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The cristalline and colourful pianism, the élan and the freshness of inspiration of Filipec greatly enhance the richness of these charming pages. Being aware of the musical substance, the performer gives life and spirit to every piece and idea, spotlighting their peculiarities and expressive nuances: from genuine and darling gaiety to frenetic bustle or graceful courtliness, from gallant coquetry to gentle and affectionate delicacy or subtle and veiled melancholy…Always coherently following the fluid narration, gushing in all of its metamorphosis. The brilliant sound, carefully measured, modulates in a large spectrum of colours and dynamic gradations making the filigree scales, trills and ornaments sparkle. The precise architectural sense of the pianist frames the musical content in exact geometrical forms. A brilliant and live Scarlatti to be fully enjoyed. © 2017 La Voce del Popolo
The nineteenth volume in the keyboard sonatas of Domenico Scarlatti in piano adaptations include twenty-one written in a quite short single movement format. As has been often said, his writing was obviously intended for the harpsichord, and nowhere is that more obvious than in his short works, the fast scales in the F major (K482), cannot be translated to a piano without loosing that brittle brilliance of the harpsichord. Yet in the dark days when period performances became rare, it was on the piano that these works continued to be heard, and one has to add that the Croatian pianist, Goran Filipec—as he showed on his Liszt disc for Naxos—is a brilliant technician whose fingers are so meticulously precise that you can accept his whirlwind account of the joyful C major (K486) and his brilliance repeated in the G major (K432). The less active sonatas as not so successful, and the temptation to add a romantic warmth, to such sonatas as the A major (K499), is too great when he has a piano at his disposal. Even with these reservations it is one of the most desirable discs in the series. © 2017 David’s Review Corner
