After reading the comments here, I find it interesting that some seem so opposed to a more Romantic interpretation of Handel. That age-old decision when approaching a Baroque piece on the modern piano is: should I play it like I'm playing the harpsichord, or can I be at liberty to be more Romantic with it? I think BOTH answers are just as valid as the other, provided that you really "sell it" to the audience with the way you play it, one way or the other. Though I am often a more strictly Baroque interpreter when it comes to Bach and Handel on the piano, I will say - you've "sold me" on this more Romantic interpretation. Beautiful!
I think it's quite nicely played and while I agree this performance is much more of a romantic interpretation it seems to fit the piece well. In the same way a lot of Bach's piano music while the idea of adding pedal to a prelude & fugue for instane seems almost blasphemous to a lot of classical musicians I think it worked very well in Barenboim's recording of prelude number 6 from the well-tempered clavier. It's all to do with opinion I suppose.
I really enjoyed this performance of this beautiful piece. What made you choose this one? Few pianists seem to pick pieces by Händel, and that's really sad. By the way, the sound isn't as clear as it should be, is it?
El pedal se usa en el barroco, para conseguir un cierto efecto, color y sonoridad , que no es el mismo del pedal romántico al que se acostumbra más fácilmente el oído.
Si, el pedal se inventó hasta el siglo XIX, pero no niego que en algunas obras barrocas se escucha bien. Además si somos estrictos debería ser entonces un clavecin y ya.
The freedom of the performer allows for many interpretations. He played this nicely, but I don’t think the romantic perception fits well with the character of this piece. It will be a bit unanimous this way in the end, much more "musical fireworks" are needed here. There is a counterpoint here in both the sonata and the aria of variation, it is also lost in romance, much better brought out at a more lively pace. Compare it for instance with the presentations of A.Schiff (piano), M. Borgstede (harpsichord) and R. Hill (fortepiano).
