I've always thought that the surviving material from the Russian tour were especially compelling. Anything I've heard recorded in Stockholm has been equally striking. So grateful for all the live tapes of Gould.
Thank you so much Mr Cross for posting Gould's superb performance. The score is a most welcome addition. In this performance, Gould paid the utmost attention to Beethoven's dynamic instructions. The final fugue is glorious and heart- breaking all at once.
@@dstol62still feel like people don’t talk about that enough… we have, at that point, a 95% deaf Beethoven effectively discovering an entirely new music style that didn’t end up surfacing until over a century later, and seamlessly blending it into a 20-minute masterpiece of a sonata that varies through a 100-bpm range, contains 3 fugues, and utilizes a ridiculously complex syncopated rhythm with antiphonal dynamics and innovative, never before seen polyphonic devices. Without being able to EVEN HEAR IT. And there’s a debate as to why he’s not the greatest composer the world’s ever known?
Прочла до конца описание к записи - оно заслуживает отдельной похвалы❤(особенно мне понравилось про настроенное фортепиано, а также пометки, сделанные Гульдом в книжке 😁)
this is live. Ironically - as he withdrew from public performance- he sometimes fared better in this situation. Compare his live recording of Bach's Dminor concerto (Mitropoulos conducting) with the rather dry studio one.
How lucky we are that these are being broadcast over the internet nowadays. Hopefully they'll always be available to future generations in some way.
Unbeschreiblich schön, intelligent und musikalisch!
GENIUS
I've always thought that the surviving material from the Russian tour were especially compelling. Anything I've heard recorded in Stockholm has been equally striking. So grateful for all the live tapes of Gould.
Гений Гульда на века! Спасибо за возможность слушать!
Νotes like cristals descending from heaven......Beethoven 's severity and
Gould's fragility....thank you......
Thank you so much Mr Cross for posting Gould's superb performance. The score is a most welcome addition. In this performance, Gould paid the utmost attention to Beethoven's dynamic instructions. The final fugue is glorious and heart- breaking all at once.
This is magnificent. Thank you for sharing.
Остров сокровищ Ваш канал, мистер Кросс. Сердечное спасибо за эти богатства, не устаю радоваться. Привет Вам и наилучшие пожелания из Белоруссии! ❤️
You've done fine work with this channel Mr. Cross, still remaining consistent throughout the years. Thank you.
Late Beethoven is like Beethoven saying “im gonna compose three times as awesome from now on”
I love Op.109, Op.110 :)
LOL!
@@romulo560 True; but didn't he say something to the effect after the Heiligenstadt Testament?
Opus 111 No. 32 was his prediction of what swing jazz would sound like 100 years later.
Yes he did.
@@dstol62still feel like people don’t talk about that enough… we have, at that point, a 95% deaf Beethoven effectively discovering an entirely new music style that didn’t end up surfacing until over a century later, and seamlessly blending it into a 20-minute masterpiece of a sonata that varies through a 100-bpm range, contains 3 fugues, and utilizes a ridiculously complex syncopated rhythm with antiphonal dynamics and innovative, never before seen polyphonic devices. Without being able to EVEN HEAR IT. And there’s a debate as to why he’s not the greatest composer the world’s ever known?
So very beautiful! It speaks to the heart. Thank you, Bruce, for posting.
Another Gould interpretation that I'm compelled to listen to twice in a row, every time it comes up on a playlist.
Прочла до конца описание к записи - оно заслуживает отдельной похвалы❤(особенно мне понравилось про настроенное фортепиано, а также пометки, сделанные Гульдом в книжке 😁)
Grazie!!!!!!!!!!
grazie!!!!!!!!!!!!!!
grazie di nuovo
❤️
And people used to say that Gould was "mechanical"!!!!!!!
Эти люди дураки.
this is live. Ironically - as he withdrew from public performance- he sometimes fared better in this situation. Compare his live recording of Bach's Dminor concerto (Mitropoulos conducting) with the rather dry studio one.
Quite a slow tempo. Like a what-if outtake of the studio version. Of course Gould could make it work in many ways. Very interesting.
Where do you find this stuff?? Pure gold!!
grazie
One of the few interpretations where the artist takes the time to let the music come alive in this Sonata
The 3rd movement has a dark blue color.
He seems to follow the score more than a lot of the other great ones who play this, both in terms of dynamics and rhythm. And it's Gould?! Ironic.
👏🏻