[f_minor] Beethoven

[f h]

I am uncertain what the date was of the one I uploaded.  I ended up listening to the other one, the first movement....and right away I took a great dislike to it.  I could see that he was flattening the musical lines just like his infamous Chopin recordings....and it just didn't work for me.  The one I posted was pure poetry and was a revelation on all levels.   It is a hugely difficult piece to play at that level of poetry.  Few can.....

Cheers

Fred



________________________________
 From: Peter Glenister <Peter.Glenister at msvu.ca>
To: Discussion of the Canadian pianist Glenn Gould. <f_minor at glenngould.org> 
Sent: Tuesday, October 2, 2012 1:11:38 PM
Subject: Re: [f_minor] Beethoven
 

 
There are actually two telecast performances of op. 31, no. 2 both in black & white in the 10 DVD Complete CBC broadcasts released last year: on disc 1 from 1960 and on disc 7 from 1967.
Judging from the timing, the YouTube link is to the 1967 performance of the first movement.

Peter



________________________________
 
From: f_minor [f_minor-bounces at glenngould.org] on behalf of Anita Monroe [rubatoatm at gmail.com]
Sent: Tuesday, October 02, 2012 1:43 PM
To: f h; Discussion of the Canadian pianist Glenn Gould.
Subject: Re: [f_minor] Beethoven



Hi Fred,  I am crazy about Sonata 17.  It was also the favorite of Yehuda Guttman, my teacher.  It is just so cheerful and uplifting.  When Yehuda was learning that piece, I was the page turner at a concert.  I learned it also by osmosis.  What a delightful
 time was had by the audience and the page turner. 

Anita (-:


On Mon, Oct 1, 2012 at 6:52 PM, f h <boyboy_8 at yahoo.com> wrote:

http://www.youtube.com/watch?v=GbhBnpMx8-M
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>On the recent CBC radio Sunday program that Michael Enright did with Robert Harris, Harris mentioned a CBC recording (many years ago) of GG playing Beethoven's Tempest piano sonata (#17).  I do believe that the one I've posted here is part 1 of this sonata.   As Harris explained, GG often ignored the composer tempo and dynamic markings were in search of what "the music" was asking for.  This was a curious but I think accurate insight into GG's mind.  When I hear GG doing this Tempest, there are several things to look for.  Notice that he is conducting all the time, breathing with the music as if it was a symphony.   In his lectures, famous Beethoven specialist Andras Schiff often explains that Beethoven was first and foremost a symphonist and his sonatas reflect symphonic architecture reduced to two hands.  This is also correct and in GG's performance he is approaching the sonata as if it was a symphony.  Notice as well how he handles the
 motifs that sound like a soloist singing a single musical line.  Gould takes extra time to allow the notes of the motif to rise up in melancholy, expressing such depth of Beethoven emotion.  The entire movement, for me, is extraordinary and I cannot remember hearing it done with more pathos and introspection.  Incredible.....and totally unique interpretation.  But again, Gould has sought to make the music sound fresh and all the while respecting the meaning that the music has within itself.  
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>regards,
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>Fred Houpt
>Toronto
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