Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14

Ludwig van Beethoven (Composer), Glenn Gould (Performer) | Format: Audio CD

Product Details

• Performer: Glenn Gould
• Composer: Ludwig van Beethoven
• Audio CD (April 19, 1994)
• Number of Discs: 3
• Label: Sony
• ASIN: B0000028NX
• Average Customer Review: 3.8 out of 5 stars  See all reviews (11 customer reviews)
• Amazon Best Sellers Rank: #97,424 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

27 of 29 people found the following review helpful:

3.0 out of 5 stars worth a listen but there are better recordings, June 21, 2005

By 

Paul T. Dube', MD (Canon City, CO United States) - See all my reviews
(REAL NAME)   

This review is from: Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14 (Audio CD)

This is actually a review for vols. I and II. Just in general, Gould's style is fantastic for some of the sonatas but is really inappropriate for others.
His portamento (detached) presto/prestissimo playing makes the "Tempest" sonata the best version I've ever heard but really makes the "Pathetique" seem rushed and totally without feeling.
I mostly bought vol. II for the last 3 sonatas (op. 109, 110 and 111). I figured the most unusual and most "un-Beethovanic" of the sonatas deserved the most unusual interpretation, and I wasn't disappointed. They are clear and with good "diction", fast where appropriate but also slow and legato where melodic and flowing. Even in the most technically difficult sections Gould, in typical contrapunctal style, weaves the different voices in and out of the melody holding to his philosophy that "Every voice is important".
Probably the most disappointing of all the recordings on these 2 sets is the "Appassionata". Playing it through at practice speed does nothing for the passion, depth and beauty of this piece and only serves to exemplify Gould's hatred for it. (Typically, if Gould hated a piece, he would play it through either blindingly fast and without regard for dynamics or lethargically slow to heighten its inferiority and "boringness".
The "moonlight" seems a little fast, esp. the first movement, but it might be Gould's literal interpretation of 2/2 time. The 3rd movement is at breakneck speed that some people might like.
I actually prefer the romantic-style playing of R. Serkin, Brendel and Horowicz for this piece.
Listen to the 2nd movement of the #13 where the left and right hands are playing parallel arpeggios. In the 1st section the notes are played together but in the second section the hands are staggered by an 8th (the left hand plays the note 1/8th before the right). I have never heard a piano make that kind of ethereal echoing sound and, I suppose, it probably cannot be reproduced without the kind of fast detached playing that only Gould could do.
So, no one recording artist has the best performance of all the Beethoven sonatas. With Gould, you'll get excellent interpretations of some of the lesser known works and less adherence to the romantic style of the better known "named" sonatas.

17 of 18 people found the following review helpful:

5.0 out of 5 stars Gould Realizes Beethoven..., January 16, 2005

By 

Sébastien Melmoth (Hôtel d'Alsace, PARIS) - See all my reviews

This review is from: Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14 (Audio CD)

These are great recordings. Gould realizes Beethoven: he sees what's there, not merely playing the notes, but understanding the vision. He takes some movements very briskly; others, he expands to a heavenly length.

Frequently, these earlier works of Beethoven are marginalized by his later, greater works; still, these pieces are works of pure art, and Gould sees this and brings them to vivid life.

About the sound: these tracks were recorded over a 15-year period. Sony has done a wonderful job with its "Super Bit Mapping" techne; still, there are a few quirks embedded in the recordings which cannot be removed: specifically, a little "ticking" from Gould's Steinway on the '60s tracks. At that time, Gould was tinkering with his piano to achieve a certain feel to the keys--a kind of immediacy and tactile ease of stroke--by removing the bushings which padded the key mechanism. As a result, he got the feel he wanted, but was also stuck with "ticking" keys. This doesn't bother me, as the results speak for themselves: an aesthetic vision of unparalleled ecstasy. Nevertheless, the "ticks" are audible sometimes: it's part of the art and vision.

11 of 11 people found the following review helpful:

5.0 out of 5 stars Piano playing in its ultimate guise., January 3, 2002

By 

camstrings "cam" (south eng) - See all my reviews

This review is from: Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14 (Audio CD)

Gould & Beethoven..hmm, but it's simply superb in terms of control, interpretive originality & beauty of sound. Gould's mastery allows him an expressive range that leaves other pianists grounded: try the final movement of the Pathetique or the opening of op.14 no1. Either you'll view him as a showman or a genius. Be thankful he loved the recording studio!