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5.0étoiles sur 5
Thoughts about virtuosity, Nov. 19 2002
Speed kills. Why do I get the impression that here Scarlatti's Sonatas offer a window of opportunity for intellectual and technical display? I would suggest a careful reading beginning with page 292 in Kirkpatrick's book, "Domenico Scarlatti", on the subject of Tempo and Rhythm. He writes, "All of us, especially the young, have been quilty of playing Scarlatti too fast". He might have said the same thing to young Glenn Gould about the way he, at times, ripped through Bach so incredibly fast.I perceive Scarlatti as a composer who transcribed for harpsichord what he heard and saw as he walked around town in Baroque Spain: song, dance, and expecially quitar. Today we further transcribe the music for pianoforte which offers us greater possibilities of expression. Other things equal, I'd bet that Scarlatti would use the piano as the instrument of choice. So I take exception to Track 2 with its beautiful scales. A slower tempo would produce a very different musical picture: quitar music of marvelous rhythm and spirit; and a warm feeling about things Spanish. Most of the recent Scarlatti CDs are by pianists living well East of Madrid. They are all unique; uniquely personal, uniquely excellent, and uniquely Slavic. Hopefully Naxos will include Spanish-born pianists in this wonderful series. I appreciate J. Jando's performance, musical opinions, and great contributions to a thirsty audience
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4.0étoiles sur 5
Fluidity, speed and emphasis, Oct. 27 2002
It has been a privilege to hear Scarlatti vol. 1 with Eteri Andjapararidze, vol. 2 with Michael Lewin and vol. 3 (this album) with Jeno Jando on the piano. Although it would have been better to hear these works on their written instrument, the harpsichord, I have had a fascinating afternoon.With regard to Jeno Jando, his interpretation of Scarlatti is characterized by its fluidity, speed and emphasis. He abandons the staccato style of Lewin and he does not bring in 20th century interpretations of 17th century material as in vol. 1. This is yet a 20th century creation but it brings to the Baroque a new style which is not to be ignored. Jando does not bring out bouncing rhythms - he uses his left hand in conjunction with the right to bring out emphasis. On the whole, this is a superior album but for true Scarlatti fans, it is important to have ALL the albums in this series.
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5.0étoiles sur 5
great performance by a much underrated artist, Sep 7 2001
True, Jeno Jando may not be one of the best known pianists in today's classical scene. Yet he is one of the most productive and already recorded around 100 cds within the last 10 years. True again, this seems to be more a sign of quantity than quality, but - despite the fact that NAXOS doesn't always offer perfect sound qualities - within this vast production there are some pearls to be discovered. And those Scarlatti Sonatas sure are to be counted among them. Jando's intellectual approach to music sometimes resulted in a seemingly emotional flatness, such as in his recording of the Beethoven Sonatas. With Scarlatti this intellectuality and his superb technique lead Jando to great clarity and a tremendously exciting interpretation. With care he elaborates on each and every melodic sideline, the chordic accents sometimes turn to real caesurae, pretending to interupt the pulsing flow of the lines, but in fact only intensifying the rhythmic drive and strain. Although Jeno Jando did not yet show evidences of sheer ingeniousness, like Glenn Gould used to do working on Bach, and though his playing could be called - in the best sense of the word - technical, his approach to baroque music lead him in a similar direction: opening up emotional richness by playing the music with the uttermost clarity and discipline.
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