Glenn Gould and Humphrey Burton on Beethoven - Part 2 (OFFICIAL)
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- čas přidán 21. 12. 2017
- Glenn Gould is interviewed by the famous television presenter Humphrey Burton and provides his thoughts on why Beethoven is so central to the Western musical experience. The Interview was originally broadcast on 22th March, 1966.
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Part 2 - Zábava
At 7:11 I thought "my god, he's turned Mozart into Bach." And then he stopped and admitted it. What a friggin' genius Gould was. The 60s were great not just for Beatles/Stones/Hendrix, but for GG and Lenny B. explaining the beauty of classical music to a popular audience. It's such a different time now, but youtube has the potential ensure this stuff lasts forever.
People were still encouraged to have authenticity and individuality. They weren’t homogenized into morons yet by the public school system. there are so many brilliant people in Gould’s generation. Not anymore. A bunch of conformists inhabit this world it seems.
this man is so fluent in piano literature and style, incredible how he can demonstrate different styles of a huge repertoire on a dime with no mistakes
it's seriously humbling to watch
I think his musical memory's like that of a chess grandmaster who can recall almost every position of every game.
Glenn Gould was, indeed, a genius.
I love this man if you don't like it....who cares?
The seclusion of passion and intellectual devotion. The rarity that every point is able to be exemplified immediately. His last point about a Beethoven harmonic inversion would escape many a scholar. But we know there is truism because of what we identify by and through Gould.
Mr. Gould said something very interesting here - he talks about always wanting to play music that has a contrapuntal quality, and when that doesn't exist in the writing, he'll try to add it in to the interpretation. Listen to his recording of Brahms' Intermezzo Op. 118 No. 2. During the chorale section (beginning at measure 57), he does exactly this. You can hear him bringing inside notes from the chordal texture out to the front. In a million years I would have never thought to do what he did here, and having now heard his interpretation, I can't imagine playing it any differently!
However I believe he was right but for the wrong reasons. The bassline on fortepianos are much clearer than modern pianos and with pedal over-use. What Glenn did was shift the balance through his own intuition, and in my opinion, doesn't really stem from any Bachian bias. There's a huge emphasis on counterpoint in most Romantic music but it's not well analyzed, which is why we still hear such muddy interactions between the left and right hand in Chopin, Brahms, Schumann, etc.
A great mind...!
Speaks in perfectly grammatical 500-word sentences
you beat me to this comment.
Daniel Bromberg If you can’t gobsmack them with grammar, baffle ‘em wit’ bullsh*t!
@@donmcgibbon6575 Do I detect the green-eyed monster in your comment?
Marilyn Crosbie The One Green Eye in the One-eyed Monster... or words to that effect... #GouldForever
@@donmcgibbon6575 Okay, if you actually do appreciate Gould, what was that about bullsh*t?
The King of weirdo. The King of real genius. Extremely intelligent. Very stimulating.
A truely extraordinary individual.
I learn so much as a beginning pianist from these videos
i kept my smile for all the duration of this 2 videos.
thank you glenn
I love Glenn Gould, and I love watching him and, in doing so, I think I have noticed something. At times when he speaks, he can be somewhat affected - like he is trying to impress, in the way that a clumsy (yet highly) intelligent person might in the course of a conversation - but then, at times, his expression subtly changes, and you can tell (I believe) that he is speaking from the heart; I've seen this happen in another video and I see it here at 4:14 until about 5:00. At such times, he becomes very human.
I completely understand what you mean! If you want to see a very human Glenn watch 'Glenn Gould's toronto' or the amazing 1959 documentary 'Off the record' they are very insightful, I find you'd enjoy them thoroughly!
*"There are Hollywood musicians. And then there's Me!"*
- Glenn Gould on Mozart Sonatas
thank you very much. Loved each minute of it
Me, too. I enjoy every single words Glenn said and every note played!
I find his interpretations of Mozart to be excellent. I find Mozart generally boring when interpreted in the conventional fashion. If the pleasure of music arises from the resolution of tension, the "apostropheed" interpretation of the theme of that Mozart piece is a phenomenal way to create unexpected tension and elevated tension at the start of the piece.
Great! At 12:00 Gould discusses Beethoven's use of mirror image.
I dig this guy
Glenn had composers blood in him. For sure.
Well, he did compose... But I don't like his compositions; most probably I don't get them... Search for them.
His string quartet composition is brilliant.
@@aimiliosspiliopoulos1091 I mean in his 'Off the record' he did say his style was very diffrent
He made some brilliant compositions with words: the Solitude Trilogy. Quiet in the Land is the third and final and best imo cuz Glenn has fun with Dolby while story-telling. Also radio Portraits of Casals and Stokowski he makes. His voice is pure music when he reads Three-Cornered World.
i learn more about english vocab than music when I watch glenn gould interviews lol
I think his tempos are closer to how Mozart would have played it, than others.
Glenn Gould said that in this age of super recordings, to be different performers must turn to gimmicks like changing the tempos or other aspects of a piece despite the clear markings of the composer, but I think he missed the point that many people go to concerts not just to hear the music, but also to be dazzled by the virtuosity of the performer. I think the composers instructions should be honored.
I agree completely.
Hi thanks for the video. I'm a great fan of GG in S.Korea, is it okay to upload videos with Korean subtitles? I hope more Koreans acknowledge GG.
A genius, no question about that...but a little bit crazy, for sure!
I love Mozart, but Gould's tempo choices for the KV 300i sonata works much better than Mozart's markings.
Important to note metronome was not used by Mozart, they just denote character. Mozart may very well approve of Gould's methods.
@@s.l5787 The metronome was not invented until late in Beethoven’s life, literally 50+ years after Mozart’s death.
@@Martill3 yes that is what I am saying
"It's a very arbitrary thing to do, but it works." "It's the only thing left for recording artists to do."
GENIUS or TROLL
Daniel Bromberg haha I think troll. The genius thing would be to create something new, and not repeat the same thinking as he alluded to, but to build from it and go further.
Rejects labels. He is himself, inimitable, as are all of us. But Music chooses Gould, then he embodies many forms and records those embodiments. He also creates a new type of biography in the ahead-of-its-time Solitude Trilogy. His radio interviews with Stokowski and Casals, among others, are ground-breaking. All pianists who come after Gould are inexorably After Gould.
Эх, кто бы перевёл на русский, цены бы ему не было. Но и за это спасибо.!!!
❤
3:26 - this tempo for this variation is exactly what Rachmaninoff does in his recording. I can't help to think that Gould got the idea of slowly increasing the tempo for every variation because of Rachmaninoff's recording.
This sounds like an actual conversation between two people. Gould's later interviews are as-if conversations between two people, largely controlled by him.
They were actually scripted beforehand by him, and I daresay there must have been prior discussion before this 'dialogue' was actually recorded. Gould was the ultimate 'recording' artist, as opposed to a 'live performance' artist, in other words, a control freak :)
@@madaboutvoice thanks for this insight. I didn't realize the miroring happening there. Thanks ;)
1:56
Gould wished he could play everything in baroque style.
9:38-10:06🔥
He should have been played in a biopic by Christian Slater.
...and he is very tidy too, cleaning his instrument all the time...
has anyone else talked about this apparent peculiarity in the recapitulation of op 109?
6:17
I shall get a lot of bad reviews but who cares.
‘‘...but, who cares’’, 😅 -!!! => 5:45
Nothing really... it’s just takes all the juice out of it
Then he goes on to say he adds "vitamins" to the music.... More like he got Mozart drunk and brought him to the after party.....
@@charlotterose6724 haha, then leaves Wolfie behind and Gould quickly progresses to Beethoven.
Gould loses me as soon as he starts playing Mozart here. I love Bach and Webern as much as the next guy, but that doesn't mean I want to hear their styles glued onto a Mozart score. Both of these interpretations (especially 6:50) sound more like attempts at musical comedy, like Weird Al Yankovic reworking pop songs as polkas, than anything serious.
I also can't stand his tendency to rewrite the tempo to a piece entirely, often too slow. His snail's-pace recording of Hindemith's Tuba Sonata is agonizing.
Gould didn't believe in reproducing a carbon copy of something that already exists. You see him pretty flexible with tempo choices, often changing his mind just after recording something. I find his Mozart marvelous. People have been brainwashed by these overly romantic grand piano interpretations. Gould brings a certain humor to Mozart, with far better clarity than anyone I've ever heard. HIs performance ironically may even sound closer to a standard fortepiano of Mozart's time.
What congenial comments, and funny, too.
They are discussing music as an art, not merely a form of entertainment that tries to please its audiences. Art is suppose to provoke and to make one ponder about presummed truth, so whether you like the way he plays or not is besides the point. You have to understand why he did what he did, because after all, he's the creator of his own music, regardless of how that music is created ( in this case, through the inspiration of Mozart and Bach and possible others). Just imagine painting a brick, you can paint a super precise brick that looks so unbelievably photo realistic, or you can paint the same brick by using your favorite color and texture and whatever that makes it uniquely your understanding of a brick, which is of more value? Some will pick the photographic-like brick, but not me, because I love art, not brick. Your craft should serve your voice, not the other way around.
Being a classical musician, I've heard so many great classical musicians play mozart, but to this day, very few's voice stays in my head. So in my mind, GG is one of those unique artists I could never forget and he is irreplaceable. I wish there are more unique artists in the wolrd of classical music today, but unfortunately that's just not the case.