COLUMBIA X TOWER RECORDS/The Valued Collection
Friedrich Gulda - Beethoven: piano Concerto No.5 Or", Piano Sonatas No.27 & "Mo - Japan 2 CD Limited Edition
Friedrich Gulda - Beethoven: piano Concerto No.5 Or", Piano Sonatas No.27 & "Mo - Japan 2 CD Limited Edition
CD
Classical Music
Symphony
September 12, 2014
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: TWCO-76
JAN/ISBN: 4988001763550
Number of Discs: 2
Country/Region of Manufacture: Japan
Credits:
Friedrich Gulda
Description:
○Beethoven: A Masterful Portrayal of Guld’s Two Faces—Both Heir to and Destroyer of Vienna’s Beautiful Traditions Guld (1930–2000), the renowned pianist from Vienna, was a successor to the Viennese performance tradition—specializing in the works of Mozart, Beethoven, and Schubert—and yet, as evidenced by his deep fascination with jazz, which he encountered during his 1950s concert tour of the United States, he was also a disruptor of that tradition. He stopped wearing a tuxedo at concerts and often presented programs featuring classical music in the first half and jazz in the second. In this concert hall recording from the early 1960s, the side of him as a heir to tradition is strongly evident, yet it is also a fascinating performance in which one can glimpse Gulda’s desire to break away from that tradition. His polished touch, supple phrasing, light rhythm, and emotional expression through exquisite tempo rubato in Piano Concerto No. 5, “The Emperor,” feel like a model answer to a tradition not written in the score. On the other hand, the final movement—with its stamping feet and boundless elation—can be said to embody Guld’s very attempt to break with tradition. Swarovski, renowned as the teacher of Abbado and Jansons, delivers a magnificent performance as conductor, infusing every note with profound meaning and a clear sense of structure. Now, regarding the piano sonata collection. In the first movement of the “Moonlight” Sonata, uneven and subtle rubato creates an improvisational “pause,” lending the piece a profound depth. And in the “Pathétique” and “Appassionata,” the recording clearly captures Guld’s intense, exalted state—so much so that he cannot help but let out a cry. This performance, in which tradition, improvisation, and dissonance clash and roar, can be said to be the very expression of Guld’s innermost feelings.
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