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RE: [F_minor] Beethoven's Moonlight Sonata
Yes, indeed - case in point, GG playing Beethoven's Bagatelles is stunning - my absolute favorites among all of GG's Beethoven. There was a real sense of humor coming through.
Christiane Reinhold, Ph.D., PMP
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BearingPoint
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-----Original Message-----
From: Houpt, Fred [mailto:fred.houpt@rbc.com]
Sent: Friday, June 20, 2008 1:31 PM
To: paul wiener; Reinhold, Christiane; Matthew Harding
Cc: f_minor@email.rutgers.edu
Subject: RE: [F_minor] Beethoven's Moonlight Sonata
On the other hand no one has played Beethoven's small scale pieces with as much gentleness and loving attention to the inner worlds than him. Go figure.
Fred
-----Original Message-----
From: paul wiener [mailto:pwiener@ms.cc.sunysb.edu]
Sent: Friday, June 20, 2008 2:24 PM
To: Reinhold, Christiane; Matthew Harding; Houpt, Fred
Cc: f_minor@email.rutgers.edu
Subject: RE: [F_minor] Beethoven's Moonlight Sonata
Gould was someone who didn't like to be touched. As the Moonlight is a piece that has always "touched" many poeple it makes sense that Gould could enjoy it the only way he could - by playing past its emotion.
I think he - like most hyper-musical people - didn't really need to believe that a piece of music should sound one way, as long as he (and
we) could hear beyond the performance (even if it
was his own). His Bach seems "perfect" mostly
because Bach's is the kind of music that sounds perfectable.
Having said that, I can't stand most of Gould's Beethoven or Mozart, but it doesn't mean I don't love Gould. I don't like much of the music my son likes, but I'm able to listen to it with his ears - for a while.
At 02:13 PM 6/20/2008, Reinhold, Christiane wrote:
>Agreed (marching to the beat of ones own drum when it comes to musical
>interpretations), but somewhere I read that in fact Glenn believed the
>Moonlight Sonata to be one of Beethoven's strongest Sonatas; compared
>to, say the Appassionata and assorted other B. Sonatas, he was in fact
>quite fond of it; that says something as he otherwise had a somewhat
>dysfunctional relationship with Beethoven.
>
>Cheers,
>C.
>
>Christiane Reinhold, Ph.D., PMP
>Manager, Public Services
>
>BearingPoint
>Management & Technology Consultants
>
>301 Congress Avenue, Suite 1500
>Austin, TX 78701
>USA
>
>T + 1 512 542 5351
>C + 1 512 680 7537
>F + 1 512 382 3386
>
>www.bearingpoint.com
>
>-----Original Message-----
>From: f_minor-bounces@email.rutgers.edu
>[mailto:f_minor-bounces@email.rutgers.edu] On Behalf Of Matthew Harding
>Sent: Friday, June 20, 2008 1:09 PM
>To: Houpt, Fred
>Cc: f_minor@email.rutgers.edu
>Subject: Re: [F_minor] Beethoven's Moonlight Sonata
>
>Sometimes Fred, you've got to march to the beat of your own drum... or
>in this case, drive to the sound of your own music :-).
>
>(I'm picturing Glenn driving his black Lincoln Continental "Longfellow"
>and being pulled over by the traffic cops...!).
>
>For someone who has listened to approximately 150 Moonlights, (and even
>attempted to bash it out myself when I was younger), Glenn's
>interpretation (and that's what it is) makes me think of someone who
>knew the piece so organically and completely, that he could play it 10
>times faster, or 100 times slower, depending on how he was feeling.
>It's not the tempo that should persuade, it's the overall piece that
>should shine through. Glenn's interpretation, no matter how unorthodox,
>still "works" for me... it is Beethoven and Gould shining in a light
>not often seen.
>
>BTW, he loved Beethoven, but didn't necessarily find this piece to be
>his favourite. Even so, I still find his interpretation tells me
>something.
>
>(Flame-proof suit zipped up... :-).
>
>Best regards,
>Matthew
>
>
>
>On 20-Jun-08, at 1:44 PM, Houpt, Fred wrote:
>
> > Last night I listened to Glenn play the Moonlight. On two occasions
> > he had to be pulled over by the traffic cops for speeding in a zone
> > rated for moderation. On the third occasion he jumped to Warp
> > Factor 3 and the radar guys just scratched their heads.
> >
> > Honestly folks, Glenn just obliterated any sense of wonder and
> > mystery in this piece and I have no idea what he was thinking. He
> > just assassinated the inner calm and grace that lies in the first
> > two movements. He opted in the first movement to display a moonlit
> > lake that was in a hurry to get it over with and go back to sleep.
> > The second movement was like a horse on a steady loping fast-walk
> > through the marshes. The third movement defies all description. It
> > was like he was in a Mozart-kill-this-music mood and he just ripped
> > through it faster than a human should try to.
> >
> > Is it just me or did he destroy this piece? I know he loved
> > Beethoven and so I am mystified by his playing.
> >
> > Comments?
> >
> > Regards,
> >
> > Fred Houpt
> > Toronto
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