Wonderful interpretation of this intimate Scarlatti Sonata; when I look to her I see the same expression on her face as when Martha Argerich plays. They both seem to enjoy their own playing.
What do you think of Pogorelich's interpretation. Still my favorite. I've always felt like Horowitz's version is kind of clumsy, if I may be so bold! I mean - Horowitz is a demi-god, so who am I to talk? But that's how I feel about it.
There are still a number of the old heavily edited Longo editions floating around; this was the first complete set of the sonatas published at the start of the 20th century - these editions, whilst useful at the time, are used now by almost nobody, and are avoided by serious keyboard players like the Coronavirus. There are now complete Urtext - ie clean - editions, though these too sometimes have slight differences depending on which copy is used as the primary source - normally Venice, Parma, or the only published edition in Scarlatti’s lifetime, the first 30 Essercizi which appeared in London in 1738 (K1 - 30). Not a single original Scarlatti manuscript has survived, but they were all copied out by an unknown hand and taken back to Italy soon after the composer’s death.
Chills on my spine...that was awesome. Alas Yuja is too often rushing in her Scarlatti renditions...that makes her being misdjudged because of the note-rolling effect leading her to be addressed as a playing machine.
She's a phenomenal pianist, but this more intimate piece exposes her musicianship which does not match her technical ability. Does not seem to phrase to the tensions of the text. Early days of course and she is marvellous overall.
The greatest interpretation of this masterwork. Horowitz made it famous, but played it with too much romanticism. Clara Haskil played a wonderful rendition, but- in my opinion- too fast. The only one who came close to Yuja's interpretation was Ivo Pogorelich.
Superbly done (although Ivo Pogorelich still owns this piece). And how nice she looks wearing a proper dress! So ladylike. (Yes, I said it.) Then she started wearing ... well, you know the story. If she had dressed then the way she does today while playing K. 87 I really think that I might have cried - not for her, but for the disrespect which she would have been showing to my old friend, Domenico Scarlatti (not to mention her teacher, Maestro Gary Graffman). I don't know what happened. Maybe even she doesn't know. In this crass and vulgar world artists should try to elevate and inspire us in every way possible. In fact, I believe that it's their duty to do so. It goes with the territory. (Is the word "Duty" still in the Dictionary, or has it been excised by the Censorship Squad of the "Progressive" Police Department?)
![How to Play Scarlatti | Sonata in D minor K.141 [Tutorial]](/img/1.gif)
Endlich kommt der oft unterschätzte Komponist Scarlatti zu Ehren❤
So great was Domenico Scarlatti that his music still delight us today and forever will.
Verissimo
. Divino scarlatti.
Genio.supremo
Timeless masterpiece.
Wonderful.
Merveilleux
Very good , tempo , just great
Yes. Compare to Horowitz 1986 Moscow. Both excellent.
ruclips.net/video/hHM050HEa2I/видео.html&start_radio=1
Wonderful interpretation of this intimate Scarlatti Sonata; when I look to her I see the same expression on her face as when Martha Argerich plays. They both seem to enjoy their own playing.
Nuostabu❣️Toks pajautimas…❤️
I like this interpretation very much, certainly as good as Horowitz, in my opnion
What do you think of Pogorelich's interpretation. Still my favorite. I've always felt like Horowitz's version is kind of clumsy, if I may be so bold! I mean - Horowitz is a demi-god, so who am I to talk? But that's how I feel about it.
@@fernandoortega4978 I love Pogorelich. He was the first one I ever heard and has been my favorite ever since.
A Faultless Wonder
Does anyone know if this has a pair sonata? I know a lot of the scarlatti sonata were written with as pairs in the same key. Maybe K27?
Absolutely, the pair sonata is K.27
Why does everyone, including Horowitz, play an A on beat 3 of bar 6 instead of F sharp, as written?
I have the International Music Company edition and it has an A4 on beat 3 there in the soprano voice. That's why.
@@CurtisBaum Many thanks
There are still a number of the old heavily edited Longo editions floating around; this was the first complete set of the sonatas published at the start of the 20th century - these editions, whilst useful at the time, are used now by almost nobody, and are avoided by serious keyboard players like the Coronavirus.
There are now complete Urtext - ie clean - editions, though these too sometimes have slight differences depending on which copy is used as the primary source - normally Venice, Parma, or the only published edition in Scarlatti’s lifetime, the first 30 Essercizi which appeared in London in 1738 (K1 - 30).
Not a single original Scarlatti manuscript has survived, but they were all copied out by an unknown hand and taken back to Italy soon after the composer’s death.
I downloaded a version from the internet today and it also has an F#... though I see other comments suggesting that's not the best version.
@@anonglakmoonwicha2726 Mine also has an F#, but it's tied over from the F# half note on beat 1 of that measure and into beat 1 of the next measure.
Chills on my spine...that was awesome.
Alas Yuja is too often rushing in her Scarlatti
renditions...that makes her being misdjudged
because of the note-rolling effect leading her to be addressed as a playing machine.
Too fast. Far too much rubato for a Baroque composer like Scarlatti.
She's a phenomenal pianist, but this more intimate piece exposes her musicianship which does not match her technical ability. Does not seem to phrase to the tensions of the text. Early days of course and she is marvellous overall.
A beautiful masterpiece by Scarlatti marred by Yuja Wang's excessive rubato and rushed tempo.
Upload your recording of this and show us how it’s supposed to sound.
Olli Mustonen plays this perfectly.
The greatest interpretation of this masterwork. Horowitz made it famous, but played it with too much romanticism. Clara Haskil played a wonderful rendition, but- in my opinion- too fast.
The only one who came close to Yuja's interpretation was Ivo Pogorelich.
Ivo's Scarlatti disc is still my all-time fav after seeing him do all of them live in L.A. at the time of the disc release.
Superbly done (although Ivo Pogorelich still owns this piece).
And how nice she looks wearing a proper dress! So ladylike. (Yes, I said it.)
Then she started wearing ... well, you know the story.
If she had dressed then the way she does today while playing K. 87 I really think that I might have cried - not for her, but for the disrespect which she would have been showing to my old friend, Domenico Scarlatti (not to mention her teacher, Maestro Gary Graffman).
I don't know what happened. Maybe even she doesn't know.
In this crass and vulgar world artists should try to elevate and inspire us in every way possible. In fact, I believe that it's their duty to do so. It goes with the territory.
(Is the word "Duty" still in the Dictionary, or has it been excised by the Censorship Squad of the "Progressive" Police Department?)
She fo not understand Scarlatti !!!