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The release of Glenn Gould’s 1955 recording of Bach’s Goldberg Variations, BWV 988, (Naxos 8.111247) spread his name around the world as this was Bach playing of a style that was wholly new. As a follow up, the 23 year-old Gould chose the last three sonatas by Beethoven which, at that time, were usually reserved for more experienced pianists. With their sometimes unusually fast tempos (executed with remarkable clarity and precision) and omission of repeats, Gould’s performances originally attracted widespread criticism for daring to be different. With hindsight, however, they can be seen as perfectly valid interpretations that combine sensitivity and intelligence without a trace of sentimentality.
Ludwig van Beethoven: Piano Sonata No. 30 in E major, Op. 109
I. Vivace ma non troppo, sempre legato
II. Prestissimo
III. Andante molto cantabile ed espressivo - Variations I - VI
Ludwig van Beethoven: Piano Sonata No. 31 in A flat major, Op. 110
I. Moderato cantabile, molto espressivo
II. Allegro molto
III. Adagio ma non troppo - Arioso dolente
III. Fuga: Allegro, ma non troppo - L'istesso tempo di Arioso - L'inversione della Fuga
Ludwig van Beethoven: Piano Sonata No. 32 in C minor, Op. 111
I. Maestoso: Allegro con brio ed appassionato
II. Arietta: Adagio molto semplice e cantabile
Click on any of the works listed above for alternative recordings.
I. Vivace ma non troppo, sempre legato