Word: goulding
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...unusualness of these recordings, which span from Gould's early career (1960) to one month before he died (1982), does not mean that they're not fascinating, and sometimes even beautiful. It does mean, however, that this set is worth buying only if you either love Gould's playing, or want to listen to little-known piano music of Sibelius and Strauss...
...whole record is devoted to Brahms' music, which makes him the most-represented composer in the set: 10 Intermezzi and the Rhapsody in B-minor, Op. 79. The Intermezzi (recorded in 1960) are certainly interesting to listen to, for Gould does some unusual things bringing out the pieces' many inner voices (in the famous B-flat minor, Op. 117, for example). He captures the autumnal quality of these short, profoundly simple pieces. Unfortunately, though, his overly ponderous tempos sometimes lack for dynamic and rhythmic drive. The filler on the disk, the tulmultuous Rhapsody (recorded in 1982), was surely the highlight...
Grieg's E-minor sonata is the set's only other piece in the standard repertoire. (In his liner notes reprinted from the original 1973 release Gould, with typical humor, claims that his rendition of the sonata should be considered as definitive because his maternal grandmother was Grieg's cousin.) The same can be said of Gould's performance of the Grieg sonata as of the Brahms' Intermezzi: he emphasizes inner (detractors would say "extraneous") voices, and takes unusually slow tempos. Still, taken on its own terms, the sonata is musically coherent and surprisingly lyrical, especially the Andante Molto second...
minor sonata, Op. 5 (written when the composer was a mere 16 years old), recorded in 1982, Gould's incredibly clear playing is matched with appropriately fast tempos in the outer movements, and with a beautiful, singing melody line in the Adagio cantabile...
...Gould's Wagner transcriptions (recorded in 1973), taken from the operas Die Meistersinger and Gotterdammerung, make for fun listening. Gould has added lots of counterpoint to the original orchestral score (in order to play all voices in the Meistersinger Prelude, Gould had to dub one take over another). In Gould's able hands Sibelius's sonatinas (recorded in 1976-7), short, sparsely-written works, receive as good a performance as they are likely ever to have on records...