Scarlatti - 13 Keyboard Sonatas K 1, K 466 .. + Presentat° (Century's recording : Dubravka Tomšič)

[@classicalmusicreference]

Domenico Scarlatti (1685-1757) - 13 Keyboard Sonatas. 🎧 Qobuz bit.ly/2RmxvB5 Apple Music apple.co/329duQM 🎧 Amazon Music amzn.to/3v5Re8t Tidal bit.ly/2NBQHbX 🎧 Deezer bit.ly/39oBgN2 Spotify spoti.fi/3clDtKS 🎧 KZbin Music bit.ly/3WniStq SoundCloud bit.ly/3Cbf4S8 🎧 Naspter, Pandora, Anghami, LineMusic日本, Awa日本, QQ音乐 … Click to activate the English subtitles for the *presentation* (00:00-02:18) Sonata in d-minor L 366 / K 1 (00:00) Sonata in G-major L 349 / K 146 (01:57) Sonata in f-minor L 383 / K 19 (05:25) Sonata in B-flat major L 396 / K 551 (11:34) Sonata in G-major L 103 / K 259 (15:44) Sonata in G-major L 487 / K 125 (21:45) Sonata in d-minor L 413 / K 9 (23:59) Sonata in C-major L 104 / K 159 (28:00) Sonata in c-minor L 352 / K 11 (30:12) Sonata in G-Major L 387 / K 14 (33:38) Sonata in E-major L 21 / K 162 (36:27) Sonata in f-minor L 118 / K 466 (42:19) Sonata in A-major L 391 / K 39 (51:04) -- Piano : Dubravka Tomšič (Helena Schubert/Artist name) Recorded in 1992-93 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr -- Domenico Scarlatti (1685-1757) est un compositeur italien de Naples. Fils du compositeur Alessandro Scarlatti, il écrivit un nombre considérable d'opéras, qui sont, à présent, complètement oubliés. Il n'est plus connu que par ses œuvres pour clavecin. L'importance du rôle qu'il a joué dans l'histoire de la technique du piano est énorme. - Scarlatti fut un des plus grands virtuoses du clavecin et c'est à ce titre qu'il fut attaché à la cour à Varsovie, à Rome, à Lisbonne, à Naples et à Madrid ; mais c'est à la cour d'Espagne qu'il resta le plus longtemps. de 1729 jusqu'à 1754, date à laquelle il retourna à Naples. Il menait une vie très retirée, de sorte qu'on sait fort peu de chose à son sujet, mais il est certain qu'il profitait de ses congés pour effectuer des tournées de concerts en Europe. En 1708, il prit part, à Rome, avec Haendel, à une compétition d'orgue et de clavecin; le résultat de l'épreuve de clavecin fut indécis, mais Haendel triompha à l'orgue. - Scarlatti a composé plus de 600 esercizi (sonates) et autres pièces pour clavecin ; la plupart d'entre elles sont des plus soignées ; ce sont des morceaux courts, animés et mélodieux, écrits dans les formes des danses de l'époque. Il libéra la musique de clavecin de la polyphonie de l'âge baroque et utilisa, dans une large mesure, les traits, les arpèges et même les effets de trémolo. Il semble avoir puisé la plus grande partie de son inspiration dans la musique italienne de son époque et aussi dans les danses populaires espagnoles. Nombre de ses petites pièces ont été arrangées en suites de concert pour piano. En 1956, on a même découvert au British Museum trois sonates inédites de Scarlatti. On pense qu'elles ont été écrites alors que le compositeur séjournait à la cour de la reine Maria-Barbara d'Espagne. - Né en 1940 à Dubrovnik (Croatie), la brillante pianiste slovène, Dubravka Tomsic [Dubravka Tomšič Srebotnjak], a donné son premier récital public à l'âge de cinq ans et a depuis donné plus de 4 000 représentations dans toute l'Europe, en Australie, en Amérique du Nord, au Mexique, en Russie et en Europe de l'Est, ainsi que dans une partie de l'Afrique et de l'Asie. Elle a grandi à Ljubljana, la capitale slovène, et a commencé ses études à l'Académie de musique de Ljubljana. Ses talents ont été remarqués par le grand pianiste chilien-américain Claudio Arrau, qui l'a encouragée à venir étudier aux États-Unis. Ainsi, à 12 ans, elle s'installe à New York et s'inscrit à la Juilliard School, où son professeur principal est Katherine Bacon. - Pendant son adolescence, elle termine le lycée, obtient une licence de sciences et un diplôme de piano avec deux prix spéciaux, et fait ses débuts à l'Orchestre philharmonique de New York, au Town Hall et en récital à Chicago. Elle a également donné un récital au Carnegie Hall, dont Artur Rubinstein a fait un compte rendu élogieux dans ses mémoires My Many Years. Elle a ensuite étudié en privé avec Artur Rubinstein pendant deux ans. Il la considérait comme "une pianiste parfaite et merveilleuse" et ils sont restés amis tout au long de sa vie. - Dubravka Tomsic est une sorte de pianiste pour connaisseur, un nom de marque peu connu en dehors des cercles de musique classique, mais souvent cité parmi les meilleurs joueurs du monde . Au clavier, son attitude réservée dément l'expressivité de son jeu. Remarquée pour la variété des couleurs de sonorité qu'elle peut faire naître du piano et pour la puissance et la douceur de ses trilles, Tomsic a offert des performances qui évoquaient souvent l'adjectif "sans couture". Sa "technique éblouissante", a noté le Boston Phoenix après un concert de Tomsic qui s'est finalement terminé après cinq rappels, "n'est jamais une fin mais un moyen d'atteindre la franchise émotionnelle et l'insinuation poétique". -- Domenico Scarlatti PLAYLIST (reference recordings) : kzbin.info/www/bejne/q2jaqIyiiMiHqLs

[@00bean00]

+George Atkins, yes, but does anybody want to do the thankless conversion? If I was a good at Perl and web scraping I would use this page and output it with a format: en.wikipedia.org/wiki/List_of_solo_keyboard_sonatas_by_Domenico_Scarlatti The one I looked up (L 21) was K162. I recognized the next one as K87, of course. *Edit:* Ok, George, I did it.

[@00bean00]

Sonata in D minor K 1 (00:00) Sonata in G major K 146 (01:57) Sonata in F minor K 19 (05:25) Sonata in B-flat major K 551 (11:34) Sonata in G major K 259 (15:44) Sonata in Gmajor K 125 (21:45) Sonata in D minor K 9 (23:59) Sonata in C major K 159 (28:00) Sonata in C minor K 11 (30:12) Sonata in G Major K 14 (33:38) Sonata in E major K 162 (36:27) Sonata in F minor K 466 (42:19) Sonata in A major K 39 (51:04) Piano : Dubravka Tomšič (Helena Schubert/Artist name) Composer: Domenico Scarlatti (1685-1757) Stéréo recording in 1992-93 Label : Symphonie / Prova Record Domenico Scarlatti PLAYLIST (reference recordings) : kzbin.info/www/bejne/f5zWfKyaeLuLjNU

[@classicalmusicreference]

Yes there are the editions L and K. However, Horowitz, probably the most famous interpreter Scarlatti uses the L edition. It does not bother. The famous harpsichordist Blandine Verlet uses the K editions.

[@surengabrielyan1237]

00bean00 42:19 Sonata F minor is K466 not K87

[@classicalmusicreference]

yes

[@carloslamasdeoliveira1347]

This Lady is one of the more perfect Scarlatti players I know. Bravo, Dubravka Tomsic!

[@jntaca]

Comparto el concepto. Ella es quien mejor interpreta el espíritu de Scarlatti.

[@catherinejones9396]

Up there with Daniele Dechenne and Alice Ader, in my humble opinion, cathy,

[@charlottewhyte9804]

agree

[@charlottewhyte9804]

wow yes I reacon

[@schtroumpf48]

À mon humble avis : juste LA pianiste la plus poétique/énergique pour Scarlatti, où je suis amoureux d'elle ! // Just for me : THE most poetic/energic pianist in Scarlatti ; here, I love her !

[@tomkelly4336]

I saw her once when she came to Boston Ma. Ms. Tomsic played one of the most perfect Liszt B sonata's that I have ever heard. She is the most perfect of pianists and does not overpower the music but always it to stand as it is supposed to be played. Thank you much for posting these gems and they are " GEMS" Tom

[@classicalmusicreference]

thank you very much for your testimony :-)

[@StephenBryen]

There is no one named Helena Schubert --the artist, Dubrovka Tomšič was ripped off it appears by unscrupulous copyists who stole her work and paraded under a false name. So sad, because this is a brilliant artist who interprets Scarlatti impressively well. I did a little quick research and there seems to be an industry to steal from wonderful artists in Eastern Europe. Tomšič is now 80 years old. She deserves fairness.

[@Piflaser]

Publishing under false name was the business of some small labels, partially because of illegal machinations partially due to unknown copyrights. They helped to maintain a lot of recordings.

[@brandonmacey964]

Dubruvka Tomsic was a student of Arthur Rubenstein I believe

[@excelsior999]

Thank you very much for that important information, Mr. Bryen.

[@jntaca]

I have a CD edition from Bulgary and the credits are OK. Who knows who those thieves are. "Helena Schubert" juaaa ! !

[@bckm54]

Scarlatti is one of those composers who didn't get nearly enough recognition. Great stuff!

[@IvanGreindl]

??? It's not because you didn't know him well, dear friend, that this brilliant composer was not highly famous... Even more than his father! ;-)

[@Rickriquinho]

@@IvanGreindl He said that Scarlatti should receive more recognition.

[@jeffreyadams648]

A transitional composer part Handel part Bach. Pure genius.

[@elaineblackhurst1509]

@@jeffreyadams648 The first sentence needs deleting as it is entirely mistaken; the second sums up both brilliantly and succinctly Scarlatti’s 555 keyboard sonatas.

[@honda412000]

Frankly had never heard of Dubravka Tomsic and this is a enormous surprise. His Scarlatti is different from the many others I've heard. Very quiet, smooth, tight, meaningful, articulate and fast when needed as it should be played, Never heard the K9 in such a delightfully dreamlike fashion. I know that Scarlatti is like some wines or foods. They always taste good no matter how they are cooked. But this is very special!

[@jntaca]

I've heard hundreds of recordings of Scarlatti sonatas and I make your words mine

[@loving-everyone-equally]

I listened to Helena which making tofu and a it was a wonderful experience. No commercials made it even better. Thank you Helena and Classical Music /Reference Recording

[@fe12rrps]

Beautiful interpretations. L 118 is one of my favorites. Listening to Scarlatti is like reading aphorisms: so much is conveyed with so little.

[@minimini3252]

L 118 jest najpiękniejszy, prawda

[@fe12rrps]

Irena Biel have you listened to L 33 in b minor? It’s also very beautiful.

[@allpix]

nous somme d'accord

[@wcucomneuroscience258]

Mine too. L118 is a gem.

[@elaineblackhurst1509]

teddy toto The people commenting in this discussion must be the last people on Planet Earth still using the ridiculous L numbers which is rather like using Opus numbers rather than Kochel when referring to Mozart.

[@theoldlefthander]

Some of the most perfect playing I've ever heard. The 30 people that gave it a thumbs down seriously need to get a life.

[@classicalmusicreference]

agree

[@marielandais7836]

30 person against 2700 😉

[@739aa]

Absolutely phenomenal performance. Lots of thanks!

[@winglow7615]

So it's Dubravka Tomsic playing. Wonderful. I could listen all day. Wow, so good. So good.

[@IvanGreindl]

Take a look on the record's cover: the pianist seems to be Mrs Helena SCHUBERT...

[@johngale1000]

When i heard the Scarlatti, I thought "why am I bothering?"". Answer - it's an inspiration which reveals Arthur Rubenstein, whom I've had the the privilege of meeting. A wonderful recording - Brava Dubravka! (From John Gale)

[@TatsuyaNagashima]

Thanks for posting this. Growing up, I listened to this recording over and over!

[@classicalmusicreference]

:-)

[@류순열-h6i]

아름다운 피아노 연주곡 잘 들었습니다~감사합니다~🎵🎹🌿🍀☘🌹🌹☘🍀🌿❤❤

[@karendavis8649]

What a revelation! Can't believe I had not heard of her before.

[@marielandais7836]

Perhaps if the disc cover says "Helena Schubert ", it does not help

[@aaronjohns3997]

i've never heard of this pianist! fast & clean tempo

[@mikestewart6517]

Thank you so much for this wonderfully crafted rendition of scarlatti. Scarlatti is more than just understood by the performer he is experienced and that experience is passed on to the listener. Many thanks for passing it on to us.

[@excelsior999]

The artist is a woman.

[@denniss4653]

Listening to her play the sonata in f-minor is one of the highlights of my life, and it enables me to remember those other similar unique moments...which also involved women like her in their ephemeral beauty. I would gladly go anywhere to see her - and just for having heard these 8 minutes and 45 seconds of art! ( It was for art such as this that I quit studying science and took up art history back in 1962...) She was born one year before I, and I have had to survive until now to experience this, and recreate those other moments. : the essential feeling of those other long gone moments with those other beautiful women.... I wonder what it was like for her to experience the tragedy of Croatia in 1992, when she was able to express herself like this? Where was she then? Where is she now? This is what an artist like her can do to a romantic like me....hopeless hope. Because of its potency, I will guard against hearing it more than once a month. But I wonder if it might be possible to meet her sometime, somewhere? What has her life been like? I wonder... "...this music crept by me upon the waters..."

[@presbyterosBassI]

I bought this CD years ago at Best Buy for $1.00, and it's absolutely one of my favorites.

[@codyfranchetti40]

Dubravka Tomšič has not been given proper attention and admiration; her playing is outstanding. This recording's penultimate, haunting sonata (Sonata in F Minor, K.466/L118) is unmatched. Tomšič's rendition of Brahm's Op.118 is outstanding, with one of the greatest Eb-minor Intermezzo on record. I heard her play Beehtoven's 5th Concerto at Carnegie Hall in the mid 1990s: it was splendid. I also suggest to seek her recording of Mozart's "Coronation" Concerto in D, KV 537-another memorable performance.

[@classicalmusicreference]

Thanks for your comment

[@loxpower]

About the Sonata K. 466, we are talking about personal preferences obviously, but I don't think this performance matches Horowitz's one. Here, we hear a good pianist playing the piano, there there's a wizard conjuring music. ;)

[@notaire2]

Wunderschöne und fehlerlose Interpretation dieser kompakten und fein komponierten Sonaten im lebhaften Tempo mit anmutigem doch gut artikuliertem Anschlag und perfekt kontrollierter Dynamik. Echt unvergleichliche Pianistin!

[@lukegriffith2828]

Very fine playing. Expressive, musical, elegant, not overly pressed on the tempo merely to show off. And the fast ones are CLEAR and still EXPRESSIVE, which is all important. Speed should never bypass the ability of the listener to HEAR each note and its relationship to its neighbor, i.e. expression as the line passes from tone to tone, each of which has a different emotional level within the scale. That sounds a little pretentious, but it is true. :)

[@callemoslosbrutose4807]

WE COULD HEAR THIS ALL LIFE LONG. THANKS FOR SHARING.

[@0yoon0]

i love it seen i'm child .

[@rihardk1976]

I've been lucky enough to her her perform life here at home ground in Ljubljana and abroad over and over again. As a solo pianist and accompanied by various orchestras she's a pure delight to listen to.

[@jean-michelprillieux5012]

La sonate L118/K466 est un chef d'oeuvre de mélancolie.

[@AdamHWarren]

Scarlatti's melodies run flawlessly like a captured stream in an Italianate garden, with a tranquil, innocent hedonism. Carefree, rather like off-duty Bach :-)

[@excelsior999]

Very well put, sir.

[@AlanInUtah]

I have loved this pianist's interpretations going back to being a kid checking out vinyl records at the Shreveport public library. I have never understood why she isn't better known. Some of my favorite Mozart concerto recordings are with her as pianist.

[@rsjmd]

A classical artists attainment of reputation depends on so many things besides just straight pianistic talent

[@pietervoogt]

Her interpretation of Scarlatti reminds me of Mozart, she puts generally more emphasis on the melody than the rythmic repetitions. Some pianists turn the repetitions in a kind of techno but she keeps it sensitive.

[@jackarcher7495]

@@rsjmd That's for sure.

[@excelsior999]

@@pietervoogt Well said.

[@not2tees]

A pianist to have confidence in - Dubravka Tomsic - full, ripe trills and sensitive, assured phrasing and touch. Technical depth. An unknown to me previously . . .

[@erhan6095]

Beautiful Dubravka Tomšič.

[@Davidfooterman]

Wonderful playing, and that gentler sound contrasts with most other interpretations. Sure, you couldn’t produce that sotto voce on a clavichord or harpsichord, but so what? If purists had their way, we would not be able to enjoy the lyric beauty here. She really plays beautiful Scarlatti!

[@timr2007]

I had this CD at one time, the first one I ever got. It is Dubravka playing. I also got a chance to hear her play a few of these live in the 90s.

[@Capochin950]

Beautiful sensitive playing.Perfection and Bliss.

[@znanjenaDar]

My favorite compositor! 🥀🌸🌹

[@honoredecazlab7437]

Thanks classical music for this post. This version seems close of racha arodaki play. It's a romantic vision of the scarlatti sonata and so far from the italian baroc style of scarlatti. However the piano of miss «schubert» is so beautiful and sensitive. It's a different music. See the historic version wirh harpischord of the great scott ross. Sorry for my bad english...

[@IvanGreindl]

Vos remarques sont fort pertinentes, je les partage tout à fait. Mais, comme vous le soulignez, 'Miss Shubert' (ou Tomsic ??) délivre un jeu sensible et à la fois, sobre. Je parierais volontiers que le Sieur Domenico apprécierait d'entendre comme les interprètes d'aujourd'hui, soutenus par la technologie, peuvent ressentir le message du compositeur de façon différente, certes, mais non sans intérêt. :-) (Profitez-en pour jeter un coup d'oreille, ici, sur la vision d'Ivo Porelich !)

[@marcosuluaga8358]

Una versión impecable, como ya no suele suceder hoy con todos los interpretes-maquinas que se estan dando a conocer en nuestros dias: Mucha materia, poca forma. Brillante pianista. Saludos

[@walfootrot7005]

I have a number of pianists playing Scarlatti, including Tomsic in this recording. For me she is close to the top of the list. This is not archetypal Scarlatti playing but there is something about it that just grabs you and makes you listen. I felt the same way when I heard Babayan though his approach is radically different. I also have the Horowitz along with Haskil, Gilels and Zachrias' early recordings for EMI and I rate all of them. One more you might like to hear is a little known pianist called Mordecai Shehori.

[@IvanGreindl]

Take a look on the record's cover: the pianist seems to be Mrs Helena SCHUBERT...

[@katherineparadis-chateaune8004]

Maria Grinberg's playing of Scarlatti is a treasure.

[@krunoslav1271]

I heard Tomsic play at Tanglewood with Haitink and the Boston some years ago ( 2004?): the Beethoven Fantasia in C minor. Impressive. After that I looked for CDs and found this Scarlatti, which I enjoy along with those of Tharaud and Pletnev.

[@benettilize]

Super music and pianist !

[@RobertSweet-nw4tm]

Abject apologies - many of sonatas are beautiful rendered with feeling

[@DressedForDrowning]

That's the way I love Scarlattis sonatas most: very light and easy, with a good piano, not a harpsichord or an oooold piano.

[@johnsergie3906]

I'm sorry but if you prefer piano over the harpsichord for this beautiful piece you are over your mind

[@Concurr]

@@johnsergie3906 Just a difference in taste! 😊 It's 'out of your mind', by the way.

[@johnsergie3906]

@@Concurr Yes, thank you. I'm pretty sure I don't need to take advice from a person who can not master simple punctuation ;)

[@Concurr]

@@johnsergie3906 It was a correction in good faith dear, not advice. But you carry on bastardising the language all you like, so long as you get to make asinine comments regarding people's musical preferences. Of course your taste is superior.

[@johnsergie3906]

@@Concurr I was not bastardizing, but simply expressing my opinion, read article 10 of European Convention of Human Rights good sir.

[@sdorr]

wonderful, poetic, & gratefully not of the bang-bang school of pianism...often rivals di Bonaventura's master-musical-storytelling!

[@antonwills-eve124]

Great to hear Dubravka Tomsic playing Scarlatti. She is undoubtedly one of the greatest Baroque keyboard players of all time. I would rate her Bach Italian concerto way ahead of Gould both for tempo and conveyance of emotion and feeling, which Gould so often lacks.

[@IvanGreindl]

Take a look on the record's cover: the pianist seems to be Mrs Helena SCHUBERT...

[@carlhopkinson]

Marvelous execution!!!!

[@sampurnawisaba4875]

Ammazing music. Thanks. from Indonesia.

[@joaomagalhaesdocarmo212]

Lindíssimo! Muito obrigado.

[@eddiewildman9082]

Beautifully executed, musically realised. Lovely!

[@callemoslosbrutose4807]

Scarlatti for the centuries.

[@nikolaacimovic8854]

it is Dubravka Tomsic,her teacher was Arthur Rubinstein

[@charlottewhyte9804]

any wonder she plays so beautifully

[@asinusvonachalm5164]

Her interpretation of Sonata in G-Major L 387 (33:38) is the best of all what I ever heard

[@IvanGreindl]

Look at the record's cover: the pianist is Mrs Helena Shubert... ;-)

[@pamelafrancis4476]

@@asinusvonachalm5164 And the reflective one just before sets the scene beautifully!

[@alexhoffmann3002]

@@IvanGreindl Same person, Helana Schubert is a pseudonym.

[@boufleresam388]

جميل جد ... اعشق هاته الموسيقى منذ الصغر... شكرا على النشر...

[@classicalmusicreference]

بكل سرور

[@gerardoconnell6539]

Nice interpretation!

[@mairaleikarte43]

Wow. Your channel... This is truly reference recording.

[@IvanGreindl]

I completely agree! :-)

[@helioenriquesuarezgodoy2899]

Excelentes obras de D. Scarlatti que son de una interesante pureza melódica y simplicidad para su interpretación...que las hacen meritorias como anticipo de las obras de los compositores clásicos que irrumpieron en el espectro musical con posterioridad...

[@claudiotoffoli5355]

The publisher should add the Kirkpatrick numbers to the sonatas, they’re far better known than Longo’s.

[@elaineblackhurst1509]

Claudio Toffoli You are quite correct; the Longo numbers are anachronistic, misleading, and serve no useful purpose today whatsoever; they are used by almost nobody. Using L numbers is like quoting prices across Europe in the old currencies like lire, francs, Deutschmarks, pesetas, and all the others, rather than in Euro’s.

[@ysayesound4346]

Looks like your wishes were answered

[@musicaantigua869]

Muchas gracias classical music y saludos cordiales desde Mallorca para vosotros

[@classicalmusicreference]

:-)

[@Stone2home]

We love you!

[@eytonshalom]

wonderful, esp considering how often these have been heard....

[@arturozeballos1]

quien toca es la gran pianista DUBRAVSKA TOMSIC.......................

[@osvaldoorias4171]

Exquisito! mil gracias

[@tooskyblue]

Galant and bright

[@raffitorossian6994]

Amazing

[@steinrich56]

Stunning work.........!

[@halk3]

There is something vaguely jazzy and modern-sounding about Scarlatti. I think that in part this has to do with his use of repetition. One difference is that Scarlatti is played with a regular tempo, which is an advantage in my opinion.

[@pjdahmen]

Sound is great

[@mashtali1]

K466 42:18 fantastic performance

[@teresitarodriguez1196]

extraordinario

[@bifeldman]

Very fine.

[@guti2611]

5:25 the Best

[@Davidfooterman]

I can see why Rubinstein loved her playing so much.

[@TrazomGV]

She was his student.

[@BluesmanBri]

She’s a brilliant player

[@fernandobe3112]

Sonata in f-minor, 42:19

[@aaronjohns3997]

you're right about the technical flourishes in this performance. But I like the Gilels and Horowitz ones better because of the real, real rubato... and the chromatism which is unsurpassed, especially Horowitz...

[@classicalmusicreference]

yes Horowitz too is a record of the century and we intend to add it but we can not compare because everyone is excellent in his style, in his approach. originally Scarlatti has composed technical exercises and for the piano this woman has the most perfect and fluid technique we have heard (no slowdown to avoid a difficulty) and yet it is not cold on the contrary there is a lot of sensitivity but she distills it with a lot of suptility.

[@philippeyared2050]

Excellent

[@ceciliaadami309]

Bravissima!!!

[@rsjmd]

Note the https Wikipedia article is a second link entirely, sorry but YT condensed them after I left a space between them

[@luke8857]

Me as her teacher: stop playing so fast. Stop it. Stop it. Stop. Please. God. 1:48 good job ya blew it. Nice mistake. Slow down!!! The really ironic thing here, though, is that she plays my showoff Scarlatti piece (1:58) slowly. Literally that is the piece that I mastered at prestissimo molto velocity. she plays it like it's the Moscow ballet. 🤪 It sounds fine. Notice how she likes quick not sumptuous. If she was making love she'd be like hurry up? The dodgers are playing and I made dinner. Even at slow speed that piece requires some dexterity.

[@i-told-you-sodear1526]

Somehow one gets the feeling that the right instrument for Scarlatti's compositions is either the harpsichord or clavichord.

[@bloodgrss]

Must have missed that feeling. The piano, played as well as this, seems just right.

[@sampurnawisaba4875]

Dulu saya mendapatkan CD musik ini dg judul : The Scarlattti Sonata

[@fabz1509]

Thanks to coreection by enthused sing ! Huge error on my part.

[@richardclark8656]

Thanks so much for posting this. It’s a beautiful gift for the new year - One question: Could you please tell me why the album cover shown in the thumbnail was chosen, since the artist is actually Tomšič, not Schubert? Did Tomšič use Schubert as a ‘stage name’?

[@2251813]

Grande precisione esecutiva. Tempi forse un po' troppo veloci.

[@InTheMixReviews]

W O N D E R F U L ! ! !

[@stephencoleman3578]

I hear a touch of one of these themes in Beethoven's 3rd mov. of the Pathetique sonata for piano.

[@renaldtremblay8333]

Trop vite!

[@elaineblackhurst1509]

Some lovely piano playing and interesting interpretations, but... It would appear that the pianist has used the grotesque, heavily edited abomination of the Longo edition published in the early twentieth century. Longo was the first attempt to publish a ‘complete’ edition of Scarlatti’s sonatas, but is so seriously flawed as to be inadmissible as an edition to be used by a serious musician today. Longo is the product of a nineteenth/twentieth century romantic performance tradition, and as such is full of editorial markings relating to tempi and dynamics; it is littered with crescendi and diminuendi, editorial phrasing, staccato and legato marks, and even has notes altered to smooth out some of the composer’s highly individual originality - the list of objections is endless (even more below) , though to be fair, it did serve a purpose of sorts - by the tastes of the time - when it was first published before WW1. Anyone interested should simply use the index of Ralph Kirkpatrick’s ground-breaking, pioneering and definitive biography of the composer, look under ‘Longo’, and read the full horror story. These performances follow Longo’s corruptions too blindly by today’s standards, though there is some wonderful and sensitive playing. One final point: Scarlatti’s sonatas are now universally known by their K (Kirkpatrick) numbers: he put the sonatas, as far as it was possible to do so in chronological order* in much the same way Mozart’s works are arranged by their Kochel numbers. The L numbers* should be discontinued entirely as they are unhelpful, confusing and anachronistic; neither should the K numbers be usurped by the new F (Fadini) numbers being used alongside the K numbers by Ricordi in their new Urtext edition. Almost none of Scarlatti’s sonatas were published in the first half of the 18th century, except the set of thirty sonatas (or rather ‘Essercizi’ as they were titled) K1 to K30 which were published in London in 1739, practically the only sonatas ever to leave the hands of Scarlatti or his patron Princess/Queen Maria Barbara during the lifetime of either. * Longo’s numbers are the product of his arrangement of the sonatas into ‘suites’; collections of random sonatas in the same tonic key - major and/or minor - without any reference to chronology or whether or not they were early or late works. The sooner the entire horrible Longo edition, along with the equally ridiculous Longo numbers are consigned to the litter bin/trash and joyfully set alight, the better. These performances would have been so much better using a clean urtext score - or at least ignoring Longo’s directions - and relying in the performer’s own innate musical sense and feel for Scarlatti and his eighteenth century idiom. * Apart from the London Essercizi which are K1 to K30 inclusive. Kirkpatrick’s list also gives adjacent numbers to the hundreds of pairs (and occasional threes) which he suggests was Scarlatti’s intention.

[@classicalmusicreference]

Yes there are the editions L and K. However, Horowitz, probably the most famous interpreter Scarlatti uses the L edition. It does not bother. The famous harpsichordist Blandine Verlet uses the K editions.

[@locutia7]

So, you don't like it?

[@elaineblackhurst1509]

Jimmy Curtis Absolutely *no* serious pianist today is using the awful Longo edition - or numbers - this was the main part of my original criticism. There are numerous urtext editions, either complete or selections, by a number of reputable publishers; these are now almost universally used, along with the Kirkpatrick numbers. All the world’s greatest pianists have a number of Scarlatti sonatas in their repertoires, and there are almost no poor performances recorded either (though some are extremely rapid); the anachronistic Longo is thankfully, almost consigned to the status of an historical footnote as using L numbers is now as out-dated and ridiculous as quoting prices across Europe in lire, francs, Deutschmarks, pesetas, and all the rest rather than in euros (K’s). The only issue you would have now is whether or not you prefer harpsichord or piano, and whether or not you like a particular performer’s interpretation, or choice of tempo for example, something that is a personal matter. Hope that helps.

[@elaineblackhurst1509]

Jimmy Curtis Thanks for troubling to reply and for your interesting comments, you are very welcome. I never comment on listeners’ individual likes and dislikes or preferences and so forth, they are personal and nothing to do with me; if someone prefers harpsichord to piano, or Bach to Handel, that’s cool. However, sometimes it’s important to share a little knowledge and learning as it enhances everyone’s understanding and enjoyment of the music, and helps to inform better judgements in what is in effect, a lifelong learning and listening process. I know most of what I know from people who knew more about things than I did; after that, you’re in a position to put your own thoughts across as I did - quite forcefully - about the Longo edition of Scarlatti’s sonatas based on evidence, fact, experience...and a few original thoughts. You may come across some of my other comments across KZbin, particularly in relation to Haydn, CPE Bach, JC Bach and other late eighteenth Century composers, and I have over the last couple of days provided some thoughts on Beethoven’s c minor piano trio Opus 1 No 3. They are independent thoughts, not always textbook, but hopefully interesting to readers and will stimulate their own free thoughts.

[@rsjmd]

I appreciate your comments about the L v K situation, probably the best explanation I've read, thanks.I love Scarlatti. I do play piano although by most measures would be considered primitive although I play a few Scarlatti sonatas. For myself, when listening to various performances I listen for the overall approach and technique. A note or two which might vary from some deeply researched review of the original scores will completely be beyond my awareness and will not interfere with my enjoyment of a particular performance. But I give great credit to scholars like yourself who are aware of such things and bring them out so other less well read can know these things..."Not that there can be complete understanding, the point is to get as near to it as we can, to know all that can be known, in order to stand, if only for a moment, at the edge of what cannot."

[@memorosales1952]

pretty good

[@jeanpaulchoppart6818]

L'image dit "Helena Schubert, piano". Alors, Dubravka Tomsic ou Helena Schubert ?

[@brandonmacey964]

Agree. Who is it? I believe it to be Tosmic. Tomsic was a student of Rubinstein

[@jeanpaulchoppart6818]

@@brandonmacey964 The description of the video now says : "Piano : Dubravka Tomšič (Helena Schubert/Artist name)" Problem solved.

[@apistosig4173]

yes - as close a perfect performance as one could wish for. Am thinking about Demidenko - one a foil for the other perhaps?

[@steveegallo3384]

Impossible to prefer one over the other.....Greetings from San Agustinillo!

[@apistosig4173]

@@steveegallo3384 hmm, I am glad I do not have to make a choice - awesomeness is awesome :-)

[@steveegallo3384]

@@apistosig4173 -- I always preferred Pogo & Horowitz among many others but, yes, Tomšič is awesome!

[@Juraberg]

🎹 👌🏼

[@pascualgilbert6172]

BACH SCARLATTI EU ÁDORO E OBRIGADO MARIA SCHUBERT

[@МаринаШурубура]

🌹🌹🌹...

[@abooswalehmosafeer173]

Now I feel so scholarly although my brain is the size of a dry shrunk Flea But in the grip of Covid 19 my Mortality affords me a sense of the sublimity of the last farewell and adieu...

[@cycloptical26]

Who the hell is Helena Schubert? Sounds like Dubravka Tomsic to me. Hmmm...

[@lacibarat49]

Yes, She is Dubravka Tomsic.

[@classicalmusicreference]

thank you very much. I suspected it was an artist's name.

[@excelsior999]

I thought that the pianist was Helen Liszt.

[@phonixausderasche538]

Helena Schubert is her Artist name

[@bertrandmarotte4401]

excelsior999: I thought it was Helena Brahms

[@bathtubbarracuda2581]

>Scarlatti >recording of the century >pianoforte

[@IvanGreindl]

Thank you for sharing! Just to know, *who* is Mrs Tomšič??

[@classicalmusicreference]

She's a pianist of Slavic origin who was spotted by Claudio Arrau :-)

[@mr02Paulo]

Dear Elena S: great!

[@laspiano765]

Maravilha! 04-02-2018-Dom. 11:41 hs.- LAS.-

[@cedericocosantorini8013]

Not a big fan of Scarlatti's, I must confess... Here only for Kk 466. I hope one day I get to understand the subtleties of his works.

[@mstipich1]

Who is Helena Schubert?

[@JRRIII]

15:45

[@UltraD52]

Is this music in Public Domain?

[@classicalmusicreference]

Of course