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- เผยแพร่เมื่อ 16 ก.ค. 2015
- In a live recording from the Amerikahaus, Munich, in 1981 Gulda reveals the versatility of his keyboard playing. On the clavichord he plays three preludes and fugues from Bach's Well-Tempered Clavier; on the piano, his own re-working of Schubert's Der Wanderer, ending with Debussy's Reflects dans l'eau and a selection of his own compositions (Exercise No. 9, For Paul, Prelude and Fugue, For Rico).
Friedrich Gulda - For Rico (Für Rico)
Watch the full concert: • Friedrich Gulda: J.S. ...
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.
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I met the man - he presented me with an award in Vienna.... Love this!!
he utilized the bebüng (vibrato) brilliantly. He made the plucky sound of the clavichord sound like a guitar, like the music of the 70s, especially with his crispy articulation. It's a blend of baroque and Casiopea. The guitar riff was cleverly imitated using vibrato and his articulate strokes, especially with the free improvisations and FUNKy and blue chords, which echo not only jazz but also the antiquated improvisations of the Baroque era. During the solo part, he made the improvisation sound like it was from an ELECTRIC GUITAR, through his remarkable stops and his pitch bending, which feels surprising like a guitar. Integrating the baroque COUNTERPOINT but also the modern jazzy LICKS, incorporated into the same tune. The blue/quasi-rock melody is immaculately tasty as if his BRILLIANT CHOPS are edible.
The combination of the various well-timed and marked "plucks" made this feel like a string instrument similar to that of a guitar or banjo. He exploited the potential of the inner mechanism of this "outdated" clavichord perfectly, connecting its music to the modern world as if he made a bridge that links Händel and Pat Methene. Instead of treating classical music as something only [quasi-intellectuals] seem to enjoy, he made it alive. That CRUNCHY note at 1:35 and the lick at 2:06 is so indelibly EARGASMIC that I can crank back and listen to it a hundred times. This music is an utter masterpiece, he made this Mediaval-sounding instrument a tool that seems to connect with the audience. He got a standing ovation from me!!
He was probably in fact the greatest pianist, who, although he doesn't appeal to many audiences as many first-rate pianists today, still left a resounding legacy. He was tired of the classical community staying "lowkey" instead of edging near their potential. Music was supposed to be interactive and danceable, however, these old, oily "intellectuals" constrained the mainstream classical community into a box that can never be touched, with its only purpose sitting here to gather dust, I believe Gulda's witty use of this instrument is absolute GENIUS, to the least degree. Classical music is for people to interact with. I'm so glad had the honor of studying with him.
Friedrich Gulda ist einmalig, ein fröhlicher Musikant zur Gemütsergötzung, tiefsinnig und humorvoll.
No wonder his students were geniuses like Martha Argerich and Claudio Abaddo.
Superb composition. My new favourite.🙏🏻🙏🏻🙏🏻
Yes!!
Thought all circles......
Gulda was a genius!
Gulda inarrivabile
A much overused word.
I agree a total genius.
Stunning!
This is so great. What fingers!
Awesome ❤️❤️❤️❤️✨✨✨✨
リコさんへのお父さんの深い愛情が感じられますね😊
Was für ein Genie!
Genial!!
Impresionante !
Super!
Du hast eindeutig Recht
Genial !
delightful
Fantastic❤
Me vuelve loca!❤️
❣
Saygılar Baba. Klavikordu ağlattın.
Some people should be eternal
Really!!!!
Martha Argerich's greatest influence ❤️🌹
What kind of clavichord is that? It sounds like a clavinet.
They think it's funny
Genial!