Customer Reviews

Mikhail Pletnev ~ Domenico Scarlatti - Keyboard Sonatas

5 star:		(16)
4 star:		(2)
3 star:		(3)
2 star:		(4)
1 star:		(1)

 

 

I admit I prefer my Scarlatti played on the piano, and I have always been fond of my recordings by Horowitz, Tipo, de Larrocha, Schiff, etc. This wonderful recording by Pletnev might just be my favorite though, there is so much beauty, fantasy, color and sheer imagination in his playing. He takes some chances in his interpretations, and I don't think he ever misses his mark. A lovely recording, and I am glad to see that it has been re-released. Get yourself a copy!

If anything can ever convince the purist that Scarlatti on the Piano is no sin, it would be this marvel of a disc. Mikhail Pletnev, no stranger to controversy (as in his recent Schumann account), takes a delightfully fresh approach to these pieces and won me over in no time - even though I grew up on vinyls of my Uncle playing Scarlatti on the Harpsichord. Even Horowitz's famous recording cannot compare to this 2-CD-set, now re-issued at a ridiculously low price. Music that sparkles like this is not often found - and once you stop missing the harpsichord in these works, you will find yourself listening to this performance over and over, without getting tired of it. Do not be fooled into thinking that - as baroque music - this might make suitable background music for a day in the office: You will not get any work dnoe as you listen with delight.

P.S. A word to Pogorelich's performance: When Ivo Pogorelich is described as a "unique" pianist, it isn't always laude that carries with that description. But he's always got something to say - and I, for one, rather like his Chopin Préludes op.28 and his Liszt Sonata in b-minor. What a surprise then, to hear him in these Domenico Scarlatti Sonatas, recorded over a decade ago, where Pogorelich is one of the least indulgent players in the slow sonatas. Scarlatti's 555 (!) keyboard sonatas, written for the harpsichord and clavicembalo, work marvelously on the modern grand piano (although it took me some time to get used to it) and sound eerily modern at times. One of Vladimir Horowitz's best recordings is one with Scarlatti sonatas and Mikhail Pletnev's two-disc recording of Scarlatti Sonatas was just re-issued at budget price. Pogorelich's one-hour recording seems to overlap more with Pletnev's than it actually does, and he is every bit as good as his compatriot. Unlike Pletnev, he doesn't exaggerate every contrast in the sonatas - and he has funny ideas about the meaning of Allegro in Sonata K 8, but all in all, his playing is more like Pletnev's than it is different. I find both superb - and am tempted to give a slight edge to Pletnev over Pogorelich. It is a great Scarlatti CD to have, but at twice the price with half the music of the Pletnev re-issue, it can't be a first choice.

There are others well worth having, too. Christian Zacharias on EMI or MDG, Maria Tipo for on the EMI "Encore" budget label, the crazy Landowska on her Pleyel (including anti-aircraft guns going off over paris in K499 - EMI)... but with Pletnev (or, yes, Pogorelich) you'll be set for a while.

Some of us old folks remember the first release of Gould's "Goldberg Variations" in 1957. This recording should, in my opinion, be of equal impact on the world of classical pianism. It is, quite simply, astounding!
Basta! Genug! Assez! Enough! Just listen.

... overshadowed in his youth by his father, always known as "the Great Scarlatti," and now overshadowed once again by the rediscovery of daddy Alessandro's spectacular oratorios and altar-operas. I suspect that Domenico would gnash his teeth rather than exulting in filial pride. Nothing I've read about the younger Scarlatti suggests a generous spirit.

Even more tragic, Domenico Scarlatti was born too soon; he wrote at least 555 sonatas for an instrument that hadn't yet been invented!Domenico Scarlatti never knew the piano. He composed all his sonatas on and for the harpsichord. Anyone who has encountered my previous reviews of Glen Gould and Angela Hewitt may remember that I'm bluntly contemptuous of performances of JS Bach's harpsichord music, especially the Goldberg Variations, on modern piano. One might as well play beach volleyball in a tuxedo.

Domenico Scarlatti arrived on the scene of keyboard composition at the very moment when the resources of the harpsichord were no longer adequate to the musical aesthetic of the era. Those 555 sonatas scream out for pianism, for shadings of dynamics, for sustained resonances, and other qualities in herent in the piano and absent from the harpsichord. I can enjoy Scarlatti on harpsichord only one sonata per listening session, whether live or recorded. More than one, frankly, bores me to slumber. The same sonatas played on piano can also be monotonous if the pianist treats them gravely, earnestly, as grand art. Scarlatti didn't even call these works 'sonatas' but rather "essercizi" - exercises. He intended them as whimsies, as ingenious musical jests, to stretch his own keyboard techniques to the level of fantasy as well as to give free rein to his delight in the sounds of nature, of Spanish folk music, and popular dance.

Mikhail Pletnev performs the 31 essercizi on these two CDs exactly as I imagine Domenico would have, if he'd had a piano, with impassioned eccentricity. Pletnev's technique is fully up to the demands of odd hand-crossings, tumultuous rhythms, unrestrained clashes of dissonance, and greyhound finger passages. He achieves what I think is necessary in Scarlatti, to define and yet to articulate the fleeting moods of these four minute tours de force. In comparison, every other performance on CD of the younger Scarlatti sounds to me plodding and timid - like "exercises" indeed.

Ironically, it's Domenico Scarlatti's vocal works that have the greater power to energize a modern audience. See my previous review of his Stabat Mater a dieci voci, performed by Concerto Italiano, conducted by Rinaldo Alessandrini.

It is a monumental piece of insanity that these two discs of wonderful music are being sold for less than the cost of one normal CD. Not that I'm complaining.

Mikhail Pletnev is a modern master. As far as I'm concerned, he is the most talented pianist alive (all apologies to Jacqueline Schwab and Marc-Andre Hamelin). This recording is by no means his best; but how can you not love it?

Pletnev always seems to get inside the soul of a composer. He finds things long hidden and reveals (though some might accuse him of creating) them. He continues this magical feet on these discs.

While some have complained of Pletnev's romantic/modern reading of Scarlatti, I say why complain when someone brings all-too tired music back to life? Pletnev's Scarlatti is incredibly refreshing and endearing. I dare you not to like this music.

I give this recording a hearty recommendation.

I'm not keen on these discs. I recognise that my lack of enthusiasm is a matter of personal taste, but I thought I'd write a review to let prospective purchasers know what to expect.

Pletnev is a magnificent pianist, his virtuosity is quite stunning here and I like hearing Scarlatti on the piano to complement my Scott Ross harpsichord set. However, I find Pletnev's interpretations hard to take. He plays these Baroque sonatas in a style more often associated with Schumann or Brahms, and that isn't what I want in Scarlatti. The grand Romantic gestures don't seem to me to go with Scarlatti's music. Much of the joy of Baroque music is its structure and texture and for me they are rather swept away by Pletnev's style, so that I find I'm hearing a lot of Pletnev and not quite enough Scarlatti.

I know that plenty of knowledgeable and thoughtful people, including other reviewers here, like this recording very much. I don't mean to sneer at it or dismiss it; as I said, this is a matter of personal taste. I just thought that I'd let you know what to expect in case your personal taste coincides with mine.

If Vivaldi was the "concerto factory" of the 18th century, then Domenico Scarlatti was the "harpsichord sonata factory" with his some 550 individual compositions (mostly binary in form). Yet, as numerous as they are, these works are rich in musical innovations, techniques, textures and imagination. Only one person I believe has recorded all of them (and survived!). The great Vladimar Horowitz helped expose these great works in his legendary concerts.

Now, Russian piano-wizard Mikhail Pletnev brings his uninhibited technique to give this music an energetic workout on the piano (as opposed to the original harpsichord). And while Mr. Pletnev applies his characteristic stylistic liberties to the score, it seems to bring out the best in these works. His readings possess tremendous energy and verve, yet the music never seems quite 'overdone.' Indeed, Mr. Pletnev brings a captivating dynamic and pizzaz to many of these sonatas that is probably not out of the realm of what Scarlatti could imagine. After all, Scarlatti wrote much of this music with virtuosity in mind and an uninhibited style relative for his day. Overall, this is a most exciting and satisfying collection recorded in vivid, full-bodied sound.

This two CD set is a fine introduction to the many sonatas of Domenico Scarlatti and one of the best Baroque bargins around. Both Gramophone and Penguin give high marks to this set for its imaginative and dynamic readings and realistic, vivid sound. With Pletnev's fine readings here, this vivacious and intelligently-varied piano music should rise towards the status it deserves in the repertoire. Compositions - 4.5 stars; Peformance - 5 stars; Sound - 5 stars.

Equally receiving high marks is Pletnev's recording of C.P.E. Bach's much-neglected and highly innovative keyboard sonatas. Pletnev's Chopin recital featuring Sonata No. 3 is also a real treat and most recommended. And new for 2006 for Pletnev is a fresh recording of Mozart's piano sonatas (K. 330-332).

If you like Scarlatti on the piano versus the harpsichord, Pletnev is really worth considering.

l. Great technique: wonderfully clear, good use of contrast and dynamics; very musical;

2. Carefully thought out and well varied program (over thirty Scarlatti sonatas);

3. Excellent sound;

4. Very inexpensive (2 CDs for the less than the price of a regular CD);

He doesn't make me forget Horowitz -I haven't heard Pogorelich or Perahia in Scarlatti - but wonderful playing and broader exposure to Scarlatti, who has a style all his own, trumps everything else for me.

Ignore one silly review and focus on the intelligent ones. What an incredible value for less than $10.00! I have Pletnev's Live At Carnegie Hall which is fabulous. He is an incredible talent and these are wonderful interpretations of Scarlatti's incomparable sonatas. Treat yourself. The quality is excellent.

This is a selection of 31 piano sonatas selected from the 555 sonatas written by Domenico Scarlatti. They are a delightful listening experience. Sometimes the works evoke folk songs, hunting songs and horns, bird calls and even flamenco rhythms and folk dances. Ther is considerable beauty in the works and in the piano interpretations of Mikhail Pletnev. The resolutions are often short to the point summations for very short powerful statements. In this regard, they are similar to the powerful fantastic concise well-structured crisp short stories of Isak Dineson. The single piano playing what appears to be keyboard exercises is deceptive in that the range of genius and the wealth of variation becomes quickly evident to the listener. Pletnev's intepretation brings humor, fantasy, and light whimsey to the works. The sonatas are refreshing like cold water is to thirst. They are also endearing like clever children's remarks.

Domenico Scarlatti was the son of Alessandro Scarlatti. Domenico was born in Naples and was a contemporary of Handel and Bach. Domenico moved from Italy to Portugal to be the director of the chapel of the King of Portugal and direct the musical education of the Infanta Maria Barbara. When Maria became queen of Spain, Scarlatti followed her to Madrid and remained there until his death. In Spain, Scarlatti was introduced to folk songs of Spain. He composed all his sonatas for the harpsichord, and called the works `essercizi' rather than sonatas. The works were written for harpsicord, since Scarlatti never played a modern piano. Yet the piano brings these works to life through more subtle and sustained resonance.

There is considerable imagination and range to these works that are extremely fresh, sometimes light, sometimes rich, and often playful. Scarlatti called them `an ingenious artistic jest' and the works are witty and bright. Only 30 of the sonatas were published in Scarlatti's lifetime.

Pletnev's playing is crisp, sometimes emphasizing the study or exercise aspects of the work but never losing the considerable charm in each of the 31 selections. I was greatly impressed by Mikhail Pletnev's interpretations of this jewel box of sonatas.