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I was looking at the poster showing the musicians performing at the Siletz Bay Music Festival. Among them were illustrious pianist like Mei-Ting Sun and Dick Hyman. Then out popped a photo of this little around 11 year old Adam Jackson. He looked so young thought it was some error. Then I listened to a few of his videos and he is terrific. Of course, today there are tons of equally/more talented very young pianists, but I think he is well worth listening to.
Anyway, here is the video I chose to post of him playing two Scarlatti Sonatas. I knew the first one but had never heard the second one which I think is a particularly terrific piece.
Thanks for posting this. I likewise knew the first one but not the second. I love both.
I also agree that he's excellent -- and in fact I'd go further: I'm not sure there are tons of other young pianists who are as talented, and I'm not sure I'd think any are clearly more so. To me, he seems about as great as it gets.
We see so many wunderkins that it gets repetitious and old, but then every once in a blue moon there is one that really stands out above the rest. Adam is that one in my opinion. I don't think he will wallow in the bastion of prodigy mediocrity of which there are so many. He could turn out to be one of greats.
I also agree that he's excellent -- and in fact I'd go further: I'm not sure there are tons of other young pianists who are as talented, and I'm not sure I'd think any are clearly more so. To me, he seems about as great as it gets.
Does anybody do the trills in the LH at the beginning of the B section of K. 125? They are basically impossible (on piano), and get "overlooked." 😀
D Major, K. 29, is an early gem that's eternally been on my "to do" list. As I recall from read (stumble) throughs, it's unusually knotty, even for Scarlatti.
Does anybody do the trills in the LH at the beginning of the B section of K. 125? They are basically impossible (on piano), and get "overlooked."
I think Vladdy is playing them, but I can't tell for sure:
Inconclusive, I'd say (although, if anybody could, he would have). But, I am terrible at hearing ornamental minutiae like starting notes, no. of repercussions, prefixes, and terminations. Sometimes, I think cellist Nathaniel Rosen generally has the right idea:
TJ: One last question on your Bach Suite recordings. I noticed that often you don't start your trills on the upper note of the trill, as is often done.
NR: Ah, yes! I don't like to spout rules, but let me give you one of mine. I hate being made aware of which note I'm starting the trill on. I don't like to hear somebody pushing out that upper note of the trill so that they can claim immunity from prosecution. It doesn't always fit the music. For instance, if the written note before the trill is the same as the basic note of the trill, then it's nice to start with the upper note, but not in such a way that you're ramming it down people's throats. But if the note before the trill is the upper note of the trill, it's inadvisable to start on that note again! The only reason for playing the upper note first is to start the trill without repeating a note. I don't see any reason to start with the upper note, unless the preceding note is identical to the fundamental note of the trill.
Another reason to start with an upper note trill is, not because somebody wrote it in a book with which one may either agree or disagree, but because the upper note of trills is frequently out of tune. Paul Rosenthal's idea is that if you play the upper note first, you are more likely to play a true whole step or a true half step, as the case may be. And so that's a good reason. But I would prefer not to be made aware of it by hearing a long, on the beat, appoggiatura, the way so many people do. It's very tiresome, very irritating, and I don't like it.
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(Of course, the appoggiatura function is sort of the point, often. )
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