Scarlatti E-major sonata

[daniloperusina]

Including some mistakes 

[jlh]

I enjoyed hearing you play this sonata.  I don't have the score handy, but aside from the finger slips it was light, clean and sensative where it needed to be. Good job!

Josh

[daniloperusina]

Thanks Josh, that was a nice compliment!

[pianowolfi]

I like it very much This is such a wonderful cute piece and you play it really carefully and attentively
I know this sonata from listening but I can't find the score, may I ask which K number it has?

[daniloperusina]

Thank you! I don't have K numbers in my edition, but as soon as I find it elsewhere I'll post it.

The edition, by the way, is Ricordi Americana, printed in Buenos Aires, and it's quite old.

[daniloperusina]

K380

[thalberg]

This is excellent.  Very refined, professional sound.  Great energy and lightness, each phrase has character and direction.  Bravo.  Great sense of rhythm, too.

[daniloperusina]

Thank you, that was nice to hear!

[gerry]

I agree that it's a very crisp, clean performance--very much in the spirit of Scarlatti. I'm curious about some of the interpretive choices you've made like the pauses between meas 2-3, 4-5, and so on; accenting particular notes like the D# in meas. 12-15; and your choosing to start all mordents on the note above the principle rather than on the principle note. I, too, have a Ricordi edition that I don't trust at all, many editorial liberties and notations so I'm not sure what or who to trust in this matter. Sometimes that wonderful left-hand mimic of the right-hand pattern (i.e. meas 19-20) gets covered by your emphasis of the three-note right-hand pattern as in meas. 20 so that one doesn't hear that accurate echo of the previous right-hand measure. Sorry about the nit-picking but I'm more curious about whether your edition specifies some of these choices, whether a teacher suggested them, or whether they are a genuine result of your interpretation. Thanks for sharing your performance. There's not a lot of chat on this forum regarding Scarlatti. I personally think that mastering his works is as valuable to tehcnique development as any Hanon or Czerny - and a lot more rewarding.

[daniloperusina]

Well, the pauses in the ms 2-3 etc is a stolen idea Pogorelich and Horowitz... I think it makes beautiful sence, though. It makes the first 8 bars sound like an introduction, which is my way of looking at it anyway.

I'm not really aware of accentuating the D# in measure 12 etc, but I suppose I'm subconsciously trying to subtly enhance the syncopation and carry the melody forward.

The mordents, I'm ashamed to say, wasn't a particular concern of mine, especially not trying to do a stylistically valid baroque interperetation of them; instead I rather just trilled, and starting on the note above just made more 'singing' sence to me.

The left hand echo, ms 20 etc, well, I tried a louder left hand, but it sounded too 'in-your-face-counterpoint' to me, if you know what I mean. I preferred this sort of faint subtle echo instead, a bit 'hidden'.

Apart from the stolen ideas, it's my own interpretation. I don't study with anybody anymore, and I never played this fro a teacher. My general goal was to make the piece sing as much as possible, and I think that's why I start all trills on the note above as well, as it seems more singing in this piece.

Thanks for you comments!