A former student of Valenti told me years ago that the final track on this LP was improvised by Valenti to fill up the side: Fernandez is completely fictional! I think some of his bio in the liner notes draws on Valenti's own life. A brilliant spoof!
So nice you made all the D. Scarlatti recordings of Valenti available. Two years ago, I was able to save 16 D. Scarlatti recordings by Valenti at an open market from the falling rain. I had only 32 euro with me, but the merchant was glad he did not had to store them again.
Mr. Valenti was a favorite of Mr. Challis. At his Fifth Ave. home, he used to extol this wonderful musician. I, unfortunately, never got to hear this man in person.
Excellent LP-transfer - thank you! Quick addendum re Valenti: from 1951 to 1961 he recorded not 26, but 29 Scarlatti LPs, containing a total of 338 sonatas. In June 1962, Valenti recorded an additional eight sonatas (not included in the Westminster set) for Music Guild, which brings his total Scarlatti recordings to 30 LPs, and 346 sonatas. - In January 1964, Valenti re-recorded 12 sonatas previously done for WM, this time for MHS.
Hi--I have actually collected a total of 359 sonatas recorded by Valenti for Westminster and Music Guild. It is confusing because Westminster strangely released two different versions of volumes 24 and 25. I have digitized all 359 and uploaded them to UA-cam; search for the Valenti Scarlatti project.
The complete Valenti recordings on the Westminster label were done with a large double manual, leather plectra harpsichord made by John Challis. He made 26 LP's of the Scarlatti sonatas before Westminster went bankrupt.
Rest of the documentation 1/2 Unlike the majority of Spanish composers represented in this collection, Mateo Albeniz was a layman and not an ordained priest. Among the several facts that corroborate this is the appearance of his son Pedro, who emerged in later years as one of the founders of the qlodern Spanish keyboard school. Whether or not Mateo and Pedro Albeniz are members of the same family of the famous Isaac Albeniz has not been definitely established. A theoretical treatise appeared in San Sebastian in 1802 authored by one Mateo Antonio Perez de Albeniz and scholars are generally agreed that it is by the present composer. The Sonata in D Major (Side 1, Band 1) is typically Scarlattian in style. It is a witty, bumptious work of folkloric character and employs a sort of Zapateado rhythm at a brisk tempo. It is by far the most familiar of the works in the present collection. Padre Rafael Angles was born in the town of Rafaeles in the province of Aragon about 1730. Later in his life he travelled-about Spain and in 1781 we find him occupying the post of organist in Valencia. The voices of Boccherini and Haydn are as unmistakable in the persuasive little Adagietto (Side 1, Band 2) as in the Sonata in F MAjor (Side 2, Band 1) while the Aria il1 D Minor (Side 2, Band 5) is composed of a vocal, almost recitative improvisation on a constant bass. This work is almost certainly a slow section of a larger work the remainder of which has not been found. Padre Narciso Casanovas was born in Zabadell, near Barcelona, in 1747. He was a member of the community of the Escalonia de Montserrat, the traditional seat of Catalan musical culture. Judging from the large number of works for organ by this composer which exist in the archives of that monastery, Casanovas' interest in the more secular harpsichord seems to have been limited to composing only four or five works for that instrument. The SOl1ata in F Major (Side 1, Band 3) is a somewhat transitional work stylistically. It is possessed of many of the customary elements of the Scarlatti tradition, at the same time invoking the more "galant" idioms of the School of Haydn. This is not surprising as we know Haydn to have been well-known and extremely popular in Spain during his lifetime. Padre Jose Galles was born in 1761 in the village of CasteIltersolI in Catalonia. He supposedly spent his entire lifetime as organist in the famous Cathedral of Vich where he died at his post in 1836. He left, among other works, about twenty-odd sonatas for keyboard from which were taken the present Sonata in F Minor (Side 1, Band 4) and the Sonata in B Flat (Side 1, Band 6). Like almost all Spanish composers after Antonio Soler, Galles represents a stylistic bridge between the waning school of Scarlatti and the increasingly popular style of the classicists.
Thank you for this! Wonderful, passionate and spontaneous playing. Still a big fan of many harpsichordists of the post Landowska generation and the modern instruments they played.
Rest of the documentation 2/2 Of Freixanet not even his first name is known. Since no ecclesiastical record of his ordination has been found, and since the little music of his there is exists in secular or municipal libraries and not in those of monasteries, it is safe to assume that, like Mateo Albeniz, he was not a clergyman. Despite an almost complete dearth of facts con· cerning his life, he is generally assumed to have been a contemporary of Soler. The Sonata ill A Major (Side 1, Band 5) is an incisive, rhythmically asserted work with a striking dancelike character. Its spatial organization is, of course, completely in the Scarlatti tradition. Padre Felipe Rodriguez seems to have been such a con· spicuous personality during his own lifetime, this extending from 1759 to 1814, that considerably more biographical data is available in connection with him than in connection with virtually any other of his contemporaries. We know that he studied with Padre Narciso Casanovas, that he entered · the priesthood in 1778 at the Escalonia de Montserrat, and that he was later transferred to Madrid where he held a post as organist which remains as yet unidentified. Many later Spanish organists and minor composers are known to have been his pupils and a large number of his compositions for the organ are available in Madrid and Barcelona. In the Rondo in B Flat (Side 2, Band 2) we note once more the effect of Spain's devoted partiality to the earlier works of Haydn. The word Rondo itself can be construed as evidence of a strong classical influence as the Spanish term Rondon, although having generally the same origin, refers more to the spirit and character of a given dance than to the actual "form" of the music. As in the case of Freixanet, not even the first name of the composer Cantallos is known. He is generally supposed to have been born around the years 1760-65, a conjecture which cannot be conclusively supported. The favorite rhythm of the Zapateado is used again in the Sonata in C Minor (Side 2, Band 3). No other works of Cantallos have come to light at this writing. Bias Serrano also stands before us as a figure shrouded in mystery. He is said to have studied. in Italy which seems quite possible as the present Sonata in B Flat (Side 2, Band 4) has some general characteristics of an Italian "arietta." Interesting as this idea may be, however, there is not one shred of factual evidence to turn it into an actual historical fact. Padre Hipolito Fernandez was born in Valencia about 1762. He is said to have travelled to the Island of Majorca in about his twenty.ninth year when he performed on the organ and gave occasional lessons, including some to the family of the military governor of the Island. The present work is distinctly in the Scarlatti style and leads us to regret exceedingly that no other music is known of this composer's authorship. THE ARTIST FERNANDO VALENTI
I'm doing fine, but somewhere I lost my vinyl stereo recording configuration in the process. So now I am temporarily dedicate myself to another channel where I can put the output of radio live recordings of concerts (which is an entirely different setting) with the texts sung and some pictures of the concerts so I can relive and understand the performance better. And I am lucky living in Amsterdam where there are plenty of fine concerts broadcasted by the radio. So a little halt here till I figutred out how to retune the equipment for vinyl recordings again.
![[CCCO] J.S. Bach: Keyboard Concerto in D minor, BWV 1052 | Ana Glig, piano](/img/n.gif)
A former student of Valenti told me years ago that the final track on this LP was improvised by Valenti to fill up the side: Fernandez is completely fictional! I think some of his bio in the liner notes draws on Valenti's own life. A brilliant spoof!
Great story. He was a fascinating person
Some of the Scarlatti volumes were recorded in Europe on German instruments, but most were done with his beloved Challis.
So nice you made all the D. Scarlatti recordings of Valenti available.
Two years ago, I was able to save 16 D. Scarlatti recordings by Valenti at an open market from the falling rain. I had only 32 euro with me, but the merchant was glad he did not had to store them again.
Mr. Valenti was a favorite of Mr. Challis. At his Fifth Ave. home, he used to extol this wonderful musician. I, unfortunately, never got to hear this man in person.
Yes, I can understand. Even now his recordings are remarkable
Excellent LP-transfer - thank you! Quick addendum re Valenti: from 1951 to 1961 he recorded not 26, but 29 Scarlatti LPs, containing a total of 338 sonatas. In June 1962, Valenti recorded an additional eight sonatas (not included in the Westminster set) for Music Guild, which brings his total Scarlatti recordings to 30 LPs, and 346 sonatas. - In January 1964, Valenti re-recorded 12 sonatas previously done for WM, this time for MHS.
Hi--I have actually collected a total of 359 sonatas recorded by Valenti for Westminster and Music Guild. It is confusing because Westminster strangely released two different versions of volumes 24 and 25. I have digitized all 359 and uploaded them to UA-cam; search for the Valenti Scarlatti project.
The complete Valenti recordings on the Westminster label were done with a large double manual, leather plectra harpsichord made by John Challis. He made 26 LP's of the Scarlatti sonatas before Westminster went bankrupt.
Thanks! That will help us out (have included it in the description).
Rest of the documentation 1/2
Unlike the majority of Spanish composers
represented in this collection,
Mateo Albeniz was a layman and not
an ordained priest. Among the several
facts that corroborate this is the appearance of his son
Pedro, who emerged in later years as one of the founders
of the qlodern Spanish keyboard school. Whether or not
Mateo and Pedro Albeniz are members of the same family
of the famous Isaac Albeniz has not been definitely established.
A theoretical treatise appeared in San Sebastian in
1802 authored by one Mateo Antonio Perez de Albeniz and
scholars are generally agreed that it is by the present composer.
The Sonata in D Major (Side 1, Band 1) is typically
Scarlattian in style. It is a witty, bumptious work of folkloric
character and employs a sort of Zapateado rhythm at
a brisk tempo. It is by far the most familiar of the works
in the present collection.
Padre Rafael Angles was born in the town of Rafaeles
in the province of Aragon about 1730. Later in his life he
travelled-about Spain and in 1781 we find him occupying
the post of organist in Valencia. The voices of Boccherini
and Haydn are as unmistakable in the persuasive little
Adagietto (Side 1, Band 2) as in the Sonata in F MAjor
(Side 2, Band 1) while the Aria il1 D Minor (Side 2, Band
5) is composed of a vocal, almost recitative improvisation
on a constant bass. This work is almost certainly a slow
section of a larger work the remainder of which has not
been found.
Padre Narciso Casanovas was born in Zabadell, near
Barcelona, in 1747. He was a member of the community
of the Escalonia de Montserrat, the traditional seat of
Catalan musical culture. Judging from the large number
of works for organ by this composer which exist in the
archives of that monastery, Casanovas' interest in the more
secular harpsichord seems to have been limited to composing
only four or five works for that instrument. The
SOl1ata in F Major (Side 1, Band 3) is a somewhat transitional
work stylistically. It is possessed of many of the
customary elements of the Scarlatti tradition, at the same
time invoking the more "galant" idioms of the School of
Haydn. This is not surprising as we know Haydn to have
been well-known and extremely popular in Spain during
his lifetime.
Padre Jose Galles was born in 1761 in the village of
CasteIltersolI in Catalonia. He supposedly spent his entire
lifetime as organist in the famous Cathedral of Vich where
he died at his post in 1836. He left, among other works,
about twenty-odd sonatas for keyboard from which were
taken the present Sonata in F Minor (Side 1, Band 4) and
the Sonata in B Flat (Side 1, Band 6). Like almost all
Spanish composers after Antonio Soler, Galles represents a
stylistic bridge between the waning school of Scarlatti and
the increasingly popular style of the classicists.
Thank you for this! Wonderful, passionate and spontaneous playing. Still a big fan of many harpsichordists of the post Landowska generation and the modern instruments they played.
So am I :-)
Rest of the documentation 2/2
Of Freixanet not even his first name is known. Since no
ecclesiastical record of his ordination has been found, and
since the little music of his there is exists in secular or
municipal libraries and not in those of monasteries, it is
safe to assume that, like Mateo Albeniz, he was not a
clergyman. Despite an almost complete dearth of facts con·
cerning his life, he is generally assumed to have been a
contemporary of Soler. The Sonata ill A Major (Side 1,
Band 5) is an incisive, rhythmically asserted work with a
striking dancelike character. Its spatial organization is, of
course, completely in the Scarlatti tradition.
Padre Felipe Rodriguez seems to have been such a con·
spicuous personality during his own lifetime, this extending
from 1759 to 1814, that considerably more biographical
data is available in connection with him than in connection
with virtually any other of his contemporaries. We know
that he studied with Padre Narciso Casanovas, that he
entered · the priesthood in 1778 at the Escalonia de Montserrat,
and that he was later transferred to Madrid where
he held a post as organist which remains as yet unidentified.
Many later Spanish organists and minor composers are
known to have been his pupils and a large number of his
compositions for the organ are available in Madrid and
Barcelona. In the Rondo in B Flat (Side 2, Band 2) we
note once more the effect of Spain's devoted partiality to
the earlier works of Haydn. The word Rondo itself can
be construed as evidence of a strong classical influence as
the Spanish term Rondon, although having generally the
same origin, refers more to the spirit and character of a
given dance than to the actual "form" of the music.
As in the case of Freixanet, not even the first name of
the composer Cantallos is known. He is generally supposed
to have been born around the years 1760-65, a conjecture
which cannot be conclusively supported. The favorite
rhythm of the Zapateado is used again in the Sonata in C
Minor (Side 2, Band 3). No other works of Cantallos
have come to light at this writing.
Bias Serrano also stands before us as a figure shrouded
in mystery. He is said to have studied. in Italy which seems
quite possible as the present Sonata in B Flat (Side 2, Band
4) has some general characteristics of an Italian "arietta."
Interesting as this idea may be, however, there is not one
shred of factual evidence to turn it into an actual historical
fact.
Padre Hipolito Fernandez was born in Valencia about
1762. He is said to have travelled to the Island of Majorca
in about his twenty.ninth year when he performed on the
organ and gave occasional lessons, including some to the
family of the military governor of the Island. The present
work is distinctly in the Scarlatti style and leads us to regret
exceedingly that no other music is known of this
composer's authorship.
THE ARTIST FERNANDO VALENTI
Verry nice 😉
Awesome upload, this is wonderfull♥
I'm no fan of the old cast-iron framed instruments from the 50-60s, but this recording is infectious!!! Thanks so much for posting. PS How are you?
I'm doing fine, but somewhere I lost my vinyl stereo recording configuration in the process. So now I am temporarily dedicate myself to another channel where I can put the output of radio live recordings of concerts (which is an entirely different setting) with the texts sung and some pictures of the concerts so I can relive and understand the performance better. And I am lucky living in Amsterdam where there are plenty of fine concerts broadcasted by the radio.
So a little halt here till I figutred out how to retune the equipment for vinyl recordings again.
Good luck. Your YT channel is an absolutely unique resource!
Thanks, there are so many other great recordings still to do.