I was there! St Johns Smith Square. The lunchtime concert commenced with a downpour and thunderstorm (which passes unnoticed on the recording!) - to be followed by brilliant sunshine thru glistening drenched windows.....After a drink with friends in the crypt, we left the church at the same time as Gilels and all stopped to chat with him, smiling and very friendly. I always remember his strongly accented: "..and now we hyav a Gloreeuss Dayyh!" Whatever the possible crticisms of style, this concert remains strongly in my memory for intensity, poetry and rich sound; to be followed by Debussy Pour le Piano -what a treat of a programme! Thank you for posting this.
people of this region of the online space. Know that there is a God, and know that this God has been with your father, and his father and the father before him. All generations of humanity and all peoples shall proclaim him YHWH. God of Jacob, Esau, Solomon, Moses and the glorious ethiopian kings at gondar. Return to his kingdom, you lost children
Il y a comme ça des compositeurs géniaux et des interprètes géniaux et quand ils se rencontrent, c'est le bonheur pour nous. Merci d'avoir téléchargé ce monument.
I had a long talk Gilels, Emil Grioriviech once in -80s. A cultivated, pleasant man. We talked about Volvo -service in Helsinki and more, like these Scarlatti -recordings. My final question to him was about who is the "greatest". With no hesitation he told " Сергей Васильевич!" i.e Rahmaninoff. One of the great values in Rahmaninoff's readings is the "not to hurry & hesitate", or give the impression, what ever the tempi were.
@@metteholm4833 I wrote that comment spontaneously during a period of intense study of Scarlatti. I am trying now to reconstruct why I reacted in that way.
@Max M You can ignore it, and I can ignore it too. But I won't, because I have enough confidence in my musical judgment to wonder why I wrote it and try to discover again the reasons. Or I suppose someone may hold a moralistic view that only reactions of praise can stand unsupported.
How surprising different Gilels' Scarlatti sounds, compared to the way this music is normally played. I'm quite sure Scarlatti would be very happy with this recording!
I think this is the way which can be called (if any) normal. All the sprinters totally take out the musicality. It can be played a bit faster on the Harpsichord, just because a Harpsichord is faster attack, and faster decay...
I have never liked Scarlatti before this recording- but now I do! This magical lyricism combined with rhythmic vitality and depth of sound - man, Gilels is a genius
This isn’t Scarlatti, that why you like it, Ms. Kurochkina. Unless you can call it “Scarlatti on steroids.” Gilels just pounds the f*ck out of the delicacy of the music with his stone fingers....there’s no nuance whatsoever, nothing deceptive, or simple, just *BANG!!! BANG!!! BANG!!!BANG!!!”* til I want to scream! As far as “genius” goes, I can’t agree....compositions aren’t supposed to be about the performers....they’re supposed to find the composer in the pieces they play, not completely ignore the composer and disregard performance practice. And I’m not talking about using period instruments, either; the only pre-piano composer whose works are completely destroyed on the modern piano is Bach, bc his dense contrapuntal landscape makes it extremely difficult for modern pianists to realize with so much resonance from concert grands. To my ear, Glenn Gould is the only pianist to play Bach with complete clarity, probably bc he first studied Bach on a pipe organ with an organist. Ashkenazy comes close. Anyway, Gilels didn’t play Scarlatti here....he beat the poor guy into submission.
I wouldn’t go that far. His compatriot and contemporary Sviatoslav Richter was another giant, who had the most extensive repertoire and incredible power and ability to bring the most intimate moods and thoughts of composers to his listeners. In Russia then both had followers and admirers. Who is better? was discussed daily. I have loved both and was lucky to hear them live a few times.
This is how it should be played. He isn't showing off: he's the servant of the music. I wish more performers played like this. And.. thanks dad. You introduced me to Scarlatti (and Emil Gilels) when I was three.
Scarlatti was a sort of Sarasate/Liszt figure in the Baroque period. K. 141 d minor, which you are undoubtedly referring to, was used by Scarlatti himself for showing off speed. Suggesting Argerich is less correct (or any of the other musicians who did more research) is unfair to the musicians who knew what the meaning of the music actually was, in my opinion. The piece, to me, and nearly every musician, doesn't sound like it should be played neglected and depressed sounding. It should very very likely sound like a whirlwind, a panic, a fight, etc. Intensity is what is almost screamed by every marking and every note in the piece. If a child were to play Liszt Transcendental Etude No. 1 at a slower tempo than the one indicated by the composer himself, would that make him a better musician that Trifonov, who played it fast and triumphantly? Please, I beg of you, understand that to say one person is right, when this person is completely alone doing this thing, is to say that everyone else is wrong. Pletnev, Argerich, Dang Thai Son, Bunin, and even Sofrinitsky himself.
@@rampgamercracka4258 I believe the OP was speaking from his heart and wasn’t specifically saying other performers were incorrect. Only that Gilels’ interpretation moves him and is his particular favourite. His opinion has merit as does yours but his, all the more notable for its conciseness.
Awesome interpretation by Gilels of these sonatas. When playing them on a piano, One must imagine specific tones which do not exist when palaying on harpsichord. Gilel's tones are quite subtle and difficult to challenge.
ЧУДО! Ни у кого не звучит рояль так божественно, что за градации звука, не могу поверить что кто либо сможет достигнуть такого звучания на рояле! ГИЛЕЛЬС воскресил СКАРЛАТИ, который сам бы не мог представить, что так прекрасно могут его сонаты звучать. Можно с радостью сказать это ГЕНИАЛЬНО.
Even better than Michelangeli's Scarlatti, and that is saying a lot! Scarlatti's voice leading and rhythmic inventiveness really shine through in these mature performances. No velocity for velocity's sake, but the chops are there when needed. I was especially impressed with the soulful performance of the B minor.
Миелианджело как личность на такая яркая как Гилельс. Там больше декоративности. Мне еще очень нравится Скарлатти Клары Хаскил. Там другой подход возможно ближе к изначальному звучанию этой музыки.
Une série de musiques qu'il a transmises a une beauté qui jaillit naturellement comme une source. Il a la même dignité qu'il est né et a grandi. C'est un album précieux que les jeunes qui ne connaissent que les maîtres contemporains devraient écouter
Je dois à Emil Guilels d'avoir découvert, en février 1964, cette version des sonates de Scarlatti (dans un disque 33T, Amadeo vanguard) qui donnait aussi une version de concert de ces sonates sublimes qui sont toutes de petits chef-d'oeuvres!! Il faut dire que déjà, à mon sens, que cette version de piano superbe, résolvait la querelle-piano clavecin- ! Même si Scott Ross a donné une Référence de l'intégrale de ces sonates! Chapeau pour cette prodigieuse performance... Depuis je n'ai jamais oublié les sonates de Domenico qui reste un cas unique dans l'histoire de la musique! On peut dire que se sont de petits opéras, par leur dynamisme, leur verve, faconde et nostalgie ou la poésie est présente... Il est par ses Sonates, l'égal des plus grands compositeurs, une référence absolue!
This Gilels performance of Scarlatti reminds me much of Glenn Gould’s Bach. Completely original, and maybe even strange at first, yet totally fascinating and convincing. Bravo!!!
Contrary to todays practice Gilels gives these 7 Scarlatti's sonatas gravity and depth. Both intellectually and emotionally. His interpretation eschews light-heartedness and frivolity we so often hear of Scarlatti. Some Gilels’ dynamics are exaggerated but clearly in line with his view. A little bit more sunny and smiling way wouldn’t come a miss, but I adore him!
Gilels was definitely not a period performer. But let's remember what goes with so masterful a pianist as Gilels: he finds things in music that others would never think of. Such is genius. It is not musical purism in the sense that one expects of the late Gustav Leonhardt, but his approach gives us insight into the musical depth of Scarlatti that period purism cannot offer. Domenico Scarlatti is a musical genius, and he can be interpreted in many ways. See also Chopin. Were I a competent pianist I would surely play a Chopin ballade very differently from how someone like Arrau or Rubinstein did -- but I would still respect Arrau and Rubinstein for their performances. I would also play these Scarlatti sonatas differently from Gilels, as I could never imitate his musical personality. .
I do not like this approach of Scarlatti , but who cares ? The important thing is that there is great music , revealing what you noted as "the real depth" of Scarlatti . Thank you Emil Gilels . (very) Far from the magic of Horowitz and its beautiful illusions (?) .... I didn't expect , and I didn't want that depth by M. Scarlatti , but who am I to forbid Domenico to be romantic , to be human ... ?
@@Fritz_Maisenbacher why would anyone be more human by being romantic??? I find Scarlatti's music to be full of vigour especially because it is not an ideal-seeking music.
There is no such thing as Soviet pianistic art, or any art! It’s amazing, that there were incredible artists over-there, in those times despite the Soviet repressive environment!
@@stonefireice6058в СССР была самая настоящая демократия, т.е. власть народа, рабочих и крестьян. Репрессивное государство - это любое капиталистическое, где свобода и права есть только у кучки богатых, а миллионы людей труда бесправны и голодны.
Thank goodness there was still freedom of expression on the stage, even though it's apparently not accepted by the dry academics.. Most of the critics would berate Gilels for his Romantic approach, but what a dull world it would be if we were all playing in fashion.
qui Gilels compie un miracolo: colloca Scarlatti fuori dal tempo, fuori dalle convenzioni e ce lo dona in una forma che si iscrive nell'eternità. Come la Callas e pochi altri geni, Gilels possedeva il dono di trascendere, concordo con l'idea che Scarlatti avrebbe apprezzato queste esecuzioni piene di volume, forti come una statua di Michelangelo, dolorose come l'abisso sull'orlo del quale tutti noi camminiamo incerti
grazie trovo questo commento molto bello. Per mio conto trovo interessanti anche le piccole sbavature di Gilels, le piccole imprecisioni, rispetto alla (quasi) assoluta precisione esecutiva del pure immenso Michelangeli
Genial interpretación de la música de un genio de la composición académica. La armonía el ritmo y la melodía haciendo gala de proporciones justas. Música eterna que no cansa a los oídos y sirve para elevarse.
Puede ser, prefiero no comparar; porque dentro de la obra de arte, el intérprete también pone su cuerpo y su alma para recrearla de acuerdo a su espíritu. Nada es igual todo enriquece.
I've listened live to most of the greatest pianists currently in activity and, frankly speaking, I would struggle to choose a preferred one. I've listened to so many beautiful interpretations. Gilels has anyway a unique sound and musicality. He's almost 'sculpting' the sound with an unrivaled poetry. His technique is perfect and plays everything with such fluidity and naturalness that you could think that playing like him is so easy! Perhaps the only pianist that has given me similar feelings during a whole concert is Grigory Sokolov. It's really a pity that he's no more in this world and can offer his music to a mankind plenty of troubles. We are anyway lucky to be able to revere his art through these fantastic recordings.
Nice that you mentioned Sokolov. After Gilels and Richter, he is the only one, who continues on the path of great Russian masters. Gilels was his mentor and friend, who awarded Grisha with 1st Tchaikovsky competition prize, going against the Kremlin wishes.
Giles es uno de los pianistas imprescindibles del siglo XX. Pero su humildad era tan manifiesta que cuando se lo elogió en Occidente por su monumental forma de interpretar dijo "Esperen a escuchar a Richter"
Hermoso! bellisimas interpretaciones de estas bellisimas sonatas de ScarlattiSimply beautiful!! Wonderful interpretations of these wonderful Scarlatti's sonatas Thanks for posting. Bellissime interpretazioni di queste bellissime sonate del maestro Scarlatti. Dei very gioielli!!
+bach5861 Well first instance on this first d minor sonata it might be a bit to much so ... it could be a bit more rythmic and angular......as opposed to Bach with the incredible polyphony..... but yes even Mozart and Bach have souls too that know a thing or two about romance of course within their period.
+bach5861 Well, yes, he can definitely sound that way in some of his works. But he's still always well within the Baroque language, which means he's the kind of genius capable to transcend his historical period without necessarily being a revolutionary or sorts.
this guy puts heart into these pieces. So many players wreck Scarlatti by rushing rushing as hard as they can through these works, as though the faster you went the better you were interpreting. No. Just because you can sprint, doesn't mean you should.
+margatroid derek It's a damn shame you weren't born in the 18th or 19th century and taught all those moron composers how to "do it right". Well, at least they had Haydn and Scarlatti to look up to.
Interesting to hear how the interpretation has changed since his youthful recording on Monitor!!! And compare, also, to Argerich, who btw grew up listening to Richter and Gilels, and adored them!
It's always surprising how everyone always refers to Argerich, and only to her. There are many very great interpreters of Scarlatti's sonatas : Larrocha, Zacharias, Perahia, A. Schiff, Barenboim (3 splendid sonatas in his last recording), Horowitz, and so on...
The B Minor sonata K.27 is perhaps the greatest rendition of it I have ever heard: completely un-virtuousic and pianistic it is historically completely inaccurate (the tempo, too, is against Scarlatti's indication) yet it evinces Scarlatti's genius, especially thanks to Gilels's "sforzandi" which in the B section with their dissonance give the sonata a unique timelessness. It is simply hauntingly beautiful.
This man, I don´t have words to express his technique. Perfection. First time I hear from his hands playing Scarlatti. Amazing. Love Schiff´s playing and Pogorelich. I´ll add his to my list. Thanks for posting.
5 years later than your reply. I quite agree it's so unlike others and so personal to Gilels. I don't know how many times I've heard this piece, but certainly never played like this. What a wonderful performer of music.
The sonatas are great enough to support different interpretations including these. Listen to Hilary Hahn and Gil Shaham playing the Gavotte from the Bach E major sonata for different but excellent interpretations.
Yes, excellent point. The greatness of the sonatas is shown precisely in how so much and so many different things can be drawn from them. You won't find that in Clementi for instance.
Personally, I find the mania people have re identifying 'the best' to be a disease of Post-Enlightenment culture and very 'anti-art'. Hope you are still enjoying Gilels.
Guilels est clairement un des plus grands de tous les temps, dans Scarlatti comme dans tant d'autres, même si on entend ici quelques petites imperfections dans certains traits rapides (et même une belle fausse note) comme cela lui arrivait à cet âge (il a ici 68 ans et devait mourir quelques mois plus tard, à 69 ans). C'est tout de même grandiose. Une autre magnifique pianiste (pourquoi n'est-elle jamais citée?) a donné une interprétation bouleversante de beauté de ces sonates de Scarlatti : Alicia de Larrocha.
I heard Argerich play this first sonata k 141 and almost died as I thought there is some demon speed thing going on and is that all that people want? But at least here and Wanda Landowska, Casadesus, and a handful of others there is profound thought and integrity going on ... .even if you don't always agree with the tempi but that is personal. Bravo!
Agerich’s interpretation of this piece is obviously not less insightful at all, not to mention less integrity. Different people have different understandings. I personally prefer agerich’s version.
If you listen to the harpsichord versions, a big part of Scarlatti is excitement, so Argerich's version should not be dismissed this easily. Classical music isn't all about "profundity". Not everyone is Bach, nor is Bach only "profound". Not that Gilels doesn't create excitement in thee music, but the excitement here comes from the rapidly alternating depth and scope. Just hope Gilels can be a bit more improvisatory/ impulsive as most Baroque music, especially Scarlatti's, should sound.
I really like Argerich performance. Yes, her tempo is brutal, but harmonics and melody are the same, and her passion for piano is felt through this piece.
