Customer Reviews

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

5 star:		(6)
4 star:		(1)
3 star:		(1)
2 star:		(2)
1 star:		(1)

 

 

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.

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.

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!

Although these recordings may not seem so faithful to the composers wishes, Gould seems sincere in his interpretations of these pieces. Yes, there may be parts in these recordings which people familiar with the pieces disagree with. However, there are far more moments of sheer ingeniousness, brilliance, and one of a kind defiant inspiring playing. Even if people prefer more faithful recordings of these pieces, like pollini, these recordings are worth owning for those moments. The technical side of his performance is almost flawless- as always. The voicing in the music, the crescendos and decrescendos, and the general use of the pianos dynamic range are almost inhuman. Also he has possibly the best ability to play in tempo I've ever heard. These are some of the cleanest and most musical performances of Beethoven ever recorded.

Beethoven may not have approved of these interpretations, but can only admire the technical facility and perfection that Glenn Gould offers. Unconventional in his life and his musicianship, Glenn Gould plays these sonatas with stunning clarity and accuracy that can only be defined as pure genius!

This is one of the most interesting CD's I've ever listened to. Gould's playing is unique; sometimes he makes Beethoven sound almost as if he had lived in Bach's days.

I'd recommand that you compare Gould's first movement of the first sonata to that of any good "conventional" pianist (Goode, Kovacevich, Brendel, Kempff, Ashkenazy, to name a few; too bad Gilels died before he could record it). Some of you might find Gould's approach worthy indeed.

As pianist i must agree, his intrepitations are wierd but its something different, i have 6 or seven recordings of the sonatas. this is the most unquie, but not the best>

Beethoven's piano sonats are among my favorite pieces in the repertoire. I find Gould's way of playing them insulting. I am very fond of Gould's interpretations of Bach, but here, his odd style seems completely inappropriate. He takes ridiculous tempos and his dynamics are strange as well. Perhaps Gould fans may enjoy this, but I wouldn't wish this performance on any lover of Beethoven.

The two sides of the coin: As a musician, I've learnt that music is a thing such pressured water, it tends to say to our heart how should it sound, even if the interpreter does not deliver the right way, so, we can grasp the original music as it should be played. Beethoven's music is not the superficial music played here, without ANY heart. Where's the deepness of Beethoven ? Gould could reduced Beethoven's music to a mount of fast, precise cascades of notes, that's Glenn Gould's way, not as the music should sound, so, my advice, get this recording as a reference, if you already know the Sonatas played by other pianists, such as Alfred Brendel (he's a true Beethoven interpreter). This Gould here sound mechanic like a Standard Midi file made on computer. Does this man has heart at all ?

Gould's interpretations compliment the complaints I've read, about 'original intent' by introducing his own - one that has worked itself thru the entirety of Modernism and that seems to have maintained momentum, even past death...into OUR present. The digits march to our more open sense of time - space is a suspension, like in a Ran Blake cd - these are Beethoven Sonatas that Babbitt or Bartok could have composed at a minimalist cafe`.