This is the fifth and final installment of the series dedicated to the complete recordings Friedrich Gulda made for the SWR and contains two recitals (live recordings) the Austrian pianist gave in Germany in 1959. All those who attended Gulda's concerts report unanimously that a very special aura emanated from him, which was markedly stronger than the one conveyed by his recordings - the distinct impression that the music sounded as if performed for the first time in the here and now, as if he was surrounded by a musical cosmos he was coaxing the tones out of, making them audible on the grand piano (or the clavichord). Soon after a final chord Gulda would often bid farewell to the pearl-like tones he had created as if by magic and send them off into the universe with a subtle movement of his hand. This also happened in connection with the two Beethoven sonatas presented here. The fact that Gulda cherished Beethoven's opus 110 throughout his life is by no means surprising for in this piece Beethoven really transcends all boundaries: the most heterogeneous elements are joined together to form an integrated whole - with a fugue at the end to show his reverence for Bach!
This is the fifth and final installment of the series dedicated to the complete recordings Friedrich Gulda made for the SWR and contains two recitals (live recordings) the Austrian pianist gave in Germany in 1959. All those who attended Gulda's concerts report unanimously that a very special aura emanated from him, which was markedly stronger than the one conveyed by his recordings - the distinct impression that the music sounded as if performed for the first time in the here and now, as if he was surrounded by a musical cosmos he was coaxing the tones out of, making them audible on the grand piano (or the clavichord). Soon after a final chord Gulda would often bid farewell to the pearl-like tones he had created as if by magic and send them off into the universe with a subtle movement of his hand. This also happened in connection with the two Beethoven sonatas presented here. The fact that Gulda cherished Beethoven's opus 110 throughout his life is by no means surprising for in this piece Beethoven really transcends all boundaries: the most heterogeneous elements are joined together to form an integrated whole - with a fugue at the end to show his reverence for Bach!
747313909889

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Format: CD
Label: HAC
Rel. Date: 02/12/2021
UPC: 747313909889

Two Solo Recitals 1959
Artist: FRIEDRICH GULDA
Format: CD
New: IN PRINT AND ORDER-ABLE - NOT IN STORE, call or email $37.00
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DISC: 1
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1. Piano Sonata No. 13 In B-Flat Major, K. 333 "Linz": I. Allegro (Live)
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2. Piano Sonata No. 13 In B-Flat Major, K. 333 "Linz": II. Andante Cantabile (Live)
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3. Piano Sonata No. 13 In B-Flat Major, K. 333 "Linz": III. Allegretto Grazioso (Live)
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4. Piano Sonata No. 17 In D Minor, Op. 31 No. 2 "Tempest": I. Largo - Allegro (Live)
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5. Piano Sonata No. 17 In D Minor, Op. 31 No. 2 "Tempest": II. Adagio (Live)
6. Piano Sonata No. 17 In D Minor, Op. 31 No. 2 "Tempest": III. Allegretto (Live)
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DISC: 2
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1. Images, Set 1, L. 110: No. 1, Reflets Dans L'eau (Live)
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2. Estampes, L. 100: No. 2, La Soirée Dans Grenade (Live)
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3. L'isle Joyeuse, L. 106 (Live)
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4. Gaspard De La Nuit, M. 55: I. Ondine (Live)
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5. Gaspard De La Nuit, M. 55: II. Le Gibet (Live)
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6. Gaspard De La Nuit, M. 55: III. Scarbo (Live)
7. 6 Ecosaisses, Woo 83 (Live)
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DISC: 3
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1. Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo, Bwv 992: I. Arioso. Adagio (Live)
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2. Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo, Bwv 992: II. Andante (Live)
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3. Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo, Bwv 992: III. Adagissimo (Live)
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4. Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo, Bwv 992: IV. Andante Con Moto (Live)
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5. Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo, Bwv 992: V. Aria Di Postiglione. Adagio Poco (Live)
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6. Capriccio Sopra La Lontananza Del Suo Fratello Dilettissimo, Bwv 992: VI. Fuga All'imitazione Delle Cornetta Di Postiglione
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7. Variations In F Minor, Hob. XVII:6 (Live)
8. Piano Sonata No. 52 In E-Flat Major, Op. 92, Hob. XVI:52: I. Allegro Moderato (Live)
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9. Piano Sonata No. 52 In E-Flat Major, Op. 92, Hob. XVI:52: II. Adagio (Live)
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10. Piano Sonata No. 52 In E-Flat Major, Op. 92, Hob. XVI:52: III. Finale. Presto (Live)
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11. Piano Sonata No. 10 In G Major, Op. 14 No. 2: I. Allegro (Live)
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12. Piano Sonata No. 10 In G Major, Op. 14 No. 2: II. Andante (Live)
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13. Piano Sonata No. 10 In G Major, Op. 14 No. 2: III. Scherzo. Allegro Assai (Live)
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14. Piano Sonata No. 31 In A-Flat Major, Op. 110: I. Moderato Cantabile Molto Espressivo (Live)
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15. Piano Sonata No. 31 In A-Flat Major, Op. 110: II. Allegro Molto (Live)
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16. Piano Sonata No. 31 In A-Flat Major, Op. 110: Iiia. Adagio Ma Non Troppo (Live)
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17. Piano Sonata No. 31 In A-Flat Major, Op. 110: Iiib. Fuga. Allegro Ma Non Troppo (Live)
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More Info:

This is the fifth and final installment of the series dedicated to the complete recordings Friedrich Gulda made for the SWR and contains two recitals (live recordings) the Austrian pianist gave in Germany in 1959. All those who attended Gulda's concerts report unanimously that a very special aura emanated from him, which was markedly stronger than the one conveyed by his recordings - the distinct impression that the music sounded as if performed for the first time in the here and now, as if he was surrounded by a musical cosmos he was coaxing the tones out of, making them audible on the grand piano (or the clavichord). Soon after a final chord Gulda would often bid farewell to the pearl-like tones he had created as if by magic and send them off into the universe with a subtle movement of his hand. This also happened in connection with the two Beethoven sonatas presented here. The fact that Gulda cherished Beethoven's opus 110 throughout his life is by no means surprising for in this piece Beethoven really transcends all boundaries: the most heterogeneous elements are joined together to form an integrated whole - with a fugue at the end to show his reverence for Bach!