"For some it was an apostate, as a beloved interpreter of piano works by Bach, Mozart and Beethoven in particular, but feared because of his radicalism, and as a composer and fan of Jazz led him to the world of 'improvisation. For others, it was the one who kicks the ultimate frontier: one that opened the doors of its kind to overcome the dividing lines culturally restricted representation and interpretation, overflows in every direction. "
[Here there is only one piece of the 'Concerto for cello and wind orchestra that I wanted to let you listen, mostly placed inside an' interview (auf Deutsch ) to Gulda. Find the complete first movement in a beautiful performance here, I could not 'embedded' in the post. ]
Friedrich Gulda is among the greatest pianists of 900. By Jörg Demus and Paul Badura-Skoda, Gulda formed what became known as the "Viennese troika . It 'a Beethoven specialist, which is already at 23 years he played the entire repertoire of sonatas, in chronological order (a project of unusual and surprising for the '50s), and of which - despite his veins 'mix' - remains one of the greatest performers.
At sixteen he won first prize in the prestigious international competition in Geneva, and that was the springboard for his career as a pianist:
"In the Geneva Competition in 1946, sixteen, playing a Beethoven impressive, with the security of a mature lion of the keyboard, almost a summary of twentieth-century Austrian and German school. The jury understands immediately be confronted with a phenomenal pianist. His career was meteoric. The interpretation of his historical stature of Beethoven, Mozart, its enchanting (and overly ornate). "
"Masculino very clear, powerful, determined, resolute. The contexts can the mass of one piece, they become scrutabili at a glance, simple. Even with a time triggered not ever give a slip in clarity [literally: a 'non-clarity', Undeutlichkeit ] never left his digs as well, simply by chance, never the right rests without a purpose. His talent is extraordinary manual. He 'can ' - technically speaking - much of Schnabel and Kempf, Fischer or same-Richter. It has Gulda clear to himself, what can [ from 'anthology Joachim Kaiser, "Große Pianisten in unserer Zeit", badly translated by me]
But in Geneva, hosted by a family passionate about jazz, Gulda falls in love with the music that constantly runs on the gramophone. Victim of a kind of enlightenment, it seems, became a true fan of jazz set to become known that enfant terrible capable of contaminating the two genres (but not only) by acquiring enemies on both sides of the sides 'purists' of each of the two .
It all started during his own concert. When he was asked for an encore, Gulda choose not to play Schumman or Chopin, but he plays one of his improvisation A Night in Tunisia known song by Dizzy Gillespie. It was a scandal.
It all started during his own concert. When he was asked for an encore, Gulda choose not to play Schumman or Chopin, but he plays one of his improvisation A Night in Tunisia known song by Dizzy Gillespie. It was a scandal.
From there begins the slippery slope. His stage appearances are always unconventional, eccentric and controversial: all the concerts, always rigorously without the lights out in the hall, dressed in a shabby see Gulda, zuccotto wool on his head, pants emerged from the mouth of a dog, dark sweater wrinkled gold Rolex wrist, dedicated to describing all the pieces performed from time to time. Gulda proposed compositions steeped in jazz but reduced to the classical form of theme and variations, a prelude and fugue, the Sonatina, absolutely specimens.
His concerts were details of the mélanges, in which a Chopin nocturne and a Schubert Impromptu Jazz alternated with pieces of its composition or the long improvisations on a theme of Thelonious Monk.
's performances start at Gulda Mozart
(The eccentricity in dress and self-management among other things, remember another contamination as Gilles Apap, which we discussed at the time. Gulda Some clothes are a mirror of the patchwork that is his music. We do not know if it is true, but it seems che il palcoscenico classico sia rimasto uno dei pochi luoghi dove si può trasgredire ancora col solo abbigliamento.)
e finiscono in delle variazioni sul tema di Light my fire dei Doors
Pare che una volta abbia suonato nudo sul palcoscenico il flauto traverso (che aveva imparato a suonare, dopo il pianoforte, assieme al sassofono baritono e a qualche altro strumento), ed è certo che durante i suoi concerti aveva l’abitudine di deviare dai programmi di sala e suonare altre opere.
Nell’estate 1973 Gulda doveva inaugurare col concerto di apertura il V Forum Music International. He should play the Wohltemperierten Klavier by Bach, and instead began with parts unknown. When it ended two hours after his execution - and meanwhile the larger part of the guests had gone - Gulda played for two hours Wohltemperierte Klavier.
In 1969, when he was awarded the Beethoven -Ring (ring Beethoven) by the Academy of Music in Vienna, Gulda criticized in his speech in front of Director, Professors and Students, the old and dusty machine ' music education. A few days later returned the ring.
On 29 March 1999, faked his death to prepare the audience to his latest work, entitled "Resurrection." Ironically, the actual date of his death was pretty close to that simulated. He died a year later, January 27 (same day of the birth of Mozart). "I try not to choose", this has always been his motto, since 1960, poised between classical music and African-American music.
[This is the last movement of the Concerto for cello and wind orchestra with which I started]
LINK:
- Radio Swiss' Retedue 'did a' interesting issue on Gulda (Jazzman side) located here, there's also an interview with the 'Maestro'.
SOURCES: This post is a collage of information obtained in part on the two sites mentioned above, partially translated by two pages on the Internet Gulda (one in English on classicaltv. com , the other in German on klassikakzente.de ), and a little 'put insieme a memoria da una trasmissione che ho ascoltato di recente su Rete Toscana Classica.
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