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BEETHOVEN, Glenn Gould, New York Philharmonic, Leonard Bernstein

Piano Concerto No. 4, in G Major, Op. 58

Ludwig Van Beethoven (1770-1827) Piano Concerto No. 4, in G Major, Op. 58 Side 1: 1. Allegro Moderato Side 2: 1. Andante Con Moto 2. Rondo: Vivace
  • Glenn Gould - piano
  • New York Philharmonic - orchestra
  • Leonard Bernstein - conductor
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179.00 PLN

LP-180G 33rpm:

Nr kat.: MS6262
Label  : Impex (USA)

Edycja NUmerowana - 2500 egzemplarzy w skali światowej

So much has been said and written about Glenn Gould's Bach recordings that some classical music listeners may have overlooked his fabulous renditions of the Beethoven piano concertos. Impex is hoping to change this. Hearing Gould's magnificent pianism, along with the inspired conducting of Leonard Berstein, recorded in the vast acoustical space of the Manhattan Center, we are certain you will find Gould's Beethoven concertos have a rightful place alongside his celebrated Goldberg Variations. With so many workaday renditions of Beethoven concertos, audiophiles rightly tend to look for inspired performances; and every recording by Glen Gould is certainly inspired. Gould is often erratic, but he was also daring, constantly exploring. His lyrical ebb-and-flow reading shines a new light on this well-loved work. With all-analog mastering by Kevin Gray and Impex's usual attention to detail on all facets of production, this new 180-gram pressing will make this Gould and Bernstein triumph a favorite of audiophiles everywhere. "The foremost pianist this continent has produced in recent decades" - Alfred Frankenstein, High Fidelity Magazine "A pianist of divine guidance" - Jay Harrison, New York Herald Tribune The Fourth Concerto is the serenest, the most chaste, the most modest (temperamentally, not technically) of the series. And it contains a slow movement of such philosophical eloquence as almost to transgress the bonds of absolute music. Sketchbook evidence suggests that Beethoven was thinking about this Concerto as early as 1804 but it was not completed until 1806. It therefore occupied him over a period of time roughly contemporaneous with the composition and first revision of Fidelio. It was heard first in March, 1807 at a private concert that also included the premieres of the Fourth Symphony and the Coriolan Overture.