- So far the new recording for which has I've gotten the most pitches from publicists this year is a mash-up of sonatas by Domenico Scarlatti and John Cage performed by David Greilsammer.
The Israeli pianist hits the keyboard as though he were an electrician producing glittering sparks, and Sony Classical has good reason to sense a hit with "Scarlatti: Cage: Sonatas." I hope the label has one. This hard-to-resist release is good for Cage, good for Scarlatti, good for Greilsammer.
But bad for history.
Pardon the cliffhanger; just seemed like a natural stopping point for the Hubski "lede."
I like this review because it analyzes the album conceptually without telling you whether to enjoy it.
Yeah, sort of, but then you've got passages like and I guess my point is Swed never makes an explicit and all-encompassing value judgment.In the end, any connection between Cage and the Baroque is coincidental. But Cage was a composer devoted to coincidence – Sonatas and Interludes is the pivotal score that led to Cage's moving into chance composition.
By not sounding anything like Gould, Scarlatti or Cage, Greilsammer embodies the spirits of them all.