{"id":12118,"date":"2019-02-03T08:58:33","date_gmt":"2019-02-03T16:58:33","guid":{"rendered":"http:\/\/classicalguitarmagazine.com\/?p=12118"},"modified":"2019-02-03T08:58:33","modified_gmt":"2019-02-03T16:58:33","slug":"its-segovia-sunday-again-the-maestro-plays-scarlattis-sonata-l352","status":"publish","type":"post","link":"https:\/\/classicalguitarmagazine.com\/its-segovia-sunday-again-the-maestro-plays-scarlattis-sonata-l352\/","title":{"rendered":"It&#8217;s Segovia Sunday Again: The Maestro Plays Scarlatti&#8217;s Sonata L352"},"content":{"rendered":"<p>Just think, if we called this &#8220;Scarlatti Sunday&#8221; we could cover more than 550 Sundays on the composer&#8217;s Sonatas alone. (Actually I don&#8217;t have a clue how many of those Baroque keyboard Sonatas have be arranged for guitar by this point; quite a few, though.) But from what I can tell, Segovia only transcribed and recorded two different ones: L352, which is featured in this video (he first recorded it in 1944, but it wasn&#8217;t released on a 78 until 1953), and L79. Perhaps because Segovia recorded it, L352 has been a popular choice of modern guitarists, and it&#8217;s certainly the case that the Maestro even taking on Scarlatti to begin with influenced future generations of players to investigate those works for their potential as guitar pieces. \u2014<em>Blair Jackson<\/em><\/p>\n<figure id=\"attachment_12122\" aria-describedby=\"caption-attachment-12122\" style=\"width: 800px\" class=\"wp-caption alignnone\"><img data-recalc-dims=\"1\" decoding=\"async\" class=\"size-full wp-image-12122\" src=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/02\/Scarlatti.jpg?resize=800%2C493\" alt=\"\" width=\"800\" height=\"493\" srcset=\"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/02\/Scarlatti.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/02\/Scarlatti.jpg?resize=300%2C185&amp;ssl=1 300w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/02\/Scarlatti.jpg?resize=768%2C473&amp;ssl=1 768w, https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/02\/Scarlatti.jpg?resize=600%2C370&amp;ssl=1 600w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption id=\"caption-attachment-12122\" class=\"wp-caption-text\">The prolific Domenico Scarlatti (1685-1757)<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>Just think, if we called this &#8220;Scarlatti Sunday&#8221; we could cover more than 550 Sundays on the composer&#8217;s Sonatas alone. (Actually I don&#8217;t have a clue how many of those Baroque keyboard Sonatas have be arranged for guitar by this point; quite a few, though.) But from what I can tell, Segovia only transcribed and recorded two different ones: L352, which is featured in this video (he first recorded it in 1944, but it wasn&#8217;t released on a 78 until [&hellip;]<\/p>\n","protected":false},"author":11,"featured_media":12119,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6,7],"tags":[],"class_list":["post-12118","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-news","category-watch","post_format-post-format-video"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/classicalguitarmagazine.com\/wp-content\/uploads\/2019\/02\/Segovia-scarlatti.jpg?fit=480%2C360&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/12118","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/comments?post=12118"}],"version-history":[{"count":0,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/posts\/12118\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media\/12119"}],"wp:attachment":[{"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/media?parent=12118"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/categories?post=12118"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/classicalguitarmagazine.com\/wp-json\/wp\/v2\/tags?post=12118"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}