He took k450- a stuccatic piece by all other interpretations- and turned it into a sweet melodious interpretation. Scarlatti would be proud. I asked a guy in a record store for something that would get me into baroque. It took me over a decade to appreciate what a gift he had given me. Both Scarlatti and Weissenberg. Nothing could have surpassed this, except perhaps Landowska. How few will ever appreciate this. This is what i want played at my funeral, Weissenberg just really gets it.
I wholehearted agree with this comment. He knows how to play a song beautifully. I Used to follow him and saw him in NYC, Cincinnati etc.. Got nice autographs from him. You should hear his interpretation of the Chopin concerto and the Prokofiev concerto for white keys with S Oshawa. Unbelievable.
I wouldn't go quite that far until you have heard Christian Zacharias play Scarlatti which, in my opinion, is about as close to perfection for Scarlatti on the piano as it gets. If I were to rank the top for Scarlatti, it would be Zacharias, Michelangeli, Weissenberg and Babayan in that order.
I agree, David. In the works I have heard him play it is as if the technical challenges of the compositions are as nothing, leaving him to embroider his playing with all the qualities that give spirit and tenderness to his interpretations
This sounds to me like a harpsichord interpretation. As such, I find it interesting, well played, and historically illuminating. Although Scarlatti was familiar with early forte-pianos, and approved of them, he probably wrote mainly for harpsichord. So, although it may be that this interpretation is closer to how Scarlatti played it than most modern renditions, I don't care for it much artistically. Whether or not Scarlatti was able to bring out the exquisite beauty of this piece on the instruments of his time, the exquisite beauty of this composition is rare, and there is no need for us to inherit the technical limitations to which Scarlatti was bound. This piece plays better as a piano piece, in my opinion, than as a harpsichord piece. If a piece is composed ahead of its time, one might play it in the context of the time in which it was conceived, not just in the context of the time it was composed! Again, I am glad this recording was posted. I learned from it. It is a good interpretation. It is just not my favorite way to play or hear this piece.
The only similar tempo and variation I've heard like he does on k450 is by Landowska (as L338). This is the definition of mastery: he does not re-create the music, but interprets it with his own insight and learnings.
Weissemberg chiude il cerchio con questa interpretazione....Un capolavoro assoluto.
Marco Rotondi
Intelligent, accessible, engaging and beautiful Scarlatti. An amazing performance.
He took k450- a stuccatic piece by all other interpretations- and turned it into a sweet melodious interpretation. Scarlatti would be proud. I asked a guy in a record store for something that would get me into baroque. It took me over a decade to appreciate what a gift he had given me. Both Scarlatti and Weissenberg. Nothing could have surpassed this, except perhaps Landowska. How few will ever appreciate this. This is what i want played at my funeral, Weissenberg just really gets it.
Arturo Benedetti Michelangeli and Christian Zacharias are also wonderful Scarlatti interpreters.
Marvelous! What an elegant touch, with such clarity and musicality! Thank you!
なんて美しく、綺麗な音色でしょう!
正確無比で魂の演奏です。
ワイセンベルクのピアノが大好きです!ラフマニノフやブラームスピアノ協奏曲のようなダイナミックな演奏も素晴らしいですが、このようなスカルラッティの澄み切った優しい音色の演奏はワイセンベルクさんの真骨頂です✨
どんな音楽批評家が何を言おうとワイセンベルクさんを芸術家として尊敬しています❤
I wholehearted agree with this comment. He knows how to play a song beautifully. I Used to follow him and saw him in NYC, Cincinnati etc.. Got nice autographs from him. You should hear his interpretation of the Chopin concerto and the Prokofiev concerto for white keys with S Oshawa. Unbelievable.
No one has ever played K 109 with such artistry in my opinion
Weissenberg as far as I am concerned, comes as close to pianistic perfection as can be achieved. He is without peer.
I wouldn't go quite that far until you have heard Christian Zacharias play Scarlatti which, in my opinion, is about as close to perfection for Scarlatti on the piano as it gets. If I were to rank the top for Scarlatti, it would be Zacharias, Michelangeli, Weissenberg and Babayan in that order.
+David Lee YOu are absolutely correct.
Fire and Ice, the best pianist ever!!!
I agree...though Richter may be included in that category.
I agree, David. In the works I have heard him play it is as if the technical challenges of the compositions are as nothing, leaving him to embroider his playing with all the qualities that give spirit and tenderness to his interpretations
Thank you for uploading these gems :)
this transformed my life. literally. As skillful and passionate as Landowska.
Qué belleza!
One of the kindest friendliest and coldest of all pianists. A metronome in playing.
Fantastic
The best Scarlatti on a pianoforte...imho.
Do not leave out Arturo Benedetti Michelangeli or Christian Zacharias for Scarlatti.
k.247, wow.
This sounds to me like a harpsichord interpretation. As such, I find it interesting, well played, and historically illuminating. Although Scarlatti was familiar with early forte-pianos, and approved of them, he probably wrote mainly for harpsichord. So, although it may be that this interpretation is closer to how Scarlatti played it than most modern renditions, I don't care for it much artistically. Whether or not Scarlatti was able to bring out the exquisite beauty of this piece on the instruments of his time, the exquisite beauty of this composition is rare, and there is no need for us to inherit the technical limitations to which Scarlatti was bound. This piece plays better as a piano piece, in my opinion, than as a harpsichord piece. If a piece is composed ahead of its time, one might play it in the context of the time in which it was conceived, not just in the context of the time it was composed!
Again, I am glad this recording was posted. I learned from it. It is a good interpretation. It is just not my favorite way to play or hear this piece.
The only similar tempo and variation I've heard like he does on k450 is by Landowska (as L338). This is the definition of mastery: he does not re-create the music, but interprets it with his own insight and learnings.
This seems to be very fast. most notably K 247 would profit from a substantial reduction in speed.
Very, very nice. But I really don't like the cross-fading. Silence between pieces would be better.
I prefer Gilels K 247.