April 14, 2022


Date: Thursday, April 14, 2022
Concert Timing: 8:00 pm
Venue: Aberfoyle Place NW, Washington DC 20015
Covid-19 Health & Safety Protocols: Please read the information in the Covid-19 Protocols tab below before purchasing tickets

Lillian Gordis has been hailed as ‘a Martha Argerich of the harpsichord’. Lillian’s concert at Capriccio showcases her ground-breaking interpretive skills and remarkable technical prowess in a program featuring six of Domenico Scarlatti’s sparkling Sonatas and two of J.S. Bach’s beautiful Suites. Lillian’s program is drawn from her well-reviewed 2019 album of Scarlatti’s keyboard sonatas, ‘Zones’, and her new album ‘Bach’ released late March, 2022.

ResMusica: Lillian Gordis is ‘…a Martha Argerich of the harpsichord’

Scherzo: ‘We are in the presence of a great talent from whom we can expect many great things…’

Fono Forum: leads listeners on an ‘expedition through unimagined worlds of color and expression…’

Qobuz/Pierre-Yves Lascar on Lillian Gordis’ album ‘Bach’: ‘Admirable! What an art of phrase, what an agogical freedom in Lillian Gordis’ game, to which you could add a mesmerizing art of surprise and suspension! …what surprises and enchants here is the narrative force of (her) Bach, which abandons any form of scholastic mind. This is life, with its strangeness, its weirdness, its absolutely baroque temptations, and also its joy of life, its brightness, its almost zen fullness. To discover without delay.’ ‘Lillian Gordis offers a very beautiful interpretation, full of humility in the face of this music, of feelings and vivacity, of energy… where the technique is put at the service of the music. The dynamics are brilliant, luminous. A disc full of life!’

Diapason: ‘…impressive virtuosity’ and ‘…intensity of touch’

Saraswathi Shukla for CambridgeCore, Cambridge University Press [ ]: …’Gordis’s distinctive and sensitive technique brings into relief the strange mixture of sonorities, variety, … of Scarlatti’s sonatas by drawing on numerous performance traditions. Every sonata challenges the image of the harpsichord, and of Scarlatti, as facile, virtuosic and digital, instead proving that colour, contrast and dynamics are indeed idiomatic to the harpsichord – she reveals a world of technical tools, musical effects and timbres that have rarely been explored. She masters sparkling virtuosic passages with hand-crossings and multi-octave jumps with ease. Gordis’s interpretative choices push the limits of the instrument.”