Not in the spirit of Scarlatti though, compare her playing of this Scarlatti to that of Ritarno Akamatsu, listen to him play Sonata no. 96.for example. As for crossing hands try lifting your right hand a little higher whilst doing so.
I'm probably a bit of a philistine, but I don't get Scarlatti sonatas played on the piano (however beautifully). To me, the harpsichord renditions are like being made love to by a passionate italian, and the piano is like being taken out to dinner by a well-meaning friend and getting bored senseless after 5 minutes.
I can follow you (and laugh as well ;) ) - I am a pro-harpsichord too for Scarlatti (Scott Ross above all), but I use to listen to Pogorelich and Horowitz sometimes. Anyway this is an amateur pretty bad taste interpretation (kind of strange russian way..).
Todos los pianistas se ven tentados por el romanticismo que desborda esta sonata, especialmente en el inicio de la 2ª parte, convirtiéndola en una hermosa obra, pero haciéndola pertenecer a otra época, estilo e incluso, autor... Creo que tu interpretación no cae en esa tentación y se ajusta más obedientemente al período y estilo correspondientes. Felicitaciones por eso. Escuché realmente a D. Scarlatti.
How true! You really nailed it with your observation. People really do tend over-romanticise many of Scarlatti’s sonatas and this performance I think really captures the true essence of Scarlatti (well honestly perhaps a little less tepid would be in its favour), and on the piano no less! I really think the sustain pedal only adds (and not subtracts) to the music, in this case.
This is probably the most enjoyable k241 interpretation ever listened. Apart from 2:37 mistake, which paradoxically does not ruin the flow of music (I get this impression) it is really an immaculate performance
Bravo! Nice playing and cool concert hall, where is this Hall? I enjoyed the tempo and articulation! I play the piece as a guitar duo and it's nice to hear your version. Thanks for posting!
Hi! This is such a crisp and perfect performance great job! I was just wondering would this piece be difficult enough for an audition for the royal college of music? It contrasts my other pieces well so i think it would be a great fit, however i only have a year to learn it, does anyone reading through the comments think this is doable? And if this piece is difficult enough
I have played this piece and taught it. It is one of my many Scarlatti favorites. I like this performance because at this slower speed the beautiful melodies have a chance to sing out but at a up tempo.. you need some good piano skills to achieve it. Just IMO it was a relatively easy one to memorize.
Great playing. Pity about the missing room microphone; also there is some high mid harshness in the Mic you were using. You should probably sweeten it with some Reverb + early reflection and have the EQ looked at by a mastering engineer.
@@vickiehorowitz1934 you can see that this rating is highly doubtful when you look at bach's wohltemp. klavier which has mostly ratings from 4 to 6. nevertheless, I love scarlatti and I love her playing :)
lascaninov, entiendo su incomodidad ante el anacronismo interpretativo pero qué raro usar el verbo "obedecer" para referirse a una interpretaciòn musical - y mucho menos a una interpretación ideal. Supongo que habrá querido hablar de ´FIDELIDAD' o algo por el estilo.
@@joaquinlascano5615 No, no creo que esto sea un juego semántico. Postular un deber de “obediencia” de parte del intérprete para con el compositor es desafortunado. La obediencia cabe en la relación amo-sirviente u oficial-soldado; compositor e intérprete, por la naturaleza misma de las cosas están mucho más cerca de ser colaboradores o socios. El intérprete intenta realizar fielmente el deseo de su socio o amigo, pero siempre con un grado de libertad que es inherente a la situación... ya que el compositor no está en condiciones de poder dar órdenes; es más: depende del intérprete para que su composición siga con vida.
@@PabluchoViision Tiene razón, no es un juego semántico, es un trauma semántico. Realmente usted interpretó que yo sugiero una relación amo-sirviente u oficial-soldado? Es interesantemente creativo. Su trauma semántico respecto al verbo “obedecer” le impide entender mi comentario. Uno de los dilemas a los que nos “”enfrentamos”” los intérpretes de la música para teclado del barroco (“”temo”” lo que usted piense por estar usando el verbo “”enfrentar””) es si se ““debe”” ser ““riguroso”” en la interpretación con las circunstancias de contexto de aquella época. D. Scarlatti, al igual que J.S. Bach y F. Haendel, contemporáneos todos nacidos el mismo el mismo año 1685 no usaban el piano ya que éste instrumento apenas estaba definiendo su forma y estructura. Tanto Scarlatti como Bach probaron el piano del fabricante alemán de órganos Silberman (quien, para media literatura sobre los orígenes del piano, habría copiado el modelo de construcción del italiano Bartolomeo Cristófori) pero éste “”nuevo”” instrumento, en sus inicios, no satisfizo las expectativas de los compositores, que usaban el clavicémbalo o el clavicordio, los cuales no permitían contraste dinámicos en los matices, como sí nos lo permite hacer el piano; de ahí su nombre original “Clavicémbalo col piano e forte”. El hermoso y clásico “”dilema”” es: ¿tocar en el piano la música de aquellos compositores haciendo uso de las posibilidades dinámicas que ofrece “”nuestro”” piano moderno, o eso podría “”provocar”” “”caer”” en “”exageraciones”” demasiado “”alejadas”” a las intenciones del compositor…? “”Justamente”” ahí es donde los pianistas debemos “”tomar”” posición antes de interpretar una obra de ese período. Hablo en primera persona del plural porque toco piano.
If I had never heard this piece played before or never played it myself, I might have been able to go with this very dry and excessively detached rendition. Skillful, yes. Charming, no.
Italien künstlich musikalisch überwölbt von Portugal sowie den Spaniern Scarlatti D. & A. wil ich absichtlich inexisten als ungesattelte Interpretation rein faktischer Art verstehen
Шикарная пятиминуточка. Как, впрочем, всё у Скарлатти.❤
Thank you Domenico Scarlatti for such beautiful music you created for us and thank you young pianist for playing it for us so beautifully!
This interpretation has a lot of charm and flow and is certainly in the style for Scarlatti. Very accomplished playing!
Excellent tempo, bien soutenu, sans emphase ! Merci pour cette jolie interprétation.
Beautiful, Thank you for the moment . If Scarlatti could see and hear you play his music you would steal his heart Bravo.
Beautiful.Perfection .A hypnotic performance of human ability
Великолепно!!! Очень душевно и проникновенно!!!
It is a non-romantic excellent interpretation. I like it very much.
I mindlessly click like for all Scarlatti sonatas whether I like them or not
Excelente toque, ouve-se cada nota, modulações bem articuladas, parabéns.
Absolutely amazing and so beautifully played!
Удивительное исполнение! Спасибо Вам большое.
Wow! You really made music with this sonata! Wonderful! Thank you
Excellent interpretation, stunning performance! Bravo!
Inesa en communion et chaque note est un miracle. Bis pour Inesa.
Wow this is absolutely fascinating
I thought I could play this until the cross hand part came up. haha
This is a great interpretation.
that isn't the hardest part at all, don't be scared, try it
Peppapig
Not in the spirit of Scarlatti though, compare her playing of this Scarlatti to that of Ritarno Akamatsu, listen to him play Sonata no. 96.for example. As for crossing hands try lifting your right hand a little higher whilst doing so.
U learn piano when ur so young
She is just great!
you really feel the music. very well played inessa
I'm probably a bit of a philistine, but I don't get Scarlatti sonatas played on the piano (however beautifully). To me, the harpsichord renditions are like being made love to by a passionate italian, and the piano is like being taken out to dinner by a well-meaning friend and getting bored senseless after 5 minutes.
I can follow you (and laugh as well ;) ) - I am a pro-harpsichord too for Scarlatti (Scott Ross above all), but I use to listen to Pogorelich and Horowitz sometimes. Anyway this is an amateur pretty bad taste interpretation (kind of strange russian way..).
Nothing like a Steinway D playing anything!!
Bach did transcriptions from one instrument to another. He was open minded.
I can’t stop listening to this most beautifully played performance of sonate k54, my favourite Scarlatti sonate. Does Inessa perform in Europe at all?
Thank you Nahre Sol
Yes, this is a great interpretation, really lovely. Horowitz!
deightful performnce. Crisp and thoughtful. :-)
VERY GOD! not to fast, very sensitive, ideal for Scarlatti!
I like the phrasing sounded so baroque.
Todos los pianistas se ven tentados por el romanticismo que desborda esta sonata, especialmente en el inicio de la 2ª parte, convirtiéndola en una hermosa obra, pero haciéndola pertenecer a otra época, estilo e incluso, autor... Creo que tu interpretación no cae en esa tentación y se ajusta más obedientemente al período y estilo correspondientes. Felicitaciones por eso. Escuché realmente a D. Scarlatti.
How true! You really nailed it with your observation. People really do tend over-romanticise many of Scarlatti’s sonatas and this performance I think really captures the true essence of Scarlatti (well honestly perhaps a little less tepid would be in its favour), and on the piano no less! I really think the sustain pedal only adds (and not subtracts) to the music, in this case.
This is probably the most enjoyable k241 interpretation ever listened. Apart from 2:37 mistake, which paradoxically does not ruin the flow of music (I get this impression) it is really an immaculate performance
what mistake ? sorry but i want to understand
Ce n est pas à 2.37 mais à 2.33 ...un note à dérapé 🤗
Smooth and musical. Brava.
Beaucoup de grâce et de précision pour cette sonate ! Un grand bravo ! Je la travaille régulièrement sur mon quart de queue Gaveau.
Bravo! Nice playing and cool concert hall, where is this Hall? I enjoyed the tempo and articulation! I play the piece as a guitar duo and it's nice to hear your version. Thanks for posting!
Excellent merci.
Услада для ушей👏👏👏
This is very much in baroque way. Great performance
Dingo is happy with you! Great and gentle.
PERFECTO.
Beautiful
Lovely!
La beauté.
Love this!
Wonderful
Amacingly amacing.
Hi! This is such a crisp and perfect performance great job! I was just wondering would this piece be difficult enough for an audition for the royal college of music? It contrasts my other pieces well so i think it would be a great fit, however i only have a year to learn it, does anyone reading through the comments think this is doable? And if this piece is difficult enough
I have played this piece and taught it. It is one of my many Scarlatti favorites. I like this performance because at this slower speed the beautiful melodies have a chance to sing out but at a up tempo.. you need some good piano skills to achieve it. Just IMO it was a relatively easy one to memorize.
Yes, it's difficult enough, and yes, you can do it in a year. Best of luck!
Genial!!!
Wow, very nice.
Brava Inesa
What does she look, when she is playing?
Bellissimo indeed
Great playing. Pity about the missing room microphone; also there is some high mid harshness in the Mic you were using. You should probably sweeten it with some Reverb + early reflection and have the EQ looked at by a mastering engineer.
I agree about the mid harshness, but I'm very happy there is no room mic and no reverb.
Ok, listening again, it's in Mono, right?
From 0:42.
WOW
0:41
lover her forearms....those muscles on the bottom...true pianist.
Just taste-wise comment: I think the piece sound better with less staccato. But nice performance overall! Gratz
I agree that the flow seems better more legato in certain passages but that is only a matter of taste and interpretation.
why does she play such a simple sonata? even though it's very beautiful
Simple? Just sounds that way. It has some tricky bits that sound pretty simple. Henly rates it at 7, advanced.
@@vickiehorowitz1934 you can see that this rating is highly doubtful when you look at bach's wohltemp. klavier which has mostly ratings from 4 to 6. nevertheless, I love scarlatti and I love her playing :)
02:50
Molto curato il fraseggio, interessante ed priginale interpretazione, complimenti alla pianista!
💘❤💓💔💕
this looks even better than watching someone play piano in an anime :p
На 2:34 в репризе форшлага нет. Грязь.
Very well played, though a bit slow for me.
lascaninov, entiendo su incomodidad ante el anacronismo interpretativo pero qué raro usar el verbo "obedecer" para referirse a una interpretaciòn musical - y mucho menos a una interpretación ideal. Supongo que habrá querido hablar de ´FIDELIDAD' o algo por el estilo.
Pablucho, "obedezca" al sentido común para interpretar lo que dije y no entremos en un juego semántico.
@@joaquinlascano5615 No, no creo que esto sea un juego semántico. Postular un deber de “obediencia” de parte del intérprete para con el compositor es desafortunado. La obediencia cabe en la relación amo-sirviente u oficial-soldado; compositor e intérprete, por la naturaleza misma de las cosas están mucho más cerca de ser colaboradores o socios. El intérprete intenta realizar fielmente el deseo de su socio o amigo, pero siempre con un grado de libertad que es inherente a la situación... ya que el compositor no está en condiciones de poder dar órdenes; es más: depende del intérprete para que su composición siga con vida.
@@PabluchoViision Tiene razón, no es un juego semántico, es un trauma semántico. Realmente usted interpretó que yo sugiero una relación amo-sirviente u oficial-soldado? Es interesantemente creativo. Su trauma semántico respecto al verbo “obedecer” le impide entender mi comentario.
Uno de los dilemas a los que nos “”enfrentamos”” los intérpretes de la música para teclado del barroco (“”temo”” lo que usted piense por estar usando el verbo “”enfrentar””) es si se ““debe”” ser ““riguroso”” en la interpretación con las circunstancias de contexto de aquella época. D. Scarlatti, al igual que J.S. Bach y F. Haendel, contemporáneos todos nacidos el mismo el mismo año 1685 no usaban el piano ya que éste instrumento apenas estaba definiendo su forma y estructura. Tanto Scarlatti como Bach probaron el piano del fabricante alemán de órganos Silberman (quien, para media literatura sobre los orígenes del piano, habría copiado el modelo de construcción del italiano Bartolomeo Cristófori) pero éste “”nuevo”” instrumento, en sus inicios, no satisfizo las expectativas de los compositores, que usaban el clavicémbalo o el clavicordio, los cuales no permitían contraste dinámicos en los matices, como sí nos lo permite hacer el piano; de ahí su nombre original “Clavicémbalo col piano e forte”.
El hermoso y clásico “”dilema”” es: ¿tocar en el piano la música de aquellos compositores haciendo uso de las posibilidades dinámicas que ofrece “”nuestro”” piano moderno, o eso podría “”provocar”” “”caer”” en “”exageraciones”” demasiado “”alejadas”” a las intenciones del compositor…?
“”Justamente”” ahí es donde los pianistas debemos “”tomar”” posición antes de interpretar una obra de ese período. Hablo en primera persona del plural porque toco piano.
If I had never heard this piece played before or never played it myself, I might have been able to go with this very dry and excessively detached rendition. Skillful, yes. Charming, no.
I can do that
Zdf
Italien künstlich musikalisch überwölbt von Portugal sowie den Spaniern Scarlatti D. & A. wil ich absichtlich inexisten als ungesattelte Interpretation rein faktischer Art verstehen
Poot sound, bad recording.
Nice and boring.