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Paul Orgel
Fanfare, March 2015

Weiss’s fine finger-work is displayed throughout the disc… His phrasing is well planned, his rhythm is supple and clear, and articulation is suitably crisp. © 2015 Fanfare Read complete review

Kara Dahl Russell
The WSCL Blog, February 2015

Orion Weiss…feels that each sonata is a surprising, engaging world of sound, and his has chosen these sonatas to create a whole program, a narrative emotional and musical journey. © 2015 The WSCL Blog Read complete review

Gary Lemco
Audiophile Audition, December 2014

The constant fertility of imagination that defines the Scarlatti style has found a skilled and canny interpreter whose fund of technical skills remains within the humble bounds of excellent and articulate taste. © 2014 Audiophile Audition Read complete review

Jed Distler
Gramophone, December 2014

Orion Weiss’ Scarlatti occupies a [high] level of artistry altogether. You hear this right away in K552’s deft contrapuntal interaction, K326’s sunny-side-up, birdlike trills and K265’s impeccably congruous embellishments and unison lines. This 15th volume in Naxos’ ongoing Scarlatti cycle is one of the series’…finest. © 2014 Gramophone Read complete review on Gramophone

Corinna da Fonseca-Wollheim
The New York Times, November 2014

An air of self-absorbed concentration and a whiff of melancholy hang over this lovely recording of Scarlatti keyboard sonatas performed on a modern piano by Orion Weiss. There are bursts of rhythmic exuberance, too, and moments where the influence of Scarlatti’s adopted Spain shows in proud, flamboyant gestures. But what stays with you most is Mr. Weiss’ pearly sound and polished, unhurried phrasing in these graceful miniature masterpieces of keyboard music. © 2014 The New York Times, October 2014

Weiss…deliberately looks for connections both musical and emotional…The emotional reason for alternating major-key and minor-key sonatas is clear, as is the mixture of early, middle and late ones to attain greater emotive impact. It certainly plays well to modern sensibilities…[this] is quite capable of standing and succeeding entirely on its own and on the instrument for which it was written. Weiss’ well-played CD ably continues his Scarlatti project, and will certainly please listeners looking for a 21st-century pianistic approach to this 18th-century music. © 2014 Read complete review

C. Michael Bailey
All About Jazz, October 2014

Weiss tears off a brisk and rollicking performance of the G Major Sonata, K455…[and his] approach to the minor key sonatas further demonstrate his more conservative approach. Naxos continues this significant series with a very fine account by an equally fine pianist. © 2014 All About Jazz Read complete review

David Denton
David's Review Corner, October 2014

We have now reached the fifteenth volume in this ongoing release of the complete keyboard sonatas of Domenico Scarlatti performed on a concert grand piano. Always surrounded by a discussion as to the size and scope of the instrument Scarlatti had in mind, you only have hear them performed on a harpsichord to instinctively know that is the instrument he intended. If those thoughts are to hold sway, then it would preclude today’s pianists from ever exploring the delights of such joyous pieces. So it has been left to Naxos to let loose a range of outstanding pianists to place their thoughts and interpretations on disc, the latest addition being the American soloist, Orion Weiss. He writes in the programme notes that his choice of works has not been dictated by anything other than a wish to bring together a series of sonatas to create a whole and entertaining programme. That choice avoids any of the sonatas written in more than movement, the nineteen pieces chosen mainly having a length of two or three minutes duration. I was brought up and am still wedded to the numbering devised by Alessandro Longo, and have listed them as such in the heading, though here they are not played in that order. Thankfully Weiss has nimble fingers that are punctilious in their accuracy of note values, which adds to the sparkling quality that the music requires. On the other hand it appears he often uses the sustaining pedal, so that the staccato aspect of the harpsichord is missing. There again, my friends will always ask me, would Scarlatti have rejoiced in the sound of today’s keyboard? Probably—so let me conclude by saying that Weiss shows much affection for the music, and the warm and resonant acoustic of this Canadian recording falls pleasantly on the ear. © 2014 David’s Review Corner

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