Customer Reviews

Mozart: The Complete Piano Sonatas; Fantasias, K397 & K475

5 star:		(9)
4 star:		(8)
3 star:		(2)
2 star:		(3)
1 star:		(7)

 

 

The question in which I always ask the listeners who completely malign the Mozart recording of Glenn Gould is whether or not they've listened to these recordings thoroughly. Most listeners who I know dislike these recordings give up by the 2nd disk.

The Glenn Gould interpretation of Mozart is not in the usual Viennese style. He omits almost every repeat indicated by the composer, and he hardly uses the pedal for effect. He plays these works as if they were highly contrapuntal in nature (even though they're not). So its not the case, in which he plays the Mozart sonatas as if he was playing Bach, but more or less of a musician who wants to explore the melodic and rhythmic design of these works. With that said, most of the recordings do not work because the works themselves are not contrapuntal in nature.

Works such as the early sonatas suffer, since he omits the repeats and plays Allegro movements as Presto and Adagio movements as Allegro Prestissimo, hence making each of the sonatas last 8 minutes long. They seem more or less like the preludes of Bach. The popular sonatas such as the K332 "Turkish March" sonata, and the K333 B-flat major sonata are unlike any recording because Gould really forces the contrapuntal aspects of these works, when really there isn't enough depth to work with. One of the sonatas I love the most, the K310 a-minor sonata, is given a hatchet job treatment by Gould. The first movement Allegro is absolutely incomprehensible, and downright insane.

Yet, even though I'm rating these recordings so far as a negative review, there are several gems in this set. The two greatest of the gems are extraordinary.

The K284 "Durnitz" sonata, with the Theme and Variations movement, is one of the most joyous, humorous recordings I've ever heard. This recording has so many contrasting moments, and Glenn Gould brings out something extraordinary in this work... he makes the variations seem like they are melodic lines in which are trying to communicate with one another. I've recently tried to compare this recording with the versions by Uchida, Brendel, Haebler, and Barenboim and they all sound identical to each other. Glenn Gould's version is completely different, so the question of "who's right" often would be asked, but just listen to Gould's "Durnitz" sonata and see for yourself.

The K457 Sonata in c-minor is one of Mozart's darkest works, and Glenn Gould's version is downright heartbreaking. The Adagio is played with an unbearable intensity. I can still remember the first time listening to this recording and how intense the situation was. He plays it extremely slow and unlike the other works, he savors the repeats. Many listeners view the Brahms Intermezzi as Gould's most emotional output. I would rank the adagio movement of the c-minor sonata in that same category.

Careful listeners of piano music will find gems of their own in these recordings. It just requires an open mind.

I came across Glenn Gould's rendition of Mozart's Piano Sonatas from a friend of mine, and have been quite happy with it. This four-CD collection is both a shining example of Gould's ability to play piano, and also an excellent introduction to Mozart's piano sonatas.

It must, however, be taken into account that Gould puts his own spin on the sonatas. Rather than sticking precisely to Mozart's penned music, Gould adds his own quirks and habits to his playing. The result? No one really sits the fence. For many listeners, this is a superb, nouveau way to listen to Mozart's piano sonatas. For others, though, Gould is tampering with a masterpiece.

Personally, I find this to be one of Gould's strongest showings on the piano. He changes tempos in some songs, clearly interpreting Mozart's music as something of his own. I find these CDs to be an entertaining re-examination of Mozart's sonatas: They are not for everyone, but they are certainly worth a listen, if only to experience the artistry with which Gould plays.

If you are new to Gould, this is really the set that started me listening to him: I recommend it, as it shows his adeptness with piano, and his abilities to "interpret" other composer's music. If you are a seasoned Gould fan, then this collection undoubtedly deserves a place in your collection. If you are a Mozart fan...Chances are, you will either love this collection, or you will hate it: It is Gould at his finest, and in this state of expertise, he arguably alters Mozart's musical "intentions." Regardless, however, this set is capitivating and Gould is remarkably talanted.

As one who is more interested in the composer than the performer, I am always skeptical when I hear that a performer puts his own spin on a composition. Such was the case with Glenn Gould -- until I listened to this collection. It was a pleasant surprise to find that I liked Gould's interpretation of Mozart's sonatas. He deepens the pathos and remorse of the slow movements, and takes the energy of the fast movements to new heights. Somehow, Gould managed to "interpret" Mozart without imposing himself too much on the music. I can't really explain why, but this very conservative Mozart fan is well pleased with Gould's unique performance.

I'm hoping my title got your attention. Haha. I hate raw tomatoes and will not eat food that heavily uses raw tomatoes. I personally do not like the texture or the taste. However, this doesn't mean that a dish using raw tomatoes is "bad" or that the chef is a hack simply because I do not like it. Trashing Gould's mozart is like saying a chef or restaurant is incompetent because they had the gall to put raw tomatoes on a dish! It doesn't make sense to me. My point is, just because you do not like something doesn't make it bad or wrong. Trying to get someone who doesn't like Gould's approach to these pieces to like them would be like trying to get me to like raw tomatoes... It won't happen. If you'll like Gould's playing, you don't need me to "sell it". If you'll hate it, no amount of "selling it" on my part will change that...

That said, I would like to make a few comments that inform my opinions about these sonatas and music in general...

All worthwhile composers were about pushing the envelope and innovating. Some may not realize that Bach or Mozart were innovative because to our modern ear they seem so traditional, but they were. I don't think that we do their creations any good by pigeon-holing them into one "acceptable" approach to performance. This doesn't mean that anything goes, but I think every performance should be approached with an open mind. To say that Gould doesn't get Mozart (as some reviewers have) is humorous to me. Who decides what "getting mozart" means... There have been plenty of composers who I thought I "got" (based on many recordings I'd heard), then I'll stumble across a new version that blows my mind and completely changes what the piece can be for me. Once you've decided that you completely get something (as a listener or performer), you cut off all potential for growth.

Some people have said that Gould rushes through some of this. To me, rushing doesn't mean playing fast. It means playing too fast, to the point that you are incapable of expressing the music (both technically and artistically). Gould likes to play fast (although he does take some things slower that I would have expected), but his playing is always clear. The technique is clean, the lines are distinct and the voicing clear.

Basically, it's the oldest story in the book. Gould is a polarizing artist (as most good artists are). You'll either love him or you'll hate him, but anybody who knows anything about him already knows that right? So rather than declaring this recording to be the BEST or WORST, just listen to it and take them in. Even if you hate it, I think you'll be better off as a listener/player/whatever, for having entertained what Gould has to say.

For the past two years, I've been intrigued, listening to Gould playing the Mozart Sonatas for which many reviewers give him a bad rap. They say, he didn't like really like Mozart, thus his poor interpretation. Others, indicate that he plays the sonatas like he plays "Bach", implying a profoundly spiritual association. Personally, I don't agree with the latter, and I doubt if anything, can be that simple for Gould, his approach to interpretation of music, or even Mozart.

For me, Clara Haskil remains the most brilliant and best interpreters of the Mozart concertos and sonatas. She produces an ethereal, asethetic beauty in her performances that is rarely heard among others.

Yet, there is something about what Gould is able to do with the Mozart sonatas, that is also quite unique: For me, it is his ability to play the sonatas with a delightful sense of "loving intimacy", that others, disregard. In fact, when Gould plays he gives me the sense that he could easily be sitting on his mother's lap as a child, experiencing the charm and beauty of Mozart for the first time.

Sounds like a psychobabble comment from a Gould fan, right? (Ha, ha) Enjoy the album, the journey and the liner notes with Gould talking to Mozart.

Mozart's piano sonatas are some of the best-known of his works, and among the most popular of all keyboard works. Despite this, anyone listening to Gould's interpretation will wonder whether he is playing from the same score. Some of the tempos he chooses - in the middle movement of K.545 for example - are so innovative that the music at its most fundamental is wholly subverted. Also, he drags out the Alberti basses to such an extent in some movements that hidden voices emerge unexpectedly where previously there had only been simple chopped chords. The first movement of the famous sonata K.331 is in Gould's interpretation one of the most thought-provoking of all classical recordings. Gould's technical brilliance is nowhere more obvious than on this release, yet his musical intelligence is even more potently showcased here. An absolute must for any piano, Mozart or Gould lover.

The best 17th century Mozart around. Gould was not shy about his disdain for everthing between Bach (or Haydn) and Wagner. This is Mozart as if Bach decided to rework it. Strange, but intriguing. If you like Gould, you'll love this.

I cannot complain about Gould's mastery of the piano, but ahh, his humming trademark. I find somewhat annoying that this recording exposes him so clearly humming along, sometimes almost to the point of singing, well maybe even tapping his foot, sighing and groaning.

Some might complain about the fast tempi, his disliking of Mozart or other issues...personally, I truly enjoy Gould's Sonatas, however, do keep in mind that his always-present humming-along eccentric mannerisms are very obvious in this recording and can be somewhat irritating to the audiophile-inclined, especially if you're listening with very revealing headphones or even some speakers...

Anyone who is a fan of Gould knows his personal opinion of the Mozart sonatas. Listening to this interpretation of Mozart is about as entertaining as being in a room full of typewriters and screaming infants--both monotonous and completely irritating at the same time. If you're new to Gould go to his interpretation of Bach's Well Tempered Clavier or the English suites...if you want definitive recordings of the Mozart sonatas try Brendel, Eschenbach or Uchida. There is no denying Gould's genius...it just not found in this recording.

Hearing these discs again reminded me how very hit or miss Gould is as an interpreter of works of a non-baroque type. Since Gould had one of the greatest techniques of any 20th century pianist and could play with beautiful color when he wanted (the Brahms Intermezzi for example) his choice to hack down Mozart with some of his most vandalistic pianism is rather dissapointing. There are indeed some fine moments, but overall the playing does not tell us anything remarkable about Mozart, the piano or Glenn Gould. I would agree with those who believe that the sonatas do not represent Mozart at his compositional best, but in the hands of Artur Schnabel or Horowitz they at least get a chance to have their say. Gould seems determined to reveal the perceived weaknesses of the works by bringing out the uninteresting accompaniments and using tempi which show the sonatas to disadvantage. And with regard to some of the unmusical sprints through Allegro movements, I wonder why he didn't just play some Etudes by the equally despised Chopin instead, so fixated does he seem with digital dexterity. So, if you a Gould fan (as I am) steer well clear of this release. If you want to hear Gould play Mozart, I would go for the C minor concerto, for here he demonstates a passion and commitment to the music notably lacking in the sonatas.