the German composer's music. Simultaneously, a path is traced through the evolution of keyboard writing during the eighteenth century, from typically harpsichordist works to others, such as the famous Sonata 'Pastoral', which closes the program, for whose full realization are already indispensable the characteristics and possibilities of the fortepiano.

Bernardo Mariano

20 November 2020, 20:30 - Sto. Amaro Chapel (Misericórdia)
Attention: New schedule
Due to the new governmental indications on the closing time of cultural activities, we were obliged to anticipate the start time of all West Coast 2020 concerts to 20.30. Consequently, the collection of your tickets will be available from 19:30 pm at the concert venue. We're thankful for your comprehension.

 

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PROGRAM

A Fortepiano Journey until Beethoven
Laura Granero, fortepiano


George Friedrick Händel (1685-1759)
“Lascia ch'io pianga” (Rinaldo, 1711). Harpsichord transcription from William Babell (1717)

Domenico Scarlatti (1685-1757)
Sonata in f-major (e-minor original) from “12 Sonates pour clavecin ou forte-piano composées dans le style du célèbre Scarlatti” (ed. 1792)

Marcos Portugal (1762-1830)
Aria to be announced
Transcription by Laura Granero (2020)

Sebastián de Albero (1722-1756)
Ricercata Nr. 3 in b flat-major (published in 1727)

João de Sousa Carvalho? (1745-198) / Mattia Vento (1735-1776) 
Toccata / Sonata in g-minor (published in Londres, 1767)

Antonio Soler (1729-1783) Fandango R.146 (?)
Fandango with variations Op. 4 (1806) 

João Domingos Bomtempo (1775-1842) 
Sonata in g-minor Op. 15 Nr. 2 (1811) 
Largo con molto espressione
Presto

Ludwig van Beethoven (1770-1827) 
6 Écossaises WoO 83 (1806)

Sonata Op. 28 in d-major “Pastoral” (1801) 
Allegro
Andante
Scherzo: Allegro vivace
Rondo: Allegro ma non troppo