Thanks for the feedback guys, I appreciate it.
"Must, the juice made out of freshly pressed grapes"
IMO, the introduction to the Scarlatti (and the returns of it) have an uncomfortable rhythmic ambiguity to it in that make me (as a listener) unsure if is sounds like it has triple subdivision or duple/quadruple subdivision to it.
Yup, slopping dotted rhythms is an ever-present danger. Must try to avoid that.
Once the main theme gets going, I think it sounds quite good, despite that some of the trills are not quite successful.
Yes, the trills gave me grief. At best, they're not quite consistent here. I even cheat in bars 2 and 4 by using both hands so the trills don't fall on the weak fingers
1. The dotted rhythm in measure 1 and similar doesn't sound quite precise to me, as Eddy noted. I think you are slightly cheating the dot and not giving the eighth note its proper value in the second quaver.
Yes agreed. A point of attention.
2. Nice trills in the second measure, but it seems you are holding these quarter notes too long, at least for my taste. Maybe it's intentional, but IMO precision in Scarlatti is paramount.
I seem to be dawdling on them a bit, certainly the first three. Have made a note.
3. In measure 7, it sounds to me as if you are playing a B instead of a D-sharp in the third quaver of the left hand.
This is as written in my Peters score. I wondered about it, it sounds illogical, but then I heard a famous pianist (Ghindin) play it like this too and decided it could be right.
Inconsistently, in bar 52 I decided to go against the score and play a D in the last chord in the LH. The E sounds silly and illogical (again, Ghindin plays as written). Maybe I should shell out a small fortune and acquire a Scarlatti Urtext.
4. In measure 18, I think this should be more of an extended trill; it sounds a bit clipped.
Yup, that did not come out well. Should have retried it.
5. Some of your repeated 16th note patterns seem limp and pedalled. The one in 27 is very good; I would wish for more retention and bounce on some of the others as well.
Indeed, I should leve the pedal alone on these (and probably elsewhere)
6. The trills at the end of the exposition are uneven, as you are probably aware. Trills in Scarlatti can be a bitch of course.
Tell me about it
7. Some of your dynamic contrasts in the first half are nice, but the second half seems a bit universally loud.
The second half is a different piece with its dramatic development section, where I intentionally press ahead a bit. But once that's done, the terraced dynamics should apply again, and I did not do them as well as in the first half.
Just my two cents of course. I think if you start by not letting your foot get leaden on the pedal and listen for evenness, the rest will fall into place.
I'm very conscious that pedaling does not cause blurring, which I think it doesn't here. But you're right, it does not help articulation in this repertoire.
So I'll work on this a bit more and submit a re-recording before long.