His manner is extremely irritating, and the points he makes about Mozart suddenly rediscovering the art of counterpoint are already very well known, especially to anyone who has sung, or studied, the Requiem or performed in "Die Zauberflöte". He reminds me of Beckmesser in DIE MEISTERSINGER VON NÜRNBERG.
For those of who haven't heard. This piece (especially the fugue) is stunning - even frightening - on the organ (for which some folks think it was originally intended). There you can't temper the dissonances. Truly Mozart at his most experimental.
Великолепное вступительное слово🔥. Браво, Маэстро Гленн! Ты делал только то, что любил, и что было интересно. Пришлось, конечно, потерпеть и выдержать концерты, но это было необходимое зло 😁. Счастье, что у нас есть эти записи, и что они в доступе.
Have to say it’s the best fugal writing I’ve heard from Wolfgang. The fact that it is not his bag showcases perhaps even more just how musically brilliant his mind was. It has a lovely coherent structure. The only problem is that the fugal subject itself is almost too autonomous via its range and clear harmonic identity that its treatment of would always have been difficult. Bach’s subjects always allowed space for contrapuntal development.
Well spoken, and I agree with everything you said. I also have a hypothesis that in this fugue, the subject is actually the inversion, and that the "inversion" is the true subject, but Mozart realized it was too rigid to work successfully in an exposition (the subject would have to modulate or include a bridge vs relying on a tonal answer). I could be dead wrong, but the inversion sounds much more akin to a melody Mozart would write, and its placement in the first violin right before the final cadence suggests to me that it was intended to be the most important theme in the fugue.
There's equally amazing fugal writing in the Great Mass, in the Requiem, in the late organ pieces, in the finale of the Jupiter... And I certainly wouldn't say it wasn't Mozarts bag - it became his bag from 1781 on, and within four or five years he had pretty much mastered it. The only thing is that he wrote fugues with a classical mindset, not a baroque one. This one for instance has a coda - which one couldn't find in a Bach fugue, not with that kind of formal and tonal emphasis on "concluding" a composition.
Mozart wrote tons of fugues. He wrote this double fugue at age 12: th-cam.com/video/XidEZEG3W3s/w-d-xo.html Earlier in that choral work he had another fugue: th-cam.com/video/XidEZEG3W3s/w-d-xo.html Gould seems completely unaware of most of Mozart's fugues which long preceded this one, perhaps because he was only a pianist. The Adagio and Fugue in this video were extraordinary for their stylistic advancement as they brought romantic sensibility to an archaic style of music. This music was well ahead of it's time.
Mozart like most composers who think primarily in harmonic.. loses his identity in Feuge-righting .." I think this is gorgeous music but if you hadn't told me I would never guess that it it was Mozart " very interesting.. and true.
I highly disagree. The fugue's subject has so much "cliche" as in Mozart style that only by hearing the first few bars I could say that it was a Mozart's unique theme, and the counterpoint to the subject is but a mere example of the most basic counterpoint he does apply in his piano sonatas/string quartets. It would be actually quite easy to tell it was Mozart.
@@gymzofrenico Spot on! I am an amateur horn player, and no fugue is written to five concertos and many chamber pieces mainly written for horn in a spot light, but hey, take a look of G- major quarter or C- major symphony is it the fugue 101, 505 ... i am not a musician but my father was and he was admire Mozart like the Master of All. ( my father liked the Mendelson, me too...) I like Schuman too...
I wouldn't go so far to say Mozart loses his identity in fugue, at least not in this one. The irresistible melodies are unmistakably those of Mozart, no one else.
Agreed 100%! The themes are purely and wholly Mozart. Had I not been told the name of the composer, I would have instantly known it was Mozart. The adagio alone is composed in his signature style, as is the fugue. Particularly Mozartian are the cello and viola parts. This is one of my favorite Mozart pieces. This performance is lovely, on the whole. The audio mix is delightful and all of the voices are clearly heard, which is rare for television broadcasts of this time period. My only critique: I prefer a bit less vibrato overall. A bravura performance and I love Maestro Gould! Thank you for this upload!
One of my favourite Mozart pieces. I was looking forward to hearing how GG would play it but instead he hands the job over to an unnamed string quartet
This fugue is a transcription for string quartet of an earlier work of his : his fugue for two piano in C minor, maked K.426. ps : the adagio was added with this version, catalogued as k.546.
This is the only piece of Mozart I really really like, and by far the most spirited hair-raising and almost mesmeric performance I've ever heard was from the Polish Chamber Orchestra when they toured during the 80s with an all-Mozart concert. In my sheet music of the piece there's no ritard indicated at the end, though most performers do it, and to my ears it detracts from the climatic finish. The piece should end abruptly, with an exclamation mark. There's a sense of turmoil in the development and it reaches it's climax on the last chord, but when you put a ritard on the last two bars it sounds like it's run out of gas just before the finish line.
No composer had written a ritardando in ANY piece of music until Beethoven (op. 5 Cello Sonata and op. 7 Piano Sonata) -- that does not mean it was not intended.
Crap. Who's to say what some composer in the past intended if he didn't indicate it himself? What I'm saying is that sticking a ritart at the end of this piece detracts from the climax that it finishes on. It sounds corny.
Many directors misinterpret this piece. They will squeeze the life out of it for dramatic effect. Here is a performance that is, in my opinion, near perfect. th-cam.com/video/DBQBNIK2Wcw/w-d-xo.html
It's often that case with every artist - the divine can shine forth and transcend the constructed ego of the composer's mechanistic habits (to put it in uber romantic symbolic terms lol)
I really enjoyed this performance! It is a shame that no one mentions the name of the quartet. Even the headline reads "Glenn Gould" when mr.Grould has nothing to do with it apart from a short intro.
Ха. Уж давно Гленн и Вольфганг наверняка поладили там, где они сейчас, а публика все продолжает ломать копья по вопросу Гульд-Моцарт 😂. Гении они, оба. Слушайте и наслаждайтесь❤️🔥.
Filippo Vannella Gould had every piece he ever played in his head. Everything he played by hart. He was skilled in theory, practice and history. The man knew everything about music without distinction. Up to this day he is famously known for his interpretation of Bach. The greatest .....
r.i.p. Theo van Gogh It's kind of ironic how someone so prepared wasn't able to compose or rather never devoted himself to composition, today most of Glenn compositions are basically forgotten.
I of course greatly admire Gould but I almost completely disagree....to me it sounds like Mozart 100 per cent, and it is THE Mozart I like.....the dark and tragic one. It has almost a split in the personality, like Dr Jekill and Mr Hyde. The exuberant, spontaneous, energic, almost childish, Mozart. And then the grave, manic-depressed, philosophical, dead serious master who suddenly stops laughing, lost into a world known only to him. As for the supposed discipline, well, that is what fugal writing is, an intellectual and technical but artful creation that is not for the crowd; music written entirely for oneself.
Totally agree with your observation. I think Gould just says that for rhetorical effect. If one remembers the Mozart in the minor mode (i.e. The Great Mass, Requiem and the 2 minor key piano concertos), it is indeed (the fugue also brings to mind the fugue in Haydn's F minor string quartet - Haydn is another great with fewer minor-mode moods) very much like the darker Mozart. However I believe I have seen this Adagio and Fugue attributed also to W.F. Bach.
I think Gould's arguments are valid. If a musician randomly listened to this piece and it was anonymous, no way in hell would anyone guess it is Mozart. There are plenty of composers that wrote dark, tragic grave, 'dead serious' minor key pieces of music. What distinguishes composers is usually their harmonic architecture, patterns in melodic sequences. In this case, I can't imagine any specific traits of this piece that would be in line with everything else he wrote. Beethoven is often like that as well.
@@s.l5787 Honestly, the biggest giveaway that this is Mozart is the instrumentation. There are two standard arrangements of this work, one for string orchestra (no woodwinds or dedicated basso continuo) and one for two pianos, neither of which are characteristic of the Baroque Era. The constant doubling of the cello/bass is also typical in Classical era polyphony. That said, I would argue that from a purely notational stance, the Adagio sounds nothing like Mozart whereas the Fugue does. The melodic contour of the subject and especially the inverted subject are reminiscent of his style, but perhaps more importantly, the repeated devotion of entire bars to single harmonies is emblematic of the Classical Era. In the end, you're not left with many composers to choose from.
@@s.l5787 The chromaticism is the giveaway that it is Mozart. No one other than Bach was writing anything that chromatic until the Romantic period--not even Beethoven, by and large. In fact, the chromaticism is so extreme that this sounds like something Tchaikovsky might have written (more so in the string orchestra version), one of his hommage to the Classical period pieces, if he had the ability to write something in such a strict language (which I doubt). For many years of my younger life, I DID know this piece only "anonymously," and that was who I thought wrote it, although I still felt it was an unsatisfactory answer. There are lots of melodic bits which are also Mozartean. In the end, I would say it sounds like Mozart, but Mozart if he had lived until the 1840's and developed, like many other composers, a late interest in fugal writing, and that's probably why it seems so unrecognizable.
Yes I could almost instantly recognize that this is mozart. The articulation, dynamics are just a huge indicator for me. I think many people somehow think that mozart is all butterflies but in fact he was quite the opposite of that. Its just his facade that he puts on to make his music and personality look bright or happy.
I agree with Gould, although the piece is absolute beauty it doesn’t sound like he has interiorized the technique into his musical expression. I think only piece where you see Mozart making counterpoint his language is in the Requiem.
Not at all Mr. Gould. Mozart is Mozart. Rather harmonics than counterpoint? A real fugue comprises both, as you should know. This fugue is amazing, unique, modern. Dissonance appears not by accident, but as the precursor of contemporary music. Mozart, the genius ahead of his time.
Interesting that you should say "ahead of his time" - Gould actually said that Mozart died "after rather than before his time" and was famously not a fan of Mozart, an attitude which unfortunately comes through in his commentary.
@@eranz1 I think it's more a clash of musical philosophies, I think Gould appreciates Mozart's talent and genius, he very much enjoyed early Mozart when thematic structurally centric focus was more prevalent in his works at the time. He disliked the path Mozart took and what he represented, similar to Chopin, which is that of improvisatory impulses and not-premeditated, and indulgence on melodic pleasures (their philosophy is more focused on imitating the operatic nature of the human voice rather than thematic structures). Gould didn't think music should be used for asethetics or self-pleasure, but rather represent some meaning or intellectual stimulation where one should 'discover' things in an almost precise mathematical manner, as if an exploration of the meaning of life/universe.
@@charlescg3904 True. Mozart loved opera more than anything else, and even in his most "Baroque" work, the Great Mass in C Minor (K.427), the operatic sensibility shines through. Bach was probably aware of the existence of opera, but I've never seen any evidence that he cared about it. It's an easy bet that Gould did not care for Mozart's mature operas.
Mozart wrote a lot of crowdpleasers that I don't like. This is definitely Mozart at his best and it's a shame that I can only find a couple dozen sombre pieces like this from him.
Maybe youre listening wrong, Open your mind to the music, the piano Concerto 25, 23 22 21, and 27, also 15 and 17, are no crowdpleasers but works of Genius. Sometimes things so incredibly delicate are difficult to appreciate. But all the beauty is there.
The theme is pure mozartian, even a school pupil can identify it. Fantasia 475, Concerto 491, Kyrie 626, Linzer Symph, and many more similar melodies I can’t remember for a second. That’s how one looks a miserable Mozart hater😂 At least this piece is well composed, thanks to sedative therapy that worked out momentarily.
Glen Gould’s disrespectful comments about Mozart throughout his life is nothing short of appalling - e.g. ‘Mozart was a bad composer whose compositions were full of gimmicks & never liv’d up to expectations as to the heights of Bach...’ I often us’d to think he was pulling his contemporaries’ legs when he made such outrageously stupid comments like this...someone should have slapp’d him down hard at his first outburst & enlighten’d Mr Gould of Baron Van Swieten’s Sunday afternoon Salons where the Music of the Bach Family was play’d & discuss’d & which left a lifelong impression on young Mozart then open the scores of the Requiem K. 626 (Codex 17.561a, Oct-Dec 1791) and the Adagio & Fugue in f-minor K. 608 (March 1791) to shew exactly how far the mature Mozart had come in developing the Science of Contrapuntal Art in late 18th Century Vienna - I myself would have probably resorted to shouting expletives at this wayward hunchback performer whose penchant for playing Johann Sebastian Bach in a modern Grand Piano tells us a great deal about his ignorance of early 18th Century Aufuehrungspraxis...
saying that this sounds like a mess, it is like sayjng that the the Sistine Chapel's paintings are made with bad drawings. As for Bach, well, it is NOT Bach. What is the point of comparing Bach with Mozart? They are two completely different planets. How can you fail to hear total mastery in this piece, it sounds perfect and as if it were made very easily. It sounds MORE spontaneous than Bach, other than very different.
Luigi Pati I'm not doubting the masterfulness of this composition, I'm talking about the sound objectively, constructively it's impecable as all of Mozart's work. But you know, it's been a while, after giving another listen it sounds better than before.
If anyone is looking another really great fugue by Mozart, please check out his 29th violin sonata. A piece which begins in A major yet finishes in A minor!
![แฉกลโกงงานวัด 2024 [ โกงมั้ยครับ ep.106 ] | DOM](http://i.ytimg.com/vi/taC5dpP3HXA/mqdefault.jpg)
I will never get tired of hearing Glenn Gould talk about music
Amen to that. I will also never get tired of hearing that cello. It shines through brilliantly.
His manner is extremely irritating, and the points he makes about Mozart suddenly rediscovering the art of counterpoint are already very well known, especially to anyone who has sung, or studied, the Requiem or performed in "Die Zauberflöte".
He reminds me of Beckmesser in DIE MEISTERSINGER VON NÜRNBERG.
@@ColonelFredPuntridge That's actually funny, even though i disagree.
Es strotzt vor Überheblichkeit! Dieses Video dokumentiert das mind set dieses Pianisten in dieser Zeit 🌿
For those of who haven't heard. This piece (especially the fugue) is stunning - even frightening - on the organ (for which some folks think it was originally intended). There you can't temper the dissonances. Truly Mozart at his most experimental.
Великолепное вступительное слово🔥. Браво, Маэстро Гленн! Ты делал только то, что любил, и что было интересно. Пришлось, конечно, потерпеть и выдержать концерты, но это было необходимое зло 😁. Счастье, что у нас есть эти записи, и что они в доступе.
Have to say it’s the best fugal writing I’ve heard from Wolfgang. The fact that it is not his bag showcases perhaps even more just how musically brilliant his mind was. It has a lovely coherent structure. The only problem is that the fugal subject itself is almost too autonomous via its range and clear harmonic identity that its treatment of would always have been difficult. Bach’s subjects always allowed space for contrapuntal development.
Well spoken, and I agree with everything you said. I also have a hypothesis that in this fugue, the subject is actually the inversion, and that the "inversion" is the true subject, but Mozart realized it was too rigid to work successfully in an exposition (the subject would have to modulate or include a bridge vs relying on a tonal answer). I could be dead wrong, but the inversion sounds much more akin to a melody Mozart would write, and its placement in the first violin right before the final cadence suggests to me that it was intended to be the most important theme in the fugue.
There's equally amazing fugal writing in the Great Mass, in the Requiem, in the late organ pieces, in the finale of the Jupiter...
And I certainly wouldn't say it wasn't Mozarts bag - it became his bag from 1781 on, and within four or five years he had pretty much mastered it.
The only thing is that he wrote fugues with a classical mindset, not a baroque one. This one for instance has a coda - which one couldn't find in a Bach fugue, not with that kind of formal and tonal emphasis on "concluding" a composition.
Mozart wrote tons of fugues. He wrote this double fugue at age 12: th-cam.com/video/XidEZEG3W3s/w-d-xo.html Earlier in that choral work he had another fugue: th-cam.com/video/XidEZEG3W3s/w-d-xo.html Gould seems completely unaware of most of Mozart's fugues which long preceded this one, perhaps because he was only a pianist. The Adagio and Fugue in this video were extraordinary for their stylistic advancement as they brought romantic sensibility to an archaic style of music. This music was well ahead of it's time.
An "archaic" way of writing ? Bach was, in his art of the fugue, closer to Wagner than Mozart was
Mozart like most composers who think primarily in harmonic.. loses his identity in Feuge-righting .."
I think this is gorgeous music but if you hadn't told me I would never guess that it it was Mozart "
very interesting.. and true.
I highly disagree. The fugue's subject has so much "cliche" as in Mozart style that only by hearing the first few bars I could say that it was a Mozart's unique theme, and the counterpoint to the subject is but a mere example of the most basic counterpoint he does apply in his piano sonatas/string quartets. It would be actually quite easy to tell it was Mozart.
@@gymzofrenico Spot on! I am an amateur horn player, and no fugue is written to five concertos and many chamber pieces mainly written for horn in a spot light, but hey, take a look of G- major quarter or C- major symphony is it the fugue 101, 505 ... i am not a musician but my father was and he was admire Mozart like the Master of All. ( my father liked the Mendelson, me too...) I like Schuman too...
I wouldn't go so far to say Mozart loses his identity in fugue, at least not in this one. The irresistible melodies are unmistakably those of Mozart, no one else.
Agreed 100%! The themes are purely and wholly Mozart. Had I not been told the name of the composer, I would have instantly known it was Mozart. The adagio alone is composed in his signature style, as is the fugue. Particularly Mozartian are the cello and viola parts. This is one of my favorite Mozart pieces. This performance is lovely, on the whole. The audio mix is delightful and all of the voices are clearly heard, which is rare for television broadcasts of this time period. My only critique: I prefer a bit less vibrato overall. A bravura performance and I love Maestro Gould! Thank you for this upload!
It's just Gould being Gould !
one of my favorite mozart fugues!! even beethoven liked it!
Why even?
@@williamwalker8984 cuz Mr. Hoven was a bit bitchy sometimes but that stretto melted his heart ❤️
@@JJBerthumeMr. Hoven 💀💀💀
3:45: “TWO TIMES THE SUDSING POWER”.
Major buzz kill.
One of my favourite Mozart pieces. I was looking forward to hearing how GG would play it but instead he hands the job over to an unnamed string quartet
Same, I don't think it's playable on a single piano though
@Liam Nicholson Any arrangement for a single player would necessitate dropping voices/parts throughout the entirety of the fugue.
This fugue is a transcription for string quartet of an earlier work of his : his fugue for two piano in C minor, maked K.426.
ps : the adagio was added with this version, catalogued as k.546.
Wonderful music.
This is the only piece of Mozart I really really like, and by far the most spirited hair-raising and almost mesmeric performance I've ever heard was from the Polish Chamber Orchestra when they toured during the 80s with an all-Mozart concert. In my sheet music of the piece there's no ritard indicated at the end, though most performers do it, and to my ears it detracts from the climatic finish. The piece should end abruptly, with an exclamation mark. There's a sense of turmoil in the development and it reaches it's climax on the last chord, but when you put a ritard on the last two bars it sounds like it's run out of gas just before the finish line.
No composer had written a ritardando in ANY piece of music until Beethoven (op. 5 Cello Sonata and op. 7 Piano Sonata) -- that does not mean it was not intended.
Crap. Who's to say what some composer in the past intended if he didn't indicate it himself? What I'm saying is that sticking a ritart at the end of this piece detracts from the climax that it finishes on. It sounds corny.
Any person who responds to a comment with "Crap," especially a comment that is simply stating a historical fact, @@Blackgeoff1
Korn
Many directors misinterpret this piece. They will squeeze the life out of it for dramatic effect. Here is a performance that is, in my opinion, near perfect.
th-cam.com/video/DBQBNIK2Wcw/w-d-xo.html
The original piano-duo version of this piece (K-426) was performed by Igor Stravinsky and his son Theodore in the 1930s.
It's interesting that one of the few works of Mozart that i really like are the ones where he ''losses his identity''.
It's often that case with every artist - the divine can shine forth and transcend the constructed ego of the composer's mechanistic habits (to put it in uber romantic symbolic terms lol)
what drug did Mozart take? Maybe Beethoven inspired his latest quartets on Mozart's Fugue...
I really enjoyed this performance! It is a shame that no one mentions the name of the quartet. Even the headline reads "Glenn Gould" when mr.Grould has nothing to do with it apart from a short intro.
So true! But thanks to Bloody Peach we now know it's the Canadian String Quartet.
Wow...just wow...
09:00
Bravissimo!!!
Ха. Уж давно Гленн и Вольфганг наверняка поладили там, где они сейчас, а публика все продолжает ломать копья по вопросу Гульд-Моцарт 😂. Гении они, оба. Слушайте и наслаждайтесь❤️🔥.
Great..
How knowledgeable is this man?
If you can't already tell from the way he speaks, very.
Victor P. Was a rhetorical question
Filippo Vannella Gould had every piece he ever played in his head.
Everything he played by hart.
He was skilled in theory, practice and history.
The man knew everything about music
without distinction.
Up to this day he is famously known for his interpretation of Bach.
The greatest .....
r.i.p. Theo van Gogh It's kind of ironic how someone so prepared wasn't able to compose or rather never devoted himself to composition, today most of Glenn compositions are basically forgotten.
Juan Ramón Silva Not his interpretations.
I of course greatly admire Gould but I almost completely disagree....to me it sounds like Mozart 100 per cent, and it is THE Mozart I like.....the dark and tragic one. It has almost a split in the personality, like Dr Jekill and Mr Hyde. The exuberant, spontaneous, energic, almost childish, Mozart. And then the grave, manic-depressed, philosophical, dead serious master who suddenly stops laughing, lost into a world known only to him. As for the supposed discipline, well, that is what fugal writing is, an intellectual and technical but artful creation that is not for the crowd; music written entirely for oneself.
Totally agree with your observation. I think Gould just says that for rhetorical effect. If one remembers the Mozart in the minor mode (i.e. The Great Mass, Requiem and the 2 minor key piano concertos), it is indeed (the fugue also brings to mind the fugue in Haydn's F minor string quartet - Haydn is another great with fewer minor-mode moods) very much like the darker Mozart.
However I believe I have seen this Adagio and Fugue attributed also to W.F. Bach.
I think Gould's arguments are valid. If a musician randomly listened to this piece and it was anonymous, no way in hell would anyone guess it is Mozart. There are plenty of composers that wrote dark, tragic grave, 'dead serious' minor key pieces of music. What distinguishes composers is usually their harmonic architecture, patterns in melodic sequences. In this case, I can't imagine any specific traits of this piece that would be in line with everything else he wrote. Beethoven is often like that as well.
@@s.l5787 Honestly, the biggest giveaway that this is Mozart is the instrumentation. There are two standard arrangements of this work, one for string orchestra (no woodwinds or dedicated basso continuo) and one for two pianos, neither of which are characteristic of the Baroque Era. The constant doubling of the cello/bass is also typical in Classical era polyphony. That said, I would argue that from a purely notational stance, the Adagio sounds nothing like Mozart whereas the Fugue does. The melodic contour of the subject and especially the inverted subject are reminiscent of his style, but perhaps more importantly, the repeated devotion of entire bars to single harmonies is emblematic of the Classical Era. In the end, you're not left with many composers to choose from.
@@s.l5787 The chromaticism is the giveaway that it is Mozart. No one other than Bach was writing anything that chromatic until the Romantic period--not even Beethoven, by and large. In fact, the chromaticism is so extreme that this sounds like something Tchaikovsky might have written (more so in the string orchestra version), one of his hommage to the Classical period pieces, if he had the ability to write something in such a strict language (which I doubt). For many years of my younger life, I DID know this piece only "anonymously," and that was who I thought wrote it, although I still felt it was an unsatisfactory answer. There are lots of melodic bits which are also Mozartean. In the end, I would say it sounds like Mozart, but Mozart if he had lived until the 1840's and developed, like many other composers, a late interest in fugal writing, and that's probably why it seems so unrecognizable.
Yes I could almost instantly recognize that this is mozart. The articulation, dynamics are just a huge indicator for me. I think many people somehow think that mozart is all butterflies but in fact he was quite the opposite of that. Its just his facade that he puts on to make his music and personality look bright or happy.
Спасибо! С любовью из России!
I agree with Gould, although the piece is absolute beauty it doesn’t sound like he has interiorized the technique into his musical expression. I think only piece where you see Mozart making counterpoint his language is in the Requiem.
Not at all Mr. Gould. Mozart is Mozart. Rather harmonics than counterpoint? A real fugue comprises both, as you should know. This fugue is amazing, unique, modern. Dissonance appears not by accident, but as the precursor of contemporary music. Mozart, the genius ahead of his time.
Interesting that you should say "ahead of his time" - Gould actually said that Mozart died "after rather than before his time" and was famously not a fan of Mozart, an attitude which unfortunately comes through in his commentary.
@@eranz1 I think it's more a clash of musical philosophies, I think Gould appreciates Mozart's talent and genius, he very much enjoyed early Mozart when thematic structurally centric focus was more prevalent in his works at the time. He disliked the path Mozart took and what he represented, similar to Chopin, which is that of improvisatory impulses and not-premeditated, and indulgence on melodic pleasures (their philosophy is more focused on imitating the operatic nature of the human voice rather than thematic structures). Gould didn't think music should be used for asethetics or self-pleasure, but rather represent some meaning or intellectual stimulation where one should 'discover' things in an almost precise mathematical manner, as if an exploration of the meaning of life/universe.
@@charlescg3904 True. Mozart loved opera more than anything else, and even in his most "Baroque" work, the Great Mass in C Minor (K.427), the operatic sensibility shines through. Bach was probably aware of the existence of opera, but I've never seen any evidence that he cared about it. It's an easy bet that Gould did not care for Mozart's mature operas.
Mozart wrote a lot of crowdpleasers that I don't like. This is definitely Mozart at his best and it's a shame that I can only find a couple dozen sombre pieces like this from him.
Maybe youre listening wrong, Open your mind to the music, the piano Concerto 25, 23 22 21, and 27, also 15 and 17, are no crowdpleasers but works of Genius.
Sometimes things so incredibly delicate are difficult to appreciate.
But all the beauty is there.
01:55
grazie
Names of the players please.
Albert Pratz, Bernard Robbins, viola?, Laszlo Varga
David Mankovitz, viola--Canadian String Quartet
The theme is pure mozartian, even a school pupil can identify it. Fantasia 475, Concerto 491, Kyrie 626, Linzer Symph, and many more similar melodies I can’t remember for a second. That’s how one looks a miserable Mozart hater😂 At least this piece is well composed, thanks to sedative therapy that worked out momentarily.
Questa è umanità superiore.
supono! k cualkier fuga k se haga siempre va a sonar a Bach
Publicidade no meio da música, tá de sacanagem..
Glen Gould’s disrespectful comments about Mozart throughout his life is nothing short of appalling - e.g. ‘Mozart was a bad composer whose compositions were full of gimmicks & never liv’d up to expectations as to the heights of Bach...’ I often us’d to think he was pulling his contemporaries’ legs when he made such outrageously stupid comments like this...someone should have slapp’d him down hard at his first outburst & enlighten’d Mr Gould of Baron Van Swieten’s Sunday afternoon Salons where the Music of the Bach Family was play’d & discuss’d & which left a lifelong impression on young Mozart then open the scores of the Requiem K. 626 (Codex 17.561a, Oct-Dec 1791) and the Adagio & Fugue in f-minor K. 608 (March 1791) to shew exactly how far the mature Mozart had come in developing the Science of Contrapuntal Art in late 18th Century Vienna - I myself would have probably resorted to shouting expletives at this wayward hunchback performer whose penchant for playing Johann Sebastian Bach in a modern Grand Piano tells us a great deal about his ignorance of early 18th Century Aufuehrungspraxis...
Mozart iluminati :v
I like this fugue but it sounds like a mess compared to Bach's, not saying it's bad just different.
saying that this sounds like a mess, it is like sayjng that the the Sistine Chapel's paintings are made with bad drawings. As for Bach, well, it is NOT Bach. What is the point of comparing Bach with Mozart? They are two completely different planets. How can you fail to hear total mastery in this piece, it sounds perfect and as if it were made very easily. It sounds MORE spontaneous than Bach, other than very different.
Luigi Pati I'm not doubting the masterfulness of this composition, I'm talking about the sound objectively, constructively it's impecable as all of Mozart's work. But you know, it's been a while, after giving another listen it sounds better than before.
@@shadowjuan2 Gould describes it best, this sounds very angular, with sharp contrasts
A mess? If anything it's too tidy
If anyone is looking another really great fugue by Mozart, please check out his 29th violin sonata. A piece which begins in A major yet finishes in A minor!
The vibrato in this performance is painful though. This isn't Remo Giazotto's Adagio in G minor.
this was rather repetitive
OMG they are SO out of tune. It's like nails on a chalkboard.
they are very much playing in tune. I think it's the vibrato.
its the recording dumbass
This quartet is not very good.