Pre-performance remarks: 'Don't be frightened. Mr. Gould is here...'
Piano Concerto No. 1 in D minor, Op. 15: Maestoso
Piano Concerto No. 1 in D minor, Op. 15: Adagio
Piano Concerto No. 1 in D minor, Op. 15: Rondo
Interview with James Fasset (from a 1964 radio broadcast of the New York Philharmonic)
Newly remastered from a Voice of America mono off-line aircheck, one hears more detail and ambiance here than in previous reissues of this controversial performance taped live at Carnegie Hall April 6th, 1962. The conducto... more »r's infamous "disclaimer" disassociating himself from Glenn Gould's slow tempi is preserved along with a snippet from an interview in which Gould defends both his interpretation and Bernstein's actions. The first movement starts slow, but insidiously speeds up to a tempo not far from the norm. Flickering in and out of Bernstein's turgid orchestral backdrop, Gould downplays the music's fiery intensity, seeking to emphasize its meditative qualities and contrapuntal implications. If Sony wanted to issue a Gould Brahms D- Minor, why not the more incisive, and far better-engineered October 1962 Baltimore version? --Jed Distler« less
Newly remastered from a Voice of America mono off-line aircheck, one hears more detail and ambiance here than in previous reissues of this controversial performance taped live at Carnegie Hall April 6th, 1962. The conductor's infamous "disclaimer" disassociating himself from Glenn Gould's slow tempi is preserved along with a snippet from an interview in which Gould defends both his interpretation and Bernstein's actions. The first movement starts slow, but insidiously speeds up to a tempo not far from the norm. Flickering in and out of Bernstein's turgid orchestral backdrop, Gould downplays the music's fiery intensity, seeking to emphasize its meditative qualities and contrapuntal implications. If Sony wanted to issue a Gould Brahms D- Minor, why not the more incisive, and far better-engineered October 1962 Baltimore version? --Jed Distler
CD Reviews
CD with historical importance
12/08/2001
(5 out of 5 stars)
"After seeming some of the more tepid reviews of this CD, I felt obliged to come to its defense. The historical value of this CD alone merits 5 stars. Bernstein's speech in the beginning is very interesting (although I'm not a Bernstein fan) and the portion of an interview at the end with Glenn Gould (and I'm a big Gould fan)is also very interesting. In between was what I thought was a great performance of Brahms by two outstanding musicians. The sound quality is understandably not up to 21st century levels, but it pretty good by mid-20th century technological standards. According to the excellent linear notes that comes with this CD, Bernstein may have been strongly influenced by Gould's interpretation of Brahms. It seems Glenn had the last laugh!"
TRAGICALLY, ONLY OF HISTORICAL INTEREST...
Sébastien Melmoth | Hôtel d'Alsace, PARIS | 06/19/2006
(5 out of 5 stars)
"
Yes, and it pains me to say so: this recording is of historical interest only. The realization is great: GG is a genius of art, and a wonder of digital ability. Lenny and the NY Phil are good as well. The problem is that the microphone used for the live broadcast from which this recording was made was placed away from Gould and his piano, and way out in the auditorium above the audience. GG is almost literally drowned out by the idiotic-tubercular-spazmotic audience which hacks away, choking and spewing, during Gould's most exquisite piano solos. (Although I must say that at the end of the performance, that same audience gave GG a rousing standing ovation.)
Lenny Bernstein was cool, as was the NY Phil. The whole rhubarb over Gould's reading was created by media journalists who got paid by the penny-word: stupid, inane cretins frightened by Art. What a waste of artistic time! Afterwards at the cocktail party following this performance, Lenny told Gould, "You played so beautifully in the cadenza that I almost c**e in my pants [!]" (as cited in Bazzana, Wondrous Strange: the Life and Art of Glenn Gould).
It's really a shame that a decent recording wasn't made miked close to Gould's piano. What a loss for Art!"
What's all the fuss about?
11/30/1998
(4 out of 5 stars)
"Anyone who listens to this recording with an open mind--with open ears--will appreciate the freshness and wonderful musicality of Glenn Gould's performance, especially in the first movement. And let's face it: this is the future for classical music. These old warhorses need to be aired out and led to a new watering trough once in a while or they'll surely die of "tradition." (Was it Oscar Wilde who said something to the effect that tradition is too often just an accumulation of bad habits?) Unfortunately, what one also hears on this CD is an outrageous amount of audience noise--an almost constant barrage of coughs, rattles and other, undefinable, noises. The sound engineers and re-masterers should be embarrassed to have their names on the album. What a shame that this was not recorded in a studio, as Gould would surely have wanted. It's understandable why this is the "first authorized release." Gould, who was such a stickler for technically good sound, would never have authorized it in his lifetime. Still and all, I'll certainly be listening to it again and again. (Bernstein's speech and Gould's bit of interview are added treasures.)"
Mainly for historical reasons
CD Maniac | Nashville, TN | 04/07/2006
(4 out of 5 stars)
"Love it or hate it, the main reason for the release is for historical reasons. The performance, and especially Bernstein's pre-performance remarks, caused a huge controversy in the press, and the story has been relayed ever since.
This recoding, and the excellent liner notes, correct a lot of misconceptions: Gould was in favor of Bernstein's remarks; Gould's interpretation is no longer considered exceptionally slow by today's standards (meaning the Gould must have had some effect on a few of today's artists). It is fascinating to hear what all the commotion was about.
The most interesting part is that the critics fared the worst in the judgement of time: the critic from the New York Times absolutely seems ridiculous (in his review that was written in the form of a letter to an imaginary friend!) with his snide remarks that come off as a cranky senior citizen criticizing the youngsters on the stage. And the fact that so many other newspapers picked up the story as if it was a boxing match.
Reagrdless of recording quality (originally meant to be a mono radio broadcast), this is a fascinating performance that documents a very interesting concert in the history of an American conductor and orchesetra, and deserves this wide release. It shouldn't be the only recording of this Brahms concerto you should have, but it should sit right next to it."
Track Listings (5) - Disc #1