Friedrich Gulda: Mozart - Fantasia in D minor, KV 397 (Münchner Klaviersommer 1990)
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- čas přidán 12. 09. 2024
- Live recording from the Münchner Klaviersommer 1990
From the Philharmonie am Gasteig
W.A. Mozart - Fantasia in D minor, KV 397
Watch the whole concert: goo.gl/BNVB17
Friedrich Gulda (16 May 1930 - 27 January 2000) was an Austrian pianist and composer who worked in both the classical and jazz fields.
Born in Vienna as the son of a teacher, Gulda began learning to play the piano from Felix Pazofsky at the Wiener Volkskonservatorium, aged 7. In 1942, he entered the Vienna Music Academy, where he studied piano and musical theory under Bruno Seidlhofer and Joseph Marx.
He won first prize at the Geneva International Music Competition in 1946. Initially, the jury preferred the Belgian pianist Lode Backx, but when the final vote was taken, Gulda was the winner. One of the jurors, Eileen Joyce, who favoured Backx, stormed out and claimed the other jurors were unfairly influenced by Gulda's supporters. Gulda began to play concerts worldwide. He made his Carnegie Hall debut in 1950. Together with Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the "Viennese troika".
Although most famous for his Mozart and Beethoven interpretations, Gulda also performed the music of J. S. Bach (often on clavichord), Schubert, Chopin, Schumann, Debussy and Ravel. His recordings of Bach's Well Tempered Clavier are well regarded by collectors. Apart from the Well Tempered Clavier, Gulda performed very few other pieces by Bach and recorded even fewer. Gulda's later reliance on co-operating with companies whose recording techniques were primitive in comparison to those espoused by more sophisticated rivals stood him in very poor stead with regard to posterity. The rescued Mozart sonata tapes issued on DG are unbelievably bad in terms of recorded technical quality; likewise the Debussy Preludes and Bach recordings of the late 60s and early 70s.
From the 1950s on Gulda cultivated an interest in jazz, writing several songs and instrumental pieces, and at times combining jazz and classical music in his concerts. In 1956, he performed at Birdland in New York City and at the Newport Jazz Festival. He organized the International Competition for Modern Jazz in 1966, and he established the International Musikforum, a school for students who wanted to learn improvisation, in Ossiach, Austria, in 1968. He once said: "There can be no guarantee that I will become a great jazz musician, but at least I shall know that I am doing the right thing. I don't want to fall into the routine of the modern concert pianist's life, nor do I want to ride the cheap triumphs of the Baroque bandwagon."
In jazz, he found "the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught." He also took up playing the baritone saxophone.
Phillips Records included Gulda in its Great Pianists of the 20th Century CD box set, which came out in 1999. His piano students included Martha Argerich, who called Gulda "my most important influence," and the conductor Claudio Abbado.
He expressed a wish to die on the birthday of Mozart, the composer he most adored, and did so. He died of heart failure at the age of 69 on 27 January 2000 at his home in Weissenbach, Austria. Gulda is buried in the cemetery of Steinbach am Attersee, Austria. He was married twice, first to Paola Loew and then to Yuko Wakiyama. Two of his three sons, Paul and Rico Gulda, one from each of his marriages, are accomplished pianists.
en.wikipedia.or...
Lots of salt and pepper in this interpretation. Thank you Mr. F. Gulda for playing Mozart in such a wonderful way.
Loved it. Full of life. Who cares about tempo, it is just a number in a score. What matters it's what you do with the music, make it art in your own personal and individual human way. My favorite interpretation, thank you Gulda.
This "faster" version (which is completely possible by the notation) inherits much more tension (to my ears) than the slower versions.
The tempo is very important ! But I anderstand What you mean ❤
Tempo ： 一首曲子的速度可以快可以慢，隨著當天當下的心情而定。音樂不是定格的藝術，它不會是一成不變的。它不像照片。
This is wonderful. A deliberate choice of pace, fantastic control throughout and a bit of jazz sprinkled in.
The first time that I heard this music and in the hands of Gulda was 10 years ago, I was a teen, and it provoked me a lot of deep feelings, I am happy that still today I can understand as well those feelings
Love
Yes, I forgot to mention that Mr, Goulda does not pay attention that the name of the composition is "Fantasia'. Again, listen to Utchida and compare.
But you pay attention to the names of the two pianists?
It seems you are the only one leaves sensible comments. I wonder if he have ever used the metronome to practice before the performance.
The Fantasia runs to just over 100 measures, in a single multi-tempo movement marked Andante - Adagio - Presto - Tempo primo - Presto - Tempo primo - Allegretto, and a full performance takes approximately five minutes.
What a unique performance without faithful interpretation of the piece?! Also the performance is incomplete!
A fresh and insightful performance. Gulda actually observes the notation of the score: Andante, alla breve (i.e., half-note pulse) in D Minor--exactly the same notation as the Overture to Don Giovanni. Like the overture, it should be turbulent and foreboding, not a meditation on arpeggios.
Sonata secrets has a video explaining the tempo could be interpreted as 2/4 in some publications which would explain the tempo here. I love both tempi equally and consider them different works.
Brilliant.
Best version I’ve ever heard...
I love this version. Best I've heard.
Bravo! Short but Marvelous !
Different from other interpretations, a unique one with a bit touch of jazz.
Превосходно, хотя и несколько театрально: прекрасная музыка и завораживающие волосатые лапы.
Технично и...всё
@@user-IOLGA В том числе и технично. Я не хотела сказать, что это абсолютный шедевр, но очень хорошо. При засилье на ютубе массы исполнителей ниже всякой критики это уже много.
Love Gulda & Mozart! I just uploaded this piece too :)
Perfect. I feel Mozart could have played the same way.
Magnífico Maestro!
DEP 🌹
He was improvising a lot! He played a lot of jazz too!
在Gulda 先生的演奏裡，我聽到的是活在當下的一個人在傳遞訊息。結合自己個人的思考才是正確的詮釋。莫札特應該會喜歡這個版本的演出
I feel the same.
Super tempo
estranho pareceu inconstante, muito rapido em algumas partes e lento em outros, vivaz e enérgico , insensível, se é pior ou melhor é subjetivo, para mim a interpretação é uma comunicação do seu interior, era o que ele estava sentindo no no momento, por isso é muito válido, se todas as peças fossem interpretadas do mesmo jeito que mundo enfadonho seria....
l play this song too.
Song?
@@lukasantos6991 Piece
Real Mozart!❤❤❤❤❤👏👏👏👏👏
Interprétation sensible, raffinée, structurée, un sommet...
Renaud JULES Deschênes
Please listen to Mao Fujita's recent rendition - THAT is Mozart.
Bin wirklich kein 🎹Kenner: Aber Guldas‘ Mozart einfach großartig ! Ja, genial!👍👏🌿
Formalmente dulce.
Incroyable
1:28 it‘s dada Di da dam 2:22 same here
Рояль звучит очень клавесинно.
This tempo is perfect. 👌🏾
Live Alive With A. B. Martin The tempo is perfect .....FOR YOU
bit heavy handed and tempo too fast for me.
For me too
Exactly what I feel. But at the same time is really nice to see different interpretations, this one is punchier, rock style, yet the key ingredients of tension and resolution are there, sharper yes! But valid anyway. Still, I’d choose other players to listen, but this one represents also something else, and makes a mission to democratize this to other segments of population
He put andante, adagio into presto!
I think so too...
Play it in 5 minutest ? No not this piece.
It's not that hard, I was able to play the whole piece in probably under 5 days
@@cheemes4536 this is not suppose to be played as fast that it will take 5 min to play
@@bramboraail Vous avez raison, c'est du sabotage !
Marie G. Cˋest vrai, mais il kind of pulls it off, nˋest pas? Avec beaucoup de sentiment
There goes Mozart, foreseeing his end once again. 😂
❣
someone said they hate this song.
Сердечно и логично! Мне кажется, Моцарту понравилось бы)
a bit too fast and the finger positions he used on the diminished seventh runs didn't make them smooth. however it had plenty of life and some parts were very good
Why he so iced out tho
Poor Mozart... Slaughtered😢
Можно и так только добавлять к этому великому произведению лучше не надо
凄いなぁ、グルダさんヾ(o´∀｀o)ﾉ
Gulda, einer der gekrönten Klassik-Pianisten, nimmt hier auch nicht die richtigen Tempi. Drischt das schöne Stück zum Ende runter, als wäre es eine Last. Schade. Es fehlt immer im 2. Teil die Frische als Eleganz. Es wird immer zu schnell (schnelles Spiel bedeutet nicht unbedingt Frische!) gespielt, es sollte zum düsteren 1. Teil erhellend wirken, den positiven Teil der Stimmung ausdrücken und nicht weglaufen !
I play this song too
EU ME LEMBRO! VOCÊ TINHA 5 ANINHOS. QUE BELEZINHA DE MÃOZINHAS TÃO PEQUENINAS PARA UM TECLADO TÃO GRANDE!
tempo far too fast
GÉPZENÉSZ ELŐADÁS (Hungarian)
I like people calling this composition "a song". As four Goulda playing I don't like it all. Please listen to M. Utchida.
Nah not my kinda tempos feels wrong all The way
Имеет право на такую интерпретацию. Но....
Сравните.
czcams.com/video/Kvk-X5TrCDw/video.html
Рядом не лежало.Гилельс гений,а Гульда-тапер. ИМХО
Гилельс каждую ноту прочувствовал и прожил. В начале очевидная тема пробуждения, Гилель это очень тонко исполнил. Как можно здесь пробегать "галопом "? Стоит ли сравнивать гения и ремесленника.
@@user-sk5dw7ix3c Не так мало пианистов, которые играют вступления (Анданте) именно в таком ускоренном темпе (Робер Казадезюс). Тогда спрятанная в этих арпеджио мелодия звучит очень рельефно! Другое дело, когда смотришь ноты. А в них, как в Анданте, так и в Ададжио, длительность передана одними и теми же нотами! Это значит, что при всех колебаниях темпа, Анданте не должно быть в два раза быстрее Ададжио. Разгадка, наверно, такова: эта пьеса написана, в духе домашнего музицирования в18 в., не только для слуха, но и для глаз. Глаза читают быстрее, пальцы играют медленней. И каждый орган получает своё удовольствие!
il tempo è perfetto! trifonov è di una epoca "altra". non si può confrontare con Guida.
Please compare with Trifonov interpretation !
Compared…. And almost fell asleep! In my opinion Trifonov should play sentimental romantics, not classics.
So much for andante and adagio Not enough contrast between the sections
Max REY kinda
😬
Totalmente anárquico en los tiempos y falto de expresividad.
Pois, pois, estou a espera da tua versão...
Too too too fast
Уже неважно, как пианист играет, лишь бы не пел. Если сыграл и не спел - уже хорошо. Ведь пение можно потом послушать, отдельно. Только вот они потом не поют, торопятся сразу и сыграть и спеть. Боятся, наверное, что народ расходиться начнёт, когда они запоют.
Гульд хорошо пел, вдохновенно, теперь Гульда поёт. Есть тут какая-то схожесть, не находите?
Может попросить их сначала спеть, а потом, когда выпоются до конца, пусть играют, но молча уже. Мы как раз к этому второму отделению можем придти. Хотя они при пустом зале петь не будут. Будут нас ждать, а уж тогда и споют и сыграют.
Им ведь плевать, что мы хотим отдельно котлеты и мухи.
Spielt heute mal der Hausmeister? Wer läßt den an das Klavier?
To me way to fast
questa volta Gulda non mi entusiasma
Gulda und die Fantasie in d-Moll? Nein! - das passt nicht zusammen!
❣