Sonata Nos.1-3

Glenn Gould was always an outsider in every work he played . This position has its risks . Sometimes , (mostly of them) it worked out .
In this particular case , we must to recognize first at all. that Hindemith piano music is built on wide cromatic lines hold by violent armonies and fierce counterpoints . And Gould handled this technique as the Gods . From here his succesful result.
In the third sonate , however I miss the nostalgic eloquence given for Paul Badura Skoda in an old vynil recording from the fifties. I think Mr. Gould lacks a certain level of expresiveness , seeking a striking effect .
However in the First Sonata , Gould plays with powerful conviction , giving a fresh reading and deeply idiomatism.
The Second Sonata, probably is the jewel of the crown . The staccatos are played with clearness . And the whole conception of this work is perfectly translated.
This is another example of the briliiant craft of this extraordinary artist.

I concur with the review previous to this one! What a joy this recording! Hindemith's overlooked piano sonatas are given entrancing readings by the High Priest of the pianist's art, Glenn Gould. Surely no modern pianist's work is more moving than that of Gould. That perfectly configured sweetness of sound, always his very own, like an intelligent narcotic -whatever he plays! With the Hindemith, he's in his element, not only meeting all the requirements, but tossing them into the harmonious air page after page, shaping music that is so true to itself, it's scary! The Third Sonata in particular is a lesson in pianism, and in heart! What abandon! Gould always plays from the inside out, there are never any supurfluous thoughts to trim; it is as pure an art as you will encounter. And what marvelous pieces, these sonatas! Hindemith to this day remains under-appreciated, certainly under-played, although a number of recent recordings seem to be addressing this - and there is such a wealth of first-rate music from which to make a renaissance. Hindemith's music never disappoints, and consistently stirs up a heady response. To my mind, there is a discernable element of joy traceable in much of his music; despite the vicissitudes of a remarkable life, the creative flow not only never diminished, but indeed deepened- the quartets are all of a sound beauty, the magnificent Requiem, the essential pieces for solo instruments, all the 'useful' music, and these piano sonatas, perfect pieces in a remarkable panorama of musical delight here perfectly played.

Well, Mr. Gould certainly has strong opinions on how to play music. In these sonatas, he takes considerable liberties with the tempi, dynamics and meter that Hindemith clearly indicated in the score. Usually, Gould wins.

The First Sonata is splendid. Gould's very slow first movement is really eloquent. Through the rest of the piece, Gould seems to be trying to explain the music to us: staccatos to separate notes, slow arpeggios, long delays between movements to let us catch our breaths. The final movement, with impossibly crisp playing leading to the massive finale, is better than I imagined the piece to be.

I never liked the Second Sonata but Gould makes it pleasant.

The Third Sonata is sort of dull except for the final fugue. Gould was always a fan of counterpoint and this thing is a real jigsaw puzzle that Gould assembles while you listen. A real wow.

I used to play these sonatas when I could play piano, and this recording showed me a great deal that I had never imagined.