Beethoven / Glenn Gould, 1979: Sonata No. 15 in D Major, Op. 28 - CBS Masterworks M2 35911 скачать в хорошем качестве

Beethoven / Glenn Gould, 1979: Sonata No. 15 in D Major, Op. 28 - CBS Masterworks M2 35911

Allegro (0:00) Andante (7:30) Scherzo: Allegro vivace (14:33) Rondo: Allegro ma non troppo (17:07) This complete double LP:    • Glenn Gould Plays Beethoven Sonatas, Op. 2   Bach English Suites:    • JS Bach - English Suites - Glenn Gould, 1974   Bach French Suites:    • JS Bach: The French Suites / French Overtu...   Bach Partitas:    • JS Bach: Partitas - Glenn Gould   Bach Toccatas:    • JS Bach - Toccatas - Glenn Gould (Score in...   Haydn: Last Six Piano Sonatas:    • Haydn / Glenn Gould: The Six Last Piano So...   Glenn Gould (25 September 1932 – 4 October 1982) was a Canadian classical pianist. He was among the most famous and celebrated pianists of the 20th century, renowned as an interpreter of the keyboard works of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and a capacity to articulate the contrapuntal texture of Bach's music. Gould rejected most of the Romantic piano literature by Chopin, Liszt, Rachmaninoff, and others, in favour of Bach and Beethoven mainly, along with some late-Romantic and modernist composers. Gould also recorded works by Mozart, Haydn, Scriabin, and Brahms; pre-Baroque composers such as Jan Pieterszoon Sweelinck, William Byrd, and Orlando Gibbons; and 20th-century composers including Paul Hindemith, Arnold Schoenberg, and Richard Strauss. Gould was also a writer and broadcaster, and dabbled in composing and conducting. He produced television programmes about classical music, in which he would speak and perform, or interact with an interviewer in a scripted manner. He made three musique concrète radio documentaries, collectively the Solitude Trilogy, about isolated areas of Canada. He was a prolific contributor to music journals, in which he discussed music theory. Gould was known for his eccentricities, ranging from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and behaviour. He disliked public performance, and stopped giving concerts at age 31 to concentrate on studio recording and media.