RE: [F_minor] Beethoven's Moonlight Sonata

["Houpt, Fred" <fred.houpt@rbc.com>]

Hi Matthew.  That is exactly my point.  All performers march to their own beats.  That's why we have diversity of opinions and we should be happy for that.  I mean, if Jerry Lee Lewis wants one day to put out a Beethoven album, well you know, that would be one very interesting listen, eh? Would it be worth burning at first hearing?  Um, well you know, the "killer" would be very entertaining, but a mainstream interpretation, no. Can you imagine the late and great Oscar Peterson playing the Moonlight? I can but I do not know where he would go with the tempos.  

I agree that Glenn had such a mastery of his technique that he could play any B piece at any speed.  Which leaves us wondering all the more what he is trying to say in this piece?  Glenn had a very finely tuned philosophical mind.  He could not have chopped up this piece into such distorted speeds without having thought it through. If he is on record (pardon the pun here) of having said that the Moonlight was a favorite, then I am all the more confused.  I do not understand him here. 

Others like Murray Perahia and Angela Hewitt and many other young talents play beautiful B sonatas.  Lots of good modern performances; lots of poetry going on.  Glenn's work here, if poetic, sounds more like Charles Bukowski than Shelly.  

Fred






-----Original Message-----
From: Matthew Harding [mailto:matthew.harding@ktlgroup.ca] 
Sent: Friday, June 20, 2008 2:09 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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