Scarlatti’s keyboard demands allow not an inch for uneven phrasing, imbalanced textures, or vagaries; as such his music ideally suits Colleen Lee’s well-groomed pianism. Just listen to her impeccably aligned trills and repeated notes in the A major K. 74 sonata, hear her subtle articulation shifts in the D major K. 53’s echoed phrases, and note the limpid poise with which she voices the B minor K. 408’s canonic lines.
On the other hand, the E minor K. 81 and D minor K. 90 multi-movement suites sound far more vibrant and colorful when performed by a small chamber ensemble, as in Scott Ross’ recordings (Lee’s markedly slower and softer-grained interpretations don’t help her case). Moreover, Lee’s quest for surface perfection often downplays the music’s quirky harmonic juxtapositions and rhythmic spice. Take the opening selection, for example. The rapid scales and toccata-like patterns never lose symmetry yet grow slightly heavier and slower as the performance progresses. Some listeners may enjoy her lyrical, prettified, almost salon-ish take on the C major K. 95 sonata, while Ross’ quicker, more aggressive harpsichord performance foreshadows opera buffa. In other words, Lee’s Scarlatti needs to get out of the ivory tower and on to the street. Still, she never makes an ugly sound, and her piano is beautifully recorded. Keith Anderson’s splendid annotations provide welcome historical context for each work.
