Glenn Gould always said he played as he felt the composer would have played it. I think Mozart would have performed this the exact same way, with all of the sensitivity and technical acuteness. His phrasing is impeccable and each note counts, every little phrase counts. It is mind boggling as to how one would practice in this manner. It is a method of micromanaging your analysis and performance of a composer's work. Spectacular. After listening several times to this audio, I realize that I and many others have played this concerto in the style of Beethoven and not Mozart. Gould has set us straight.
This is one of the best recordings I have heard of this concerto. Inner voices are brought out in a way that I have never heard before, and Gould seemed to be serving Mozart this time, rather than serving his own agenda.
Grigory Sokolov his own cadenza first mvt! The Best Mozart piano concerto no 24 players Are really Grigory Sokolov The most vital rhythmic( unbeatable vitalness). Maria Grinberg ( The most passion! Maria The most fierce! Maria The most vital energy!) Wilhelm Kempff ( The most beautiful piano sound Ever!) Kempff s class of his own his piano sound!
The CD is already great, but this cadenza in the 1st movement (from minute 14'37 on) of this live concert is just from another star... Unbelievably good. And apparently the kind of thing he couldn't simply reproduce in the studio. The studio recording came three years later and is still great, but this cadenza was gone. Again, an example of the magic of spontenaous inspiration.
In a television interview given in 1967, Bernstein expressed his admiration for Gould's approach to Mozart, no doubt the result of Bernstein's experience with this broadcast.
-- L'association Gould/Bernstein est un cocktail détonnant, un mélange parfait pour traduire toute la fougue et l'intelligente richesse musicale de Mozart. --
+Ben Cuevas Due personalità geniali, ma incompatibili. Gould dava il meglio di sè con direttori che assecondavano le sue opzioni interpretative non sempre riconducibili all'ortodossia, e non è certamente il caso di Bernstein. La compatibilità con personalità direttoriali eccezionali si inverò invece con Karajan in una miracolosa e giustamente celebre esecuzione dell'op. 37 di Beethoven.
+renato45222 Ricordarsi, a titolo di esempio, la pubblica dissociazione di Bernstein dalla interpretazione di Gould dell'op. 15 di Brahms, nonostante ne fosse il direttore.
Glenn Gould is the undisputed master of the 24th concerto. I've not heard any other pianist come even close to matching his clarity, phrasing, and nuances. Isn't it a shame that Mozart didn't compose more minor-key compositions? The two minor-key concerti he wrote (20 & 24) are also the two greatest.
Don't agree. KV 271, 456, 467, 482, 488, 503 and 595 are as great - and in major. Not to forget the clarinet concerto. And arguably also the double concerto for violin and viola.
I knew GG was fond of this concerto and I know his CBC rec (with Süsskind) of it. However, never heard this version with Lenny/NYP. Thanks, goodman, for putting it up. It's not a gem, but Crown Jewels.
I've played this concerto for pleasure many times, so I know how hard it is to remain calm during the exciting moments and crecendii. And yet Glenn delivers every note with such clarity and feel. Will there ever be such a Maestro of the piano again?
Glenn Herbert Gould, más conocido con el nombre de Glenn Gould (Toronto, Canadá, 25 de septiembre de 1932-4 de octubre de 1982), fue un pianista canadiense, especialmente reconocido como intérprete de la obra para teclado de Johann Sebastian Bach, así como de las obras pianísticas de Arnold Schönberg. Nacido en Toronto (Ontario, Canadá) en el seno de una familia de músicos (el padre era aficionado; la madre profesional), Gould aprendió a tocar el piano con esta última, que tocaba además el órgano. Su abuelo era primo de Edvard Grieg. Fue a la escuela Royal Conservatory of Music cuando tenía diez años de edad, convirtiéndose en discípulo del pianista chileno Alberto García Guerrero. Su primer concierto (tocó el órgano) tuvo lugar en 1945, e hizo su primera aparición con orquesta el año siguiente cuando ejecutaba el Concierto para piano nº 4 de Beethoven con la Orquesta Sinfónica de Toronto. Realizó su primera ejecución pública como pianista solo en 1947. El 11 de enero de 1955 debutó en Nueva York (EE.UU.), con un recital de piano que tuvo lugar en el Town Hall. Al día siguiente recibió el ofrecimiento de Columbia Masterworks para grabar su álbum debut, las Variaciones Goldberg de Johann Sebastian Bach en la primera de sus versiones en estudio (realizó otra en 1981). Diez años más tarde, Gould hizo un viaje a la Unión Soviética y fue el primer pianista canadiense en visitar ese país después de la Segunda Guerra Mundial. El 10 de abril de 1964, tocó en público por última vez en Los Ángeles y anunció que se retiraba de los escenarios cuando era una auténtica figura internacional. La razón es que empezó a sentir hastío por la interpretación en directo y creyó que servía mejor a la música en un estudio de grabación que en la sala de conciertos. Pensaba además que la música se preservaba mejor en la intimidad. J. S. Bach fue su gran especialidad constituyéndose sus grabaciones verdaderos puntos de referencia. Hay que tener en cuenta que Gould era muy inclinado a los aspectos contrapuntísticos y Bach le venía perfectamente a medida.3 Las grabaciones en vivo que efectuó de los Conciertos para piano y orquesta de Johann Sebastian Bach junto a Leonard Bernstein constituyen verdaderas joyas interpretativas. También hay que destacar sus tres registros de las Variaciones Goldberg (la grabada en el festival de Salzburgo y las dos citadas) como también el Clave Bien Temperado. Además de las grabaciones de piano, a las que se dedicó con ahínco durante el resto de su vida, se dedicó también a la escritura y a la radio, que le apasionaba. Murió en Toronto el 4 de octubre de 1982 después de sufrir un infarto cerebral. En 1983, el escritor austríaco Thomas Bernhard escribe El malogrado, novela que gira en torno a un pianista llamado Glenn Gould y su interpretación de las Variaciones Goldberg de Johann Sebastian Bach. En 1992, Manuel Huerga dirige el galardonado documental Les Variacions Gould, una coproducción de Ovideo TV, La Sept/Arte y TVC sobre el pianista canadiense con motivo del décimo aniversario de su muerte. En 1993, se hizo una película sobre él titulada Thirty two short films about Glenn Gould. (Treinta y dos películas cortas sobre Glenn Gould) dirigida por François Girard y Don McKellar. Muy interesado en las nuevas tecnologías, llegó a ser un gran especialista en las técnicas de grabación y fue de los primeros intérpretes clásicos en experimentar con técnicas digitales. Cada grabación la preparaba con todo detalle como una obra única, y pocas veces regrabó alguna pieza, con la notable excepción de las Variaciones Goldberg, cuya primera versión grabó en 1955, al inicio de su carrera, y la segunda en 1981, totalmente distinta, poco antes de su muerte, y empleando tecnología digital en todo el proceso. Gould publicó más de 60 discos con un repertorio que abarcó desde Bach hasta Schoenberg, desde Beethoven hasta Shostakóvich, a quien popularizó en Occidente. De Bach dejó un inigualable patrimonio de grabaciones. Excéntrico y encantador, se presentaba a los conciertos con mitones, abrigo, bufanda independientemente del calor que hiciera, con una desvencijada silla de madera con respaldo y casi sin asiento, con las patas recortadas que hacía que le quedara la nariz a la altura del teclado. No es raro escuchar su voz cantando durante las grabaciones. Dotado naturalmente de una técnica sorprendente, sus grabaciones son un referente para todo músico. Poco más de veinte años después de su muerte, exámenes científicos le diagnosticaron el síndrome de Asperger. Muchas personas con este desorden creen que Gould lo tenía. La pequeña silla que utilizaba lo identifica fielmente y tiene un lugar de honor en una vitrina en la Biblioteca Nacional de Canadá.
Bassanio in The Merchant of Venice asked "Do all men kill the things they do not love?" Oscar Wilde in The Ballad of Reading Gaol said that each man kills the thing he loves. Glenn Gould in his performances of this concerto breathed life into something which he did not love. A perplexing man!
Wow! I have to say I like this a lot more than his Bach! Definitely one of the best I have ever heard. Is this really unedited live performance!? Amazing technique!
I have never understood Gould's own equivocal remarks about Mozart in the light of his extraordinarily wonderful live performances of the composer, this being a wonderful example. Both this performance, and the other one with Susskind (which I agree is even more successful) show a passionate and truthful intelligence and emotional power. This extraordinary work is perhaps closer than any other work of Mozart to show how profoundly Beethoven was influenced and inspired by him. Then one listens to Haydn and sees a completely new dimension... There is a very gifted writer called Michael Spitzer who writes very well about the relationship between the three composers; he calls it (macroscopically) a "ternary" relationship. Gould understood and played - sublimely - in full knowledge of this, even as young performer.
@@jorgeguimaraes8820 They were not provocations, they were complete honesty. He does want to play differently to 'shock' the listener and let them see the piece in a different light but what he says in his interviews he is brutally honest about.
I think he had a love-hate relationship with Mozart, because Mozart had not followed the path of absolute musical sobriety proper to the other God. But the truth is that most of us music lovers thank God that Mozart followed his own very fruitful path, which is the largest encyclopedia of expression of human feelings.
This performance is from the Philharmonic concert of Saturday night, April 4, 1959, broadcast over the CBS radio network. The Philharmonic broadcasts were on Saturday night during the first few years of Bernstein's tenure. Howard Taubman wrote of the Friday concert in the New York Times, "Glenn Gould appeared as soloist with the orchestra in Mozart's ravishing C minor Piano Concerto and played with sensibility and refinement. Here were rhythmic suppleness, delicate coloring and singing tone. He was a joy to hear. But his mannerisms at the piano were not a joy to see..."
With Gould one takes the whole package- tics, singing , full body engagement- because that's what it took for him to play like a god. Think of it as what the ancient Greeks called "divine madness".
Gould's additions to the sometimes thin texture of Mozart's piano part is in the tradition of Wanda Landowska in her earlier broadcasts with the same orchestra.
How is it possible to believe that Glenn Gould hated Mozart!!! Such beautiful piano playing, he dances with the scales with rhythm and also the transparent sound is so amazing. I do not mind hearing his 'counterpuntual' additions. The cadenza of the 1.movement is really marvellous.
Gould hated THE Mozart we were all forced to accept through the musical propaganda of some prude and frustrated old ladies who saw Mozart as "lovely" and "charming" . What for a stupid statement .... Never listen to such self-confident (old) assholes . Mozart is depressive , tragic , desperate and black . His so-called "angelism" is only his vertiginous hope (at some moments) in a better world outside of his poor existence . Lipatti , Schnabel , and Gould , played Mozart . Forgot the rest . Only crap .
Gould was selective in his dislike for Mozart and always loved this particular concerto, possibily for the exceptional - and rather unusual for Mozart - contrapuntal writing in the first, and especially the third, movements.
@@Fritz_Maisenbacher you have no idea what gould said about that depressing, tragic mozart. he says that late mozart is boring and lame, he likes childish early mozart.
MOLTO BELLO!!! Thank you for sharing this Wonderful Performance of Great Canadian Pianist GLENN GOULD (1932-1982) and Great American Conductor LEONARD BERNSTEIN (1918-1990).
I've studied and performed this concerto before. I've used a score edited by Dr. Hans Bischoff and published by G. Schirmer. The cadenzas included in the score were composed by J. Hummel which Mr. Gould used in the first movement and the latter part of the second. Gould added his own elaborations in the rest. A very interesting performance of Gould! Bravo! Almost listening to a Bachian (contrapuntal & baroque) style of interpretation. I loved it (^_^)
If you want to hear a better recording of Gould playing K. 491, then listen to the studio recording (minus the coughing) with Walter Susskind conducting the CBC Symphony made in Toronto in 1961. It's truly inspired playing - full of Gouldian Lift, Lilt, and Life! His playing is clean & the piano colors shimmer with beauty.
In the whole of his justification for saying that this concerto is a mediocre piece of music which Gould gives in "How Mozart Became a Bad Composer" he nowhere complains that it isn't very contrapuntal. The early works of Mozart which Gould says that he likes were not more contrapuntal than the later works which Gould didn't like.
The Corpus Musicale Amadeus in all its grandeur composed in so short a lifetime is an irrefutable proof that what matters in life is not longevity but profuctivity
My favorite composer is Mozart and my favorite pianist is Gould which is strange considering he is so associated with Bach. The only better pianist I would love to hear play this would be Mozart. Rest in peace, both of you. Don't worry Mozart, I know no one in modern days has heard you play, but can you imagine how ridiculous he was!
It is said that if one wishes to record classical/baroque/ancient music live do it in Japan. It appears the Japanese simply will not cough during a live performance...
LOL....I'm sorry, but anyone who thinks Brahms lived before Mozart and Beethoven has no business posting ANY comments about classical music. Hilarious.
I have just listened to the Susskind recording to compare with this performance and in my view this is superior: the other piano sounds metallic and the whole thing is dry and didactic, including the orchestra, everybody seems to be a soloist!. There is a lot more tenderness and subtlety and depth in this recording. In the Susskind version GG tends to attack the notes whereas in this recording, when he has to, he is able to have a very soft touch.
Right, Gould hated Mozart so much he recorded the complete piano sonatas. Idiots are always trying to bring Glenn down, but he defied them! His Goldbergs stayed in print for what? 40 years? I wonder if that is a record. Ha! you show them Glenn!
Funny you mentioned Beethoven. This orchestra sounds like it is playing Beethoven. I think Bernstein got carried away with "show and flash" and forgot it was Mozart.
I like this one by Gould playing Mozart Piano concerto 24.But the best ones are.Your childhood heroes Maria Grinberg the most vital . .Grigory Sokolov has the rhythmic beat and Sokolov his cadenza of the 1st mvt is the best second to none.Gina Bachauer played the most furious 3mvt it is on the youtube.
The 24th is actually quite popular. Not as much as 20, 21, or 23, but it's definitely up there. I would agree that this is the best of his concerti, though 20 is a close second.
What a wonderful interpretation. I can't understand Glenn dismissal of Mozart. This was so beautiful, in spite of the constant coughing and the recording hissing sound. I wonder if this can be "filtered" and put on a CD. Are all New Yorkers always sick? All recordings with NYP are plagued by constant coughing.
Gould has said many nice things about Mozart. But his preoccupation is with counterpoint. Once you understand Bach's genius, everything else pales in comparison.
I don't understand these references to Susskind, The announcer is quite clear that this is Bernstein and Gould. But what matters that it is an extraordinarily lovely account of the concerto.
Yes, this is a radio broadcast. The announcer is James Fassett, director of CBS Radio's Music Department from the early '40s until 1963. Glenn Gould recorded the Mozart #24 with the CBC orchestra under the direction of Walter Süsskind. That recording is also on RUclips and IMO is the better of the two.
How very rude was the person coughing and sneezing over and over again. He really should have had the courtesy to leave the concert hall. Were the ushers on strike?
I wonder if the recording of this wonderful performance could be remastered without the coughing. The concert hall must have been pestilential with all the coughing and sneezing.
Thank you +@@Fritz_Maisenbacher. I'm finally learning to tune the hideous coughing out. What do you think of Gould's performance? I'm sure you prefer the Schnabel.
@@marichristian1072 Yes , indeed . But i have to recognize the magnificent "style" of Glenn .... this man was truly a genious . If he wouldn't have had this ill mania of controlling himself , and the music he was playing , he would have been the greatest of all . Do not forget that his idol was Schnabel .....
Mozart was a very good orchestrator, but this is even especially his very best orchestrated piano concerto. All the game he disposes to be played for the orchestral instruments talk to each other is something rarely surpassed in the history of the piano concerto, as this is an instrument that needs no stand against instrumental individuals having the ability, exploded by composers, to face it alone against the whole orchestra.
Pojedynek Siedział skulony i nieruchomy. Wyglądał jakby losy jego były już przesądzone i za chwilę ta stojąca przed nim maszyneria pochłonie go w całości. Czekał na to już od chwili i nieruchomy, tym bezruchem zachęcał czarnego potwora do działania. Wyraźnie widać było, że jest gotów na wszystko. Nawet jakby czekał i tym czekaniem prowokował i jakby zachęcał kiedy ten nieruchomy potwór drgnie i pochłonie go bez reszty. Może w tym celu uniósł już swoje jedno skrzydło, które miał zainstalowane na wierzchnim blacie. A może to ogromna paszcza gotowa na wchłoniecie swego przeciwnika. Więc on napięty i skulony i gotowy. Maleńki i coraz mniejszy. A przed nim ogrom maszynerii nie do udźwignięcia. Jego los jest już dawno przesądzony. Zostanie pochłonięty bez wątpliwości. Lecz nagle, co to. Spod skulonego w uniżonym pokłonie kłębka, unosi się lewa dłoń, wędruje powoli i powoli, czujnie i ostrożnie do niewielkiej wysokości. W tym czasie pojedyncze palce pokonują opór powietrza i jak po drabinie, a raczej sieci pajęczej, jeden po drugim z trudem wspinają się wzwyż. Tak jak liść potrafi kołysać się w czasie spadania, tak ta dłoń odwrotnie w tanecznym geście wznosi się powoli i dyskretnie. Palce bowiem tylko w tym widzą możliwą zmianę tragicznego losu ich właściciela. Palce w tanecznym pląsie powietrznym pną się ponad głową i jakby na własną odpowiedzialność podejmują próbę zmiany losu skulonej postaci. Może to ta lewa ręka będzie przywódczynią buntu wobec obowiązującego bezruchu. Może jej odwaga doda sił drugiej, prawej. I rzeczywiście w momencie kiedy lewa uniesiona na możliwie odpowiednią wysokość, taką wysokość, która jeszcze nie wzbudza podejrzeń potwora, że coś może stać się przeciw niemu, wtedy to prawa ręka znienacka wkracza do akcji. Kiedy przymglone oczy i biało czarne zęby potwora zmylone gestami lewej ręki uśpione tym powiewającym u góry proporcem ni to na znak poddaństwa, a jednak przecież na znak do walki, bo nagle atak następuje z prawej strony. To prawa dłoń ledwo wysunięta spod zwojów zmiętej postaci, zaczyna pieścić raz czarno białe i raz na odmianę biało czarne zęby potwora. Z początku delikatnie i jakby nieśmiało. Jakby chcąc celowo uśpić czujność bestii. Prawa zaczyna coraz zuchwale poskramiać klawisze czarnego potwora. Lewa już uniesiona jest ponad miarę znaną w takich przypadkach, nagle w porównaniu z innymi znanymi pojedynkami, zastygła po skutecznym odwróceniu uwagi i po likwidacji zagrożenia, teraz właśnie dała możliwość lewej do skutecznego ataku. Z razu nieśmiało, by po chwili uznać, że już pora, że czas oczekiwania się skończył , że należy pokazać siłę, że należy podjąć walkę z tą wszechogarniającą ciszą. W każdym razie wykazać w walce nieustępliwość. O zaistnienie, o godność, o byt. Inaczej pochłonie je obie wraz z całą skuloną postacią ta czarna maszyneria zagłady. Już dłonie spotkały się nad klawiaturą, już pozornie nieznajome jednak od razu widać, że znają się nie od dziś, że w tym posłannictwie bardzo dobrze umieją współpracować, że nie trzeba im tłumaczyć, że od kiedy tylko spotkały się nad klawiaturą wiedzą jak się zachować, wiedzą, jak obłaskawić tego coraz bardziej zaskoczonego potwora. Ale o dziwo, on już nie ma nic przeciwko ich obecności. Nawet już polubił dotyk opuszków, lubi też zdecydowanie smaganie poszczególnymi palcami. Teraz obie dłonie współpracują zawzięcie nad zawładnięciem czarną bestią. Już oswoiły ją zaskoczoną takim rozwojem sytuacji. Czarny potwór jakby złagodniał, jakby był wdzięczny, właśnie doczekał na kogoś kto wydobędzie z niego jak z bezdennego oceanu dźwięki i przepiękne melodie. W tym celu ma uniesione jedno skrzydło podrywające się do lotu, ale bez wsparcia dźwięku nie jest w stanie unieść swego cielska i poderwać go do lotu. Zdarzy się co raz, jak prawa zmaga się bez wysiłku z pojedynczymi biało czarnymi, to w tym czasie lewa, żeby nie wyglądało, że próżnuje unosi się swym charakterystycznym „liściem” i wzbogaca lewą w jej pasażach i drobnych potyczkach Niekiedy wespół starają się dotrzeć do istoty czarnego. W tym celu z kłębka siedzącego przed chwilą wyłania się zarys ramion i kołysząca się rytmicznie głowa. I ten właściwy przeciwnik kołysze miarowo głową wraz z unoszoną falą dźwięków. Jednak to współpraca, nie walka. To wielkie przymierze wokół piękna. Skulony dotychczas i zwinięty w sobie właściciel dłoni i palców generujących z klawiatury dźwięki, urasta do postaci zarządzającego sferą muzycznego koncertu. To co chwilę, jakby niechcący oddala się od klawiatury, ale zostawia tam na straży piękna swoje palce, żeby nie traciły z pola widzenia tych klawiszy błyszczących kością słoniową, to zaniepokojony zbyt dużym oddaleniem wraca kołysząc głową, do nadzoru nad sprawnością palców. I teraz dopiero, kiedy już doszło do obopólnej akceptacji i kiedy współpraca jest harmonijna i nie budzi obaw, ukazuje się wizytówka na froncie instrumentu STEINWAY. Jest złota i dumna. A, tuś mi czarny potworze o najpiękniejszym brzmieniu w całym świecie muzyki. Tuś mi, czarna bestio wchłaniająca w swoją istotę, przeróżnej maści niewolników muzycznej krainy. Tuś mi czarny, czarodziejski kamieniu filozoficzny, do którego przybywają tłumy z żądaniem wykarmienia odświętnie ubranych głodomorów, niewolników muzycznej kultury. I teraz kiedy wszystko na świecie odzyskało sens, do sensu zdążyło, spójrzmy w twarz konspiratora, tego właściciela boskich palców i inżyniera dźwiękowej uczty toż to GLENN GOULD.
The 20th, 21th, 23rd, 24th, 25 and 26 are the most famous and Beethoven was inspired by the 20th and 24th. But there are also other master pieces of Mozart that are at the same level as the 24th
es sind vermutlich keine interessanteren kadenzen zu finden glenn spielt meisterlich ! bernstein und er sind ein glücksfall in der musikgeschichte ! das wolferl mozart hat seine freud' dran gehabt, dessen bin ich mir sicher !!!
This tape of a live performance suggests GG was right to abandon public performing in favor of the recording studio, for his very small sound and projection in the large confines of Carnegie Hall give almost no idea of the nuances and the sophistication of voicing that made all of his recordings, even the really perverse ones with which almost everyone "disagrees", so valuable.
The people should listen also the great concertos Mozart piano concerto 22 the first movevment!! Just listen Jörg Demus or Natalia Trull.The best Mozart 22 player is Laura Mikkola but no one here in Finland loading that one in to the youtube.Also worth listen is Mozart piano concerto 25 the first mvt.I think Murray Perahia is the best one here
Hideous is a bizarre phrase for a cadenza which all the great pianists of the present and past have played, are you sure you know what you're talking about. And the duration - 2 and 1/2 minutes - is hardly excessive for a movement of this length.
Glenn Gould always said he played as he felt the composer would have played it. I think Mozart would have performed this the exact same way, with all of the sensitivity and technical acuteness. His phrasing is impeccable and each note counts, every little phrase counts. It is mind boggling as to how one would practice in this manner. It is a method of micromanaging your analysis and performance of a composer's work. Spectacular.
After listening several times to this audio, I realize that I and many others have played this concerto in the style of Beethoven and not Mozart. Gould has set us straight.
This is one of the best recordings I have heard of this concerto. Inner voices are brought out in a way that I have never heard before, and Gould seemed to be serving Mozart this time, rather than serving his own agenda.
Именно так и есть. Спасибо за проницательность. Низкий Поклон Маэстро Гульду.
This is a time capsule performance of a classical Mozart SYMPHONY that resonates for all time. Bravo...
How I wish this was remastered and cleaned up...the best rendition ever
Maria Grinberg Wilhelm Kempff Mikhail Pletnev Grigory Sokolov ( The most beautiful piano sound The most vital Mozart 24) Vladimir Ashkenazy
03:40 1st mvmt
14:37 hummel cadenza
18:06 2nd mvmt
25:56 3rd mvmt
Goodjob
Tx !
assumed it was Gould's own.
@@cilalikeltos 17:08 de orkestranın başladığı yere kadar sürüyor
Gould rocks this performance. The cadenza in the first movement is psychedelic.
*You are welcome*
Grigory Sokolov his own cadenza first mvt! The Best Mozart piano concerto no 24 players Are really Grigory Sokolov The most vital rhythmic( unbeatable vitalness). Maria Grinberg ( The most passion! Maria The most fierce! Maria The most vital energy!) Wilhelm Kempff ( The most beautiful piano sound Ever!) Kempff s class of his own his piano sound!
The Cadenza appears to be the one by Hummel..
Astonishing! So? Why is Mozart's Piano Concerto 24 not more popular? In my opinion, this is the best music he ever wrote.
he played every composer well. so amazing!!!
His attention to detail is astounding.
The CD is already great, but this cadenza in the 1st movement (from minute 14'37 on) of this live concert is just from another star... Unbelievably good. And apparently the kind of thing he couldn't simply reproduce in the studio. The studio recording came three years later and is still great, but this cadenza was gone. Again, an example of the magic of spontenaous inspiration.
In a television interview given in 1967, Bernstein expressed his admiration for Gould's approach to Mozart, no doubt the result of Bernstein's experience with this broadcast.
The Best of The Best performances .
Maria Grinberg Grigory Sokolov Wilhelm Kempff Vladimir Ashkenazy much better Mozart concerto no 24 players than Gould!
-- L'association Gould/Bernstein est un cocktail détonnant, un mélange parfait pour traduire toute la fougue et l'intelligente richesse musicale de Mozart. --
+Ben Cuevas Due personalità geniali, ma incompatibili. Gould dava il meglio di sè con direttori che assecondavano le sue opzioni interpretative non sempre riconducibili all'ortodossia, e non è certamente il caso di Bernstein. La compatibilità con personalità direttoriali eccezionali si inverò invece con Karajan in una miracolosa e giustamente celebre esecuzione dell'op. 37 di Beethoven.
+renato45222 Ricordarsi, a titolo di esempio, la pubblica dissociazione di Bernstein dalla interpretazione di Gould dell'op. 15 di Brahms, nonostante ne fosse il direttore.
Glenn Gould is the undisputed master of the 24th concerto. I've not heard any other pianist come even close to matching his clarity, phrasing, and nuances.
Isn't it a shame that Mozart didn't compose more minor-key compositions? The two minor-key concerti he wrote (20 & 24) are also the two greatest.
Agreed !
( -- tho ,
haven't heard 'm all ,
yet \
)
\\
Don't agree. KV 271, 456, 467, 482, 488, 503 and 595 are as great - and in major. Not to forget the clarinet concerto. And arguably also the double concerto for violin and viola.
kissin is far superior.
I knew GG was fond of this concerto and I know his CBC rec (with Süsskind) of it. However, never heard this version with Lenny/NYP.
Thanks, goodman, for putting it up. It's not a gem, but Crown Jewels.
That Hummel cadenza is out of this world
Thank you for sharing this recording! It's Gould!!!!!
KyotoMelody い
Thank you for sharing!!
I've played this concerto for pleasure many times, so I know how hard it is to remain calm during the exciting moments and crecendii. And yet Glenn delivers every note with such clarity and feel. Will there ever be such a Maestro of the piano again?
Grazie
GENIUS!
This version has the best cadenza ever!
Glenn Herbert Gould, más conocido con el nombre de Glenn Gould (Toronto, Canadá, 25 de septiembre de 1932-4 de octubre de 1982), fue un pianista canadiense, especialmente reconocido como intérprete de la obra para teclado de Johann Sebastian Bach, así como de las obras pianísticas de Arnold Schönberg.
Nacido en Toronto (Ontario, Canadá) en el seno de una familia de músicos (el padre era aficionado; la madre profesional), Gould aprendió a tocar el piano con esta última, que tocaba además el órgano. Su abuelo era primo de Edvard Grieg. Fue a la escuela Royal Conservatory of Music cuando tenía diez años de edad, convirtiéndose en discípulo del pianista chileno Alberto García Guerrero.
Su primer concierto (tocó el órgano) tuvo lugar en 1945, e hizo su primera aparición con orquesta el año siguiente cuando ejecutaba el Concierto para piano nº 4 de Beethoven con la Orquesta Sinfónica de Toronto. Realizó su primera ejecución pública como pianista solo en 1947.
El 11 de enero de 1955 debutó en Nueva York (EE.UU.), con un recital de piano que tuvo lugar en el Town Hall. Al día siguiente recibió el ofrecimiento de Columbia Masterworks para grabar su álbum debut, las Variaciones Goldberg de Johann Sebastian Bach en la primera de sus versiones en estudio (realizó otra en 1981).
Diez años más tarde, Gould hizo un viaje a la Unión Soviética y fue el primer pianista canadiense en visitar ese país después de la Segunda Guerra Mundial.
El 10 de abril de 1964, tocó en público por última vez en Los Ángeles y anunció que se retiraba de los escenarios cuando era una auténtica figura internacional. La razón es que empezó a sentir hastío por la interpretación en directo y creyó que servía mejor a la música en un estudio de grabación que en la sala de conciertos. Pensaba además que la música se preservaba mejor en la intimidad.
J. S. Bach fue su gran especialidad constituyéndose sus grabaciones verdaderos puntos de referencia. Hay que tener en cuenta que Gould era muy inclinado a los aspectos contrapuntísticos y Bach le venía perfectamente a medida.3 Las grabaciones en vivo que efectuó de los Conciertos para piano y orquesta de Johann Sebastian Bach junto a Leonard Bernstein constituyen verdaderas joyas interpretativas. También hay que destacar sus tres registros de las Variaciones Goldberg (la grabada en el festival de Salzburgo y las dos citadas) como también el Clave Bien Temperado.
Además de las grabaciones de piano, a las que se dedicó con ahínco durante el resto de su vida, se dedicó también a la escritura y a la radio, que le apasionaba. Murió en Toronto el 4 de octubre de 1982 después de sufrir un infarto cerebral.
En 1983, el escritor austríaco Thomas Bernhard escribe El malogrado, novela que gira en torno a un pianista llamado Glenn Gould y su interpretación de las Variaciones Goldberg de Johann Sebastian Bach. En 1992, Manuel Huerga dirige el galardonado documental Les Variacions Gould, una coproducción de Ovideo TV, La Sept/Arte y TVC sobre el pianista canadiense con motivo del décimo aniversario de su muerte. En 1993, se hizo una película sobre él titulada Thirty two short films about Glenn Gould. (Treinta y dos películas cortas sobre Glenn Gould) dirigida por François Girard y Don McKellar.
Muy interesado en las nuevas tecnologías, llegó a ser un gran especialista en las técnicas de grabación y fue de los primeros intérpretes clásicos en experimentar con técnicas digitales. Cada grabación la preparaba con todo detalle como una obra única, y pocas veces regrabó alguna pieza, con la notable excepción de las Variaciones Goldberg, cuya primera versión grabó en 1955, al inicio de su carrera, y la segunda en 1981, totalmente distinta, poco antes de su muerte, y empleando tecnología digital en todo el proceso. Gould publicó más de 60 discos con un repertorio que abarcó desde Bach hasta Schoenberg, desde Beethoven hasta Shostakóvich, a quien popularizó en Occidente. De Bach dejó un inigualable patrimonio de grabaciones.
Excéntrico y encantador, se presentaba a los conciertos con mitones, abrigo, bufanda independientemente del calor que hiciera, con una desvencijada silla de madera con respaldo y casi sin asiento, con las patas recortadas que hacía que le quedara la nariz a la altura del teclado. No es raro escuchar su voz cantando durante las grabaciones. Dotado naturalmente de una técnica sorprendente, sus grabaciones son un referente para todo músico. Poco más de veinte años después de su muerte, exámenes científicos le diagnosticaron el síndrome de Asperger. Muchas personas con este desorden creen que Gould lo tenía. La pequeña silla que utilizaba lo identifica fielmente y tiene un lugar de honor en una vitrina en la Biblioteca Nacional de Canadá.
Love the version with Susskind, this obviously is very similar. What a trip, an absolute gem. Best 24th ....
Bassanio in The Merchant of Venice asked "Do all men kill the things they do not love?" Oscar Wilde in The Ballad of Reading Gaol said that each man kills the thing he loves. Glenn Gould in his performances of this concerto breathed life into something which he did not love. A perplexing man!
wonderful!!
I FOUND IT!!!! OMG!!!!!!!!!!! I LOVE THIS SO MUCH!!!!!!!!!!!!!!!!!!!!
I love your enthusiasm for this. it is spiritual. important.
Try the version with Gould and Walter Susskind, it's even better even though that might seem impossible.
What a fucking record!,congratulations for this amazing material,thanks
I like Gould's left-hand triplets in the last movement, somewhat in character with the oboe staccato passages.
Best Gould I have ever heard.
It was all about Mozart!
I'm not the bigest fan of Gould, but I have to admit this is the best version of Concerto No. 24 on RUclips. The tandem Gould-Bernstein is GENIUS.
Wow! I have to say I like this a lot more than his Bach! Definitely one of the best I have ever heard. Is this really unedited live performance!? Amazing technique!
Saying 'thank you so much' isnt enough!
one of the many great recordings by the two giants!! the intro reminds me of the Brahms concerto 2 intro in some way
I have never understood Gould's own equivocal remarks about Mozart in the light of his extraordinarily wonderful live performances of the composer, this being a wonderful example.
Both this performance, and the other one with Susskind (which I agree is even more successful) show a passionate and truthful intelligence and emotional power. This extraordinary work is perhaps closer than any other work of Mozart to show how profoundly Beethoven was influenced and inspired by him. Then one listens to Haydn and sees a completely new dimension...
There is a very gifted writer called Michael Spitzer who writes very well about the relationship between the three composers; he calls it (macroscopically) a "ternary" relationship. Gould understood and played - sublimely - in full knowledge of this, even as young performer.
I think that many of Gould's remark were nothing but provocations. You always can see what he likes by what/the way he plays it.
@@jorgeguimaraes8820 They were not provocations, they were complete honesty. He does want to play differently to 'shock' the listener and let them see the piece in a different light but what he says in his interviews he is brutally honest about.
I think he had a love-hate relationship with Mozart, because Mozart had not followed the path of absolute musical sobriety proper to the other God. But the truth is that most of us music lovers thank God that Mozart followed his own very fruitful path, which is the largest encyclopedia of expression of human feelings.
This performance is from the Philharmonic concert of Saturday night, April 4, 1959, broadcast over the CBS radio network. The Philharmonic broadcasts were on Saturday night during the first few years of Bernstein's tenure. Howard Taubman wrote of the Friday concert in the New York Times, "Glenn Gould appeared as soloist with the orchestra in Mozart's ravishing C minor Piano Concerto and played with sensibility and refinement. Here were rhythmic suppleness, delicate coloring and singing tone. He was a joy to hear. But his mannerisms at the piano were not a joy to see..."
With Gould one takes the whole package- tics, singing , full body engagement- because that's what it took for him to play like a god. Think of it as what the ancient Greeks called "divine madness".
Delightful!
Gould's additions to the sometimes thin texture of Mozart's piano part is in the tradition of Wanda Landowska in her earlier broadcasts with the same orchestra.
grazie
How is it possible to believe that Glenn Gould hated Mozart!!!
Such beautiful piano playing, he dances with the scales with rhythm and also the transparent sound is so amazing. I do not mind hearing his 'counterpuntual' additions.
The cadenza of the 1.movement is really marvellous.
Gould hated THE Mozart we were all forced to accept through the musical propaganda of some prude and frustrated old ladies who saw Mozart as "lovely" and "charming" .
What for a stupid statement ....
Never listen to such self-confident (old) assholes .
Mozart is depressive , tragic , desperate and black .
His so-called "angelism" is only his vertiginous hope (at some moments) in a better world outside of his poor existence .
Lipatti , Schnabel , and Gould , played Mozart .
Forgot the rest . Only crap .
Gould was selective in his dislike for Mozart and always loved this particular concerto, possibily for the exceptional - and rather unusual for Mozart - contrapuntal writing in the first, and especially the third, movements.
Mozart: For my music it's better to be hated by Gould than to be loved by others.
@@Fritz_Maisenbacher you have no idea what gould said about that depressing, tragic mozart. he says that late mozart is boring and lame, he likes childish early mozart.
@@ThePaull3d
You/ Gould / Mozart/ He/ Mozart/ Mozart/
My friend, please put uppercases where they should be, and then, I shall read your comment.
wow!
Sei unico.
I love the minor keys. Soul shaking yet innocent all at once.
Heaven!!!
MOLTO BELLO!!! Thank you for sharing this Wonderful Performance of Great Canadian Pianist GLENN GOULD (1932-1982) and Great American Conductor LEONARD BERNSTEIN (1918-1990).
Glenn Gould didn't just play a music. He recomposed everything he played.
I've studied and performed this concerto before. I've used a score edited by Dr. Hans Bischoff and published by G. Schirmer. The cadenzas included in the score were composed by J. Hummel which Mr. Gould used in the first movement and the latter part of the second. Gould added his own elaborations in the rest. A very interesting performance of Gould! Bravo! Almost listening to a Bachian (contrapuntal & baroque) style of interpretation. I loved it (^_^)
Glenn is so sensitive. He got it right.
If you want to hear a better recording of Gould playing K. 491, then listen to the studio recording (minus the coughing) with Walter Susskind conducting the CBC Symphony made in Toronto in 1961. It's truly inspired playing - full of Gouldian Lift, Lilt, and Life! His playing is clean & the piano colors shimmer with beauty.
Yes, this is the best performance of KV 491 I heard.
Thank you for the suggestion. For all of those people who think Gould hated Mozart, just listen to his recordings of K.491
it's because mozart isn't very contrapuntal that he didn't go for him. he recorded all the sonatas and brings out the inner lines.
In the whole of his justification for saying that this concerto is a mediocre piece of music which Gould gives in "How Mozart Became a Bad Composer" he nowhere complains that it isn't very contrapuntal. The early works of Mozart which Gould says that he likes were not more contrapuntal than the later works which Gould didn't like.
Perfect, just perfect 😍
People loves coughing in concerts
A lot of people smoked back then.
@driss969
yes is Gould. Live broadcast in New York. also there is a live recording of this concerto with Jochum in 1958 in Stockholm.
I like this one better.
Спасибо!! С любовью из России!!!
Duyguların götürdüğü yer ne güzel...!!!💖💖💖💖💖🤗
The Corpus Musicale Amadeus in all its grandeur composed in so short a lifetime is an irrefutable proof that what matters in life is not longevity but profuctivity
also there is a live rec. in Stokholm with Jochum (1958)
My favorite composer is Mozart and my favorite pianist is Gould which is strange considering he is so associated with Bach. The only better pianist I would love to hear play this would be Mozart. Rest in peace, both of you. Don't worry Mozart, I know no one in modern days has heard you play, but can you imagine how ridiculous he was!
It is said that if one wishes to record classical/baroque/ancient music live do it in Japan. It appears the Japanese simply will not cough during a live performance...
Maybe they will sneeze.
anyone who even notices the coughing isn't focused on the music.
LOL....I'm sorry, but anyone who thinks Brahms lived before Mozart and Beethoven has no business posting ANY comments about classical music. Hilarious.
The Corpus Musicale Amadeus is so short a lifetime persuades me
There is only Mozart The greatist!!!
That cadenz is just crazy...
+Márk Kiss it's Johann Nepomuk Hummel's one, I think.
+UTV Poop Wow! I thought it was written by Gould!: ) Thank you for the information!
4A RYTP The cadenza is from Mozart ,there is a doku of goulds relation to mozart on youtube
Márk Kiss
Так мог играть только Гленн.Браво!!!
finest canadian
Drake and Glenn Gould, Canada's finest
start ap 3:40
I have just listened to the Susskind recording to compare with this performance and in my view this is superior: the other piano sounds metallic and the whole thing is dry and didactic, including the orchestra, everybody seems to be a soloist!. There is a lot more tenderness and subtlety and depth in this recording. In the Susskind version GG tends to attack the notes whereas in this recording, when he has to, he is able to have a very soft touch.
lenny and glenn two great musicist artist missing you
out from the cosmos
lightyears far away
Right, Gould hated Mozart so much he recorded the complete piano sonatas. Idiots are always trying to bring Glenn down, but he defied them! His Goldbergs stayed in print for what? 40 years? I wonder if that is a record. Ha! you show them Glenn!
My favorite piece of music ever! Beethoven said he would never write anything like this. He didn't!
Funny you mentioned Beethoven. This orchestra sounds like it is playing Beethoven. I think Bernstein got carried away with "show and flash" and forgot it was Mozart.
MAKES SENSE. BERNSTEIN was a beethoven fanatic. Rubenstein's recording of this with Kripps(sp) conducting i think, is my favorite
I like this one by Gould playing Mozart Piano concerto 24.But the best ones are.Your childhood heroes Maria Grinberg the most vital . .Grigory Sokolov has the rhythmic beat and Sokolov his cadenza of the 1st mvt is the best second to none.Gina Bachauer played the most furious 3mvt it is on the youtube.
🇹🇷😍🤗 MUHTEŞEM....!!!!
"Beethoven and Mozart both seemed to be very influenced by Brahms."
Oooooh mercy. Thanks for the lulz.
The 24th is actually quite popular. Not as much as 20, 21, or 23, but it's definitely up there.
I would agree that this is the best of his concerti, though 20 is a close second.
The cadenza that feels like... Mozart-finally.
is by Hummel
Dear signor goodmanmusica, I must say that I'm delight to know.
What a wonderful interpretation. I can't understand Glenn dismissal of Mozart. This was so beautiful, in spite of the constant coughing and the recording hissing sound. I wonder if this can be "filtered" and put on a CD. Are all New Yorkers always sick? All recordings with NYP are plagued by constant coughing.
Gould has said many nice things about Mozart. But his preoccupation is with counterpoint. Once you understand Bach's genius, everything else pales in comparison.
That's probably smoker's cough. A lot of people smoked back then.
@@s.l5787 not Mozart. Bach and Mozart are different but equal. Many musicologists agree that Bach and Mozart are the peaks of European music.
I don't understand these references to Susskind, The announcer is quite clear that this is Bernstein and Gould. But what matters that it is an extraordinarily lovely account of the concerto.
Gould make the official recording with Susskind
By official do you mean for a disc? This one was clearly a broadcast.
yes the disc
Yes, this is a radio broadcast. The announcer is James Fassett, director of CBS Radio's Music Department from the early '40s until 1963. Glenn Gould recorded the Mozart #24 with the CBC orchestra under the direction of Walter Süsskind. That recording is also on RUclips and IMO is the better of the two.
Vazir Mukhtar The orchestra is amazing here....the CBC orchestra (winds) sound bad in the first mov. Great strings in the CBC though...
How very rude was the person coughing and sneezing over and over again. He really should have had the courtesy to leave the concert hall. Were the ushers on strike?
starts at 3:40
Браво Гленн! Хотя такая непривычная интерпретация этого концерта! Но Вам по праву можно было позволить ВСЁ. Моцарт бы не обиделся на Вас.
The cadenza of the 1.movement is really marvellous.
è di:
Adolf von Henselt
No comment!
I wonder if the recording of this wonderful performance could be remastered without the coughing. The concert hall must have been pestilential with all the coughing and sneezing.
Oh fuck off with your "coughing" and listen only to the music , you !
Thank you +@@Fritz_Maisenbacher. I'm finally learning to tune the hideous coughing out. What do you think of Gould's performance? I'm sure you prefer the Schnabel.
@@marichristian1072
Yes , indeed .
But i have to recognize the magnificent "style" of Glenn .... this man was truly a genious .
If he wouldn't have had this ill mania of controlling himself , and the music he was playing , he would have been the greatest of all .
Do not forget that his idol was Schnabel .....
Yes @.:@@Fritz_Maisenbacher: He worshiped Schnabel- especially his Beethoven.
@@marichristian1072
Sometimes , Gould came very close to his idol : the Eroica Variations , and the first movement of the 30th Sonata .
Mozart was a very good orchestrator, but this is even especially his very best orchestrated piano concerto. All the game he disposes to be played for the orchestral instruments talk to each other is something rarely surpassed in the history of the piano concerto, as this is an instrument that needs no stand against instrumental individuals having the ability, exploded by composers, to face it alone against the whole orchestra.
Pojedynek
Siedział skulony i nieruchomy. Wyglądał jakby losy jego były już przesądzone i za chwilę ta stojąca przed nim maszyneria pochłonie go w całości. Czekał na to już od chwili i nieruchomy, tym bezruchem zachęcał czarnego potwora do działania. Wyraźnie widać było, że jest gotów na wszystko. Nawet jakby czekał i tym czekaniem prowokował i jakby zachęcał kiedy ten nieruchomy potwór drgnie i pochłonie go bez reszty. Może w tym celu uniósł już swoje jedno skrzydło, które miał zainstalowane na wierzchnim blacie. A może to ogromna paszcza gotowa na wchłoniecie swego przeciwnika. Więc on napięty i skulony i gotowy. Maleńki i coraz mniejszy. A przed nim ogrom maszynerii nie do udźwignięcia. Jego los jest już dawno przesądzony. Zostanie pochłonięty bez wątpliwości. Lecz nagle, co to. Spod skulonego w uniżonym pokłonie kłębka, unosi się lewa dłoń, wędruje powoli i powoli, czujnie i ostrożnie do niewielkiej wysokości. W tym czasie pojedyncze palce pokonują opór powietrza i jak po drabinie, a raczej sieci pajęczej, jeden po drugim z trudem wspinają się wzwyż. Tak jak liść potrafi kołysać się w czasie spadania, tak ta dłoń odwrotnie w tanecznym geście wznosi się powoli i dyskretnie. Palce bowiem tylko w tym widzą możliwą zmianę tragicznego losu ich właściciela. Palce w tanecznym pląsie powietrznym pną się ponad głową i jakby na własną odpowiedzialność podejmują próbę zmiany losu skulonej postaci. Może to ta lewa ręka będzie przywódczynią buntu wobec obowiązującego bezruchu. Może jej odwaga doda sił drugiej, prawej. I rzeczywiście w momencie kiedy lewa uniesiona na możliwie odpowiednią wysokość, taką wysokość, która jeszcze nie wzbudza podejrzeń potwora, że coś może stać się przeciw niemu, wtedy to prawa ręka znienacka wkracza do akcji. Kiedy przymglone oczy i biało czarne zęby potwora zmylone gestami lewej ręki uśpione tym powiewającym u góry proporcem ni to na znak poddaństwa, a jednak przecież na znak do walki, bo nagle atak następuje z prawej strony. To prawa dłoń ledwo wysunięta spod zwojów zmiętej postaci, zaczyna pieścić raz czarno białe i raz na odmianę biało czarne zęby potwora. Z początku delikatnie i jakby nieśmiało. Jakby chcąc celowo uśpić czujność bestii. Prawa zaczyna coraz zuchwale poskramiać klawisze czarnego potwora. Lewa już uniesiona jest ponad miarę znaną w takich przypadkach, nagle w porównaniu z innymi znanymi pojedynkami, zastygła po skutecznym odwróceniu uwagi i po likwidacji zagrożenia, teraz właśnie dała możliwość lewej do skutecznego ataku. Z razu nieśmiało, by po chwili uznać, że już pora, że czas oczekiwania się skończył , że należy pokazać siłę, że należy podjąć walkę z tą wszechogarniającą ciszą. W każdym razie wykazać w walce nieustępliwość. O zaistnienie, o godność, o byt. Inaczej pochłonie je obie wraz z całą skuloną postacią ta czarna maszyneria zagłady.
Już dłonie spotkały się nad klawiaturą, już pozornie nieznajome jednak od razu widać, że znają się nie od dziś, że w tym posłannictwie bardzo dobrze umieją współpracować, że nie trzeba im tłumaczyć, że od kiedy tylko spotkały się nad klawiaturą wiedzą jak się zachować, wiedzą, jak obłaskawić tego coraz bardziej zaskoczonego potwora. Ale o dziwo, on już nie ma nic przeciwko ich obecności. Nawet już polubił dotyk opuszków, lubi też zdecydowanie smaganie poszczególnymi palcami. Teraz obie dłonie współpracują zawzięcie nad zawładnięciem czarną bestią. Już oswoiły ją zaskoczoną takim rozwojem sytuacji. Czarny potwór jakby złagodniał, jakby był wdzięczny, właśnie doczekał na kogoś kto wydobędzie z niego jak z bezdennego oceanu dźwięki i przepiękne melodie. W tym celu ma uniesione jedno skrzydło podrywające się do lotu, ale bez wsparcia dźwięku nie jest w stanie unieść swego cielska i poderwać go do lotu. Zdarzy się co raz, jak prawa zmaga się bez wysiłku z pojedynczymi biało czarnymi, to w tym czasie lewa, żeby nie wyglądało, że próżnuje unosi się swym charakterystycznym „liściem” i wzbogaca lewą w jej pasażach i drobnych potyczkach
Niekiedy wespół starają się dotrzeć do istoty czarnego. W tym celu z kłębka siedzącego przed chwilą wyłania się zarys ramion i kołysząca się rytmicznie głowa. I ten właściwy przeciwnik kołysze miarowo głową wraz z unoszoną falą dźwięków.
Jednak to współpraca, nie walka. To wielkie przymierze wokół piękna. Skulony dotychczas i zwinięty w sobie właściciel dłoni i palców generujących z klawiatury dźwięki, urasta do postaci zarządzającego sferą muzycznego koncertu.
To co chwilę, jakby niechcący oddala się od klawiatury, ale zostawia tam na straży piękna swoje palce, żeby nie traciły z pola widzenia tych klawiszy błyszczących kością słoniową, to zaniepokojony zbyt dużym oddaleniem wraca kołysząc głową, do nadzoru nad sprawnością palców. I teraz dopiero, kiedy już doszło do obopólnej akceptacji i kiedy współpraca jest harmonijna i nie budzi obaw, ukazuje się wizytówka na froncie instrumentu STEINWAY. Jest złota i dumna. A, tuś mi czarny potworze o najpiękniejszym brzmieniu w całym świecie muzyki. Tuś mi, czarna bestio wchłaniająca w swoją istotę, przeróżnej maści niewolników muzycznej krainy. Tuś mi czarny, czarodziejski kamieniu filozoficzny, do którego przybywają tłumy z żądaniem wykarmienia odświętnie ubranych głodomorów, niewolników muzycznej kultury. I teraz kiedy wszystko na świecie odzyskało sens, do sensu zdążyło, spójrzmy w twarz konspiratora, tego właściciela boskich palców i inżyniera dźwiękowej uczty toż to GLENN GOULD.
Did you tape this aircheck yourself? Thanks for sharing!
The 20th, 21th, 23rd, 24th, 25 and 26 are the most famous and Beethoven was inspired by the 20th and 24th. But there are also other master pieces of Mozart that are at the same level as the 24th
The 20th isn't too bad. Also in the minor key.
es sind vermutlich keine interessanteren kadenzen zu finden
glenn spielt meisterlich ! bernstein und er sind ein glücksfall in der musikgeschichte !
das wolferl mozart hat seine freud' dran gehabt, dessen bin ich mir sicher !!!
Is is possible to purchase this recording anywhere? Preferably as an MP3 or FLAC album?
This isn't an aircheck, it's a broadcast.
I would have been 10. Thanks!
This tape of a live performance suggests GG was right to abandon public performing in favor of the recording studio, for his very small sound and projection in the large confines of Carnegie Hall give almost no idea of the nuances and the sophistication of voicing that made all of his recordings, even the really perverse ones with which almost everyone "disagrees", so valuable.
You can see (hear) why Gould disliked live performing....... My gosh.....
The people should listen also the great concertos Mozart piano concerto 22 the first movevment!! Just listen Jörg Demus or Natalia Trull.The best Mozart 22 player is Laura Mikkola but no one here in Finland loading that one in to the youtube.Also worth listen is Mozart piano concerto 25 the first mvt.I think Murray Perahia is the best one here
Who wrote the 1st movement cadenza?
Mark Leeds Hummel
Thank you!
You mean that horrible, over-extended [both in duration and range of the piano] 2 1/2 minutes starting at the fermata? Hideous.
Hideous is a bizarre phrase for a cadenza which all the great pianists of the present and past have played, are you sure you know what you're talking about. And the duration - 2 and 1/2 minutes - is hardly excessive for a movement of this length.
@driss969
yes
Очень нравится, но удаляют мой комментарий, он на русском языке. Что за произвол ?
3:40 start playing