[f_minor] Beethoven

Anita Monroe rubatoatm at gmail.com
Tue Oct 2 10:43:05 MDT 2012

Hi Fred,  I am crazy about Sonata 17.  It was also the favorite of Yehuda
Guttman, my teacher.  It is just so cheerful and uplifting.  When Yehuda
was learning that piece, I was the page turner at a concert.  I learned it
also by osmosis.  What a delightful time was had by the audience and the
page turner.

Anita (-:

On Mon, Oct 1, 2012 at 6:52 PM, f h <boyboy_8 at yahoo.com> wrote:

> http://www.youtube.com/watch?v=GbhBnpMx8-M
> On the recent CBC radio Sunday program that Michael Enright did with
> Robert Harris, Harris mentioned a CBC recording (many years ago) of GG
> playing Beethoven's Tempest piano sonata (#17).  I do believe that the one
> I've posted here is part 1 of this sonata.   As Harris explained, GG often
> ignored the composer tempo and dynamic markings were in search of what "the
> music" was asking for.  This was a curious but I think accurate insight
> into GG's mind.  When I hear GG doing this Tempest, there are several
> things to look for.  Notice that he is conducting all the time, breathing
> with the music as if it was a symphony.   In his lectures, famous Beethoven
> specialist Andras Schiff often explains that Beethoven was first and
> foremost a symphonist and his sonatas reflect symphonic architecture
> reduced to two hands.  This is also correct and in GG's performance he is
> approaching the sonata as if it was a symphony.  Notice as well how he
> handles the motifs that sound like a soloist singing a single musical
> line.  Gould takes extra time to allow the notes of the motif to rise up in
> melancholy, expressing such depth of Beethoven emotion.  The entire
> movement, for me, is extraordinary and I cannot remember hearing it done
> with more pathos and introspection.  Incredible.....and totally unique
> interpretation.  But again, Gould has sought to make the music sound fresh
> and all the while respecting the meaning that the music has within itself.
> regards,
> Fred Houpt
> Toronto
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