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GG: Beethoven & Brahms
I thought that this posting, which I "borrowed" from the
Moderated Classical Music List, might interest the f-minor
list-members.
Phil Garon
------------------------------
Date: Thu, 28 Mar 1996 07:57:14 -0800
From: "Lindsey E. Orcutt" <psu01234@odin.cc.pdx.edu>
Subject: Re: Shermann's Beethoven
On Wed, 27 Mar 1996, Stirling Newberry wrote:
> to stamp his personality and moment to the utmost upon the
works. This is
> an unreserved recomendation for those who feel the same way
about music:
> that all that is old must be completely remade for the moment,
and indeed
> can only be so.
How odd...what do you say of Gould's performances of Beethoven's
sonatas? I am, as many of you know, a big Glenn Gould fan but
there are
only certain works of Beethoven where Gould's interpretation
pleases me.
The rest are, INHO, absolutely ridiculous.
What I mean is, he takes tempos ridiculously fast or slow,
depending on
his own feelings about the works and, in many cases, his
rendering of
pieces caused me at first to absolutely hate the works until I
heard more
convincing interpretations (Richard Goode, for one). (A good
example is
Beethoven's Oups 14 #2- the Emajor piano sonata).
But it seems to me that Gould's interpretations are good for
something-
much as Stirling's opinions above indicate: that there is a place
for a
"new" rendering of musical works, even if the renderings and
interpretations don't work for one person or the other.
I had a private discussion with a woman from Classm-L a while
back about
the differences between Gould's and Emanuel Ax's Brahms
Rhapsodies. She
thought Gould's performance of the opus 79 were absolutely
wonderful,
profound, enlightening. I'm not disparaging this at all but I
found
them, for me, to be heavy and thick in texture, not at all like
the Ax
recordings which had more movement and were less heavy. Perhaps
in cases
like these, it is all in the ear of the listener- the more
exposure we
have, the more finicky we become.
I, too, tire of the "standard" performances of the warhorses,
especially
the piano pieces that I hear all the time at school. If nothing
else, a
new, if odd, performance allows the listener to think and
hopefully to
feel and perhps make some decisions regarding his or her own
interpretation of the work. Even if we can't say exactly why we
like or
dislike something (and I would worry if we could say why, all the
time) I
would hope the performance would allow a new perspective.
Lindsey, feeling a little long-winded
psu01234@odin.cc.pdx.edu