Mozart, Early Piano Concertos (K. 175, 238, 246), D. Greilsammer, Suedama Ensemble (2008)
Greilsammer then set about bending the two composers' pieces toward one another. To the Scarlatti sonatas he applied all sorts of dynamic twisting, using the soft pedal to achieve ghostly effects, taking unusual tempo choices, and slathering on rubato. The modern piano, of course, has all sorts of expressive possibilities that were not part of what Scarlatti was trying to do, since his sonatas were to be played mostly on the harpsichord. K. 213 was almost without sound so softly was it played, at a slow tempo, some of the notes almost not sounding at all. K. 141, by contrast, was taken extremely fast, so much that some of the notes were sort of half-articulated by Greilsammer's fingers, especially the guitar-like repeated-note motifs, making the hand crossings, such a signature for Scarlatti, difficult to make understood aurally. K. 87, on the other hand, felt flattened out, with the echo effects sort of mechanically nullified, the better to go with its Cage companion. The sustaining pedal obscured most of the details of K. 381, and K. 175 had a chaotic lack of regular pulse at times, making for a badly affected result.
Simon Chin, David Greilsammer: Lots of adventurousness, and some missteps, in Terrace Theater recital (Washington Post, January 13)
The next concert from WPAS will feature cellist Alisa Weilerstein (January 19, 7:30 pm), at the Kennedy Center Terrace Theater.