Sandro Russo’s Scarlatti Recreated, released Sep 24, 2013 on the Musical Concepts label, is an ambitious and fanciful undertaking in that the ‘reinvented’ repertoire is highly original. In fact, on the album there are four world-premiere recordings referring to the essential Domenico Scarlatti (1685-1757). A contemporary of Händel, Scarlatti’s baroque writing had been largely forgotten, gaining new popularity in the mid-twentieth century, as the liner notes of the recording suggest. In this recording, Russo deals with extraordinarily difficult material, solving their intricacies with his own, masterly understanding of the genre. He manages to adapt with a most elegant reverence to the different composers stylistic commentaries, without ever losing his own sensitive and personal touch.
Based in New York, Italian-born Sandro Russo has been lauded as an exceptionally poetic pianist with verve for the newfound joy of transcription. In 2005, he met Vladimir Leyetchkiss at the International Conference of the Rachmaninoff Society in London, whose transcription of Rachmaninov’s waltz and romance from his 2nd suite for two pianos Op. 17 caught Russo’s interest. Leyetchkiss approached Russo to play some of the movements of the 2nd suite transcription in recital. Leyetchkiss had originally intended this oeuvre for Cyprien Katsaris, who never ended up playing it; Russo premiered both the Waltz and Romance during the 2008/2009-concert season with great critical success and enthusiastic approval from Leyetchkiss.
About Scarlatti Recreated, Russo remarks, “The idea of ‘recreating’ Scarlatti originated primarily from the basic fact that his work wasn’t conceived for the modern piano but rather for the harpsichord.” Scarlatti’s most significant musical contribution is his oeuvre of 555 keyboard sonatas written for harpsichord, chronologically catalogued by the most comprehensive numbering system of his work, which was created by Ralph Kirkpatrick in 1953. With a strong sense for the historic component of pianism, Sandro Russo has enjoyed playing historic instruments and performing programs that position the pianistic experience into a solid historical context.
Obviously there was something in Scarlatti’s intimate and harmonious melodies that inspired a historic response, one which bears as much witness to the styles of the times in which the various transcriptions were written – virtuosic, romantic, and expressive – as it does to the subtleties of Scarlatti’s music itself.
Russo’s own revelations of fascinating details are projected with great sovereignty in Scarlatti Recreated, perhaps most brilliantly expressed in his performance of Marc-André Hamelin’s EtudeVI: Esercizio per Pianoforte (Omaggio a Domenico Scarlatti). Marc-Andrè Hamelin is renowned for presenting the works of lesser-known composers (including Alkan’s), and works with pieces that many deem difficult to handle, remaining unfazed by their tremendous intricacies. The contemporary pianist/composer and arranger makes, in his own words, “a purely affectionate tribute” to Scarlatti, as mentioned in the liner notes.
Russo manages to keep the listener engaged throughout the different ‘quotations’ of Scarlatti’s underlying impact on the music’s clarity and finesse, which aids the listener in grasping a deeper look into the curious process of musical composition, as well.
The recording is a poignant example of Russo’s thoughtful and meaningful programs, executed with great imagination and musical dexterity.