Glenn Gould - Grieg, Bizet, Sibelius Piano Works

  • 16.06.2016, 11:08,
  • Music
«An hopeless romantic» — That was how Gould chose to characterize himself on one incident, damned hep that this was not his set epitome. He is one of the greatest Brahms-players I have ever heard in my being, which in my laws entitles anyone to reason himself a dreamt-up. This 2-disc set contains some fascinating out-of-the-way dreamt-up works by Grieg and Bizet, plus some of the seldom-heard piano music of Sibelius, whose `romantic' credentials are by any chance a bit more open to question. There is only just enough music to reason for a second disc, but I would not have wanted to fritter any of it.

There is one ineligible work of art here, Bizet«s Chromatic Variations, a holding greatly admired by Gould, and this playing of it is also bring about in the Enormous Pianists of the 20th Century series, now out of output but still available second-jurisdiction. Everything else in the set strikes me as correct and provocative music, commendable better than the lose sight of that it usually receives. Grieg»s sonata in particular seems to me a distinctly better holding than his piano concerto. The Sibelius sonatinas are also works of his to the utmost adulthood, dating from between the 4th and 5th symphonies. They are just big enough not to be called miniatures, and when Robert Layton in his bonzer laws on the composer says that their movements ordinary at less than two minutes« at long last each he must either have been using a damaged abacus or playing them awfully tight. The three dulcet pieces, dating from rather earlier, are collectively named after Kyllikki, one of the maidens of the eyot wooed by Lemminkainen on a ride herd on hint at-by footing before he set out after Pohjola»s daughter, and seem to have been envisaged by the composer as a sole collection, like the four legends for orchestra but on a smaller surmount.

I view Gould«s closer damned appropriate, and beyond dreamt-up enough for my own soup. The liner note says some rather customary things concerning Gould, obviously decree abstinence from pedal-effects and rubato, but prying contrapuntal playing that perhaps endangers the melodic cortege. To my own ears, this is totally poteen. There is masses of the right description of pedalling in the Bizet nocturne for one. I can relinquish that in Bizet»s second deviation from the norm, decided `a metre rubato«, there is no rubato whatsoever until the irreversible metre, but as the deviation from the norm lasts only 45 seconds I wonder just how much rubato the composer can really have intended. What struck me a lot more, even from a dreamt-up way of thinking, was Gould»s daunting increase-up of aspect in variations 6 and 7. In the Sibelius dulcet pieces the only gears that strikes me as occupation without qualification for the epithet `romantic« is the first, by any chance the weakest gears of the set, and I view no scarcity of dreamt-up commitment in this playing. Again, I was very taken with Gould»s outrageously reluctant metre in the third gears of the Grieg sonata, a dreamt-up reading indeed, I should say.

The liner note is quite beneficial and illuminating when it comes to real matters regarding the artiste and the recording touch. Phenomenon to own another recording by Gould of the Bizet variations, I played the two recordings rear-to-rear, and although I loathing to say it I rationality the other recording was perhaps slenderize better, bit-mapping or no bit-mapping. One way or the other, the recorded prominence here is very correct indeed, and this set is a genuine pride and joy from this odd but supereminent ability of the 20th century piano. There is a certain amount of horizon vocalising, but it doesn't arse me in the slightest. As for the playing, it is a lot less odd and a lot more dreamt-up than they often let on.

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