Gould or not, this is one majestic recording of the art. Quite romanticized indeed for Gould as many point out, but I think it's not completely impossible. This recording has clarity, flexibility and virtuosity that makes me think only Gould level pianist could do this.
One of my favourite pieces and this is a majestic version. Fireworks and gentleness with total control. Better even that the version played by Rachmaninov which is also on UA-cam.
Interesting comment thread regarding the authenticity of this recording. For me, it doesn’t sound like Gould-save for the repeat of the 2nd half of variation 4, where his signature is apparent. .One obvious omission was the lack of repeat on the first half of variation number 2, which for me throws off the pacing of the whole work.
... Piero Rattakino dice di lui che aveva nelle dita la velocità che s'addice ad un "paracadutista " (sic !) ! ... e mi sa che ha ragione ! (... vedi la velocità che imprime alle ultime variazioni !).
Sorry glenngould32, but nobody who knows Gould's playing is going to be fooled by this mushy, romanticized fake. Hell, is it even POSSIBLE to use more pedal than this player does?
I'm in no position to say if it's a fake or not but your arguments seems to me weak. Have you listen to attested early live recordings of GG? There is use of pedal and agogic accents.
@@ceemneher4619 Yes, he used agogic accents all the time, and pedal more often than many people realize, since he usually used it so lightly - barely pressing the pedal down at all. But there is NO precedent in his legitimate recordings for this refulgent, romanticized way of playing a baroque composition. This isn't Glenn Gould, and I think he would have found it distasteful.
Who in their right mind would have the balls to perform Georg Friederic Handel’s HARPSICHORD Suites on a massive iron-framed gargantuan modern 88-key Steinway Grand piano with its A tuned to A=440 - with its ‘blurry bass-notes all indistinctly run together in a kind of obscene sonic-soup’ hint : Handel wrote this specific music for the HARPSICHORD tuned to c. A=410 to 420Hz - Gould or not, this kind of ‘modern adaptation for the ‘profanvum vulgvs’ is nothing short of blasphemy against the express tonal-world of Handel (or any composer living or dead) - and Gould’s ‘modern renditions’ of J.S. Bach’s masterful keyboard works on a modern grand with its obscene modern mis-tuning & temperament is unforgivable to any serious music-lover who wishes to pay homage to the great Western Art composers of the past…
If this were Gould, the trills would be sharp enough to slice your skin to ribbons, and they are not. Then again, there is that gratuitous staccato . . . .
10 місяців тому
Hi trills are certainly excellent but young Gould was not yet as maniac as the professional recorder he would become. I hear the legato more than the staccato though.
Sorry - I like Glenn Gould, but not his interpretation of this one. He (or, based on some of the comments, whoever it is) takes all the musicality of the piece and chews it up and spits it out like a machine gun firing. Other recordings I've heard, while perhaps not playing as rapidly toward the end, still manage to make it sing while still playing quite quickly.
Gould or not, this is one majestic recording of the art.
Quite romanticized indeed for Gould as many point out, but I think it's not completely impossible. This recording has clarity, flexibility and virtuosity that makes me think only Gould level pianist could do this.
By reading comment section closely, it was cleared that this recording of Gerald Aimontche but one that is sped up. Tricked😂
@@matt-chan3489 It might be: ua-cam.com/video/IwjIiUNBiTk/v-deo.html
One of my favourite pieces and this is a majestic version. Fireworks and gentleness with total control. Better even that the version played by Rachmaninov which is also on UA-cam.
It's not Gould
Yes, unfortunately it's Gould on an harpsichord: awful!
@@annamcancarini6953I do repeat: it's not Gould
@@annamcancarini6953come fa a dire che questo è un clavicembalo... sta scherzando?
If it's not Gould then who might it be?
Is it really him playing?? I'm not sure..
Interesting comment thread regarding the authenticity of this recording. For me, it doesn’t sound like Gould-save for the repeat of the 2nd half of variation 4, where his signature is apparent. .One obvious omission was the lack of repeat on the first half of variation number 2, which for me throws off the pacing of the whole work.
... Piero Rattakino dice di lui che aveva nelle dita la velocità che s'addice ad un "paracadutista " (sic !) ! ... e mi sa che ha ragione ! (... vedi la velocità che imprime alle ultime variazioni !).
Its Gould? doesn't sound like.
Compared to Kate Liu, the flying angel, Gould suddenly so heavy and random
Is this real?
Sorry glenngould32, but nobody who knows Gould's playing is going to be fooled by this mushy, romanticized fake. Hell, is it even POSSIBLE to use more pedal than this player does?
I'm in no position to say if it's a fake or not but your arguments seems to me weak. Have you listen to attested early live recordings of GG? There is use of pedal and agogic accents.
@@ceemneher4619 Yes, he used agogic accents all the time, and pedal more often than many people realize, since he usually used it so lightly - barely pressing the pedal down at all. But there is NO precedent in his legitimate recordings for this refulgent, romanticized way of playing a baroque composition. This isn't Glenn Gould, and I think he would have found it distasteful.
Love it.
It think that the latter part of this is a bit forced to say the least,
👍🌟🔥💛
is not gould.
That should read 'Harmonious Blacksmith', by the way, but an interesting recording nonetheless.
Whoever, to my untrained musical ears, he/she can certainly play this instrument.
You should listen to Gaspard de la nuit. Sometimes it's translated as "artful dodger of the night".
Ridicola interpretazione che può piacere solo a chi difetta di gusto estetico
The final scales lack enough clarity to be Gould.
I dont like the ad...
No way!!
Who in their right mind would have the balls to perform Georg Friederic Handel’s HARPSICHORD Suites on a massive iron-framed gargantuan modern 88-key Steinway Grand piano with its A tuned to A=440 - with its ‘blurry bass-notes all indistinctly run together in a kind of obscene sonic-soup’
hint : Handel wrote this specific music for the HARPSICHORD tuned to c. A=410 to 420Hz -
Gould or not, this kind of ‘modern adaptation for the ‘profanvum vulgvs’ is nothing short of blasphemy against the express tonal-world of Handel (or any composer living or dead) - and Gould’s ‘modern renditions’ of J.S. Bach’s masterful keyboard works on a modern grand with its obscene modern mis-tuning & temperament is unforgivable to any serious music-lover who wishes to pay homage to the great Western Art composers of the past…
If this were Gould, the trills would be sharp enough to slice your skin to ribbons, and they are not. Then again, there is that gratuitous staccato . . . .
Hi trills are certainly excellent but young Gould was not yet as maniac as the professional recorder he would become. I hear the legato more than the staccato though.
Not gould sound.....😢
too fast... but I admire his bach
Definitely not GG.
リズムやフレージングに違和感、ただドライなタッチでルバートたっぷりに弾いたというだけ。暗譜せず初見で弾いた可能性も考えたけどグールドによる演奏ではないんじゃない？唄ってみて不自然な様には弾かない。
harmonious not harmonised...
Sorry - I like Glenn Gould, but not his interpretation of this one. He (or, based on some of the comments, whoever it is) takes all the musicality of the piece and chews it up and spits it out like a machine gun firing. Other recordings I've heard, while perhaps not playing as rapidly toward the end, still manage to make it sing while still playing quite quickly.