Ludwig van Beethoven Cello Sonata in A Major played by Glenn Gould and Leonard Rose

Unfortunately, some jerk removed the embed ability for this video on youtube. This happens sometimes with people full of envy who don’t want to share the videos they upload to youtube, even thought they are for sure not the copyright holders. They just don’t want other people to enjoy the music videos outside of youtube, a contradiction by itself. Youtube should offer the possibility to disallow embedding at publishing time and not only when some jerk suddenly finds out that his/her video had been republished somewhere. Why wait all the time till somebody actually uses the features of youtube and then destroy his/her work of embedding and commenting? We’re pretty sure that some of the videos which later on where disabled for embedding are not propperty of the republisher, some show a tv station logo and in these cases the corresponding tv station should hold the copyright while the republisher just happens to have a tv recording or DVD. Envy rules the world!
After all, the Music Video guide wants to help people to learn more about the vast spectrum of music beyond the typical pop stuff. We promise to find a way for you to watch this video clip of a recording from 1960 where Glenn Gould on the piano and Leonard Rose on the cello and play the first movement of Ludwig van Beethoven’s Cello Sonata No. 3 in A major which is catalogued as Op. 69 of this famous german composer who lived at the borderline between classical and romantic music. The tempo of this movement is indicated as Allegro ma non tropo.
This is a beautiful interpretation of the piece by both artists, despite the fact that it sometimes seems to be a piano sonata accompanied by the cello and not a cello sonata accompanied by a piano. This might be related to Glenn Gould’s particular style of piano playing but could also be the intention of the composer who in fact was one of the first composers who used to write indications regarding the dynamics of his compositions. This has to do partly with the evolution of piano constructing techniques and the mechanism between the keys and the strings which was changing at Ludwig van Beethoven’s time.
Both musicians put a lot of soul into their playing and there is an anecdote about the recording. Check that both musicians are playing out of memory. Leonard Rose knew this piece from former performances and the recording staff didn’t want to have a stand with the sheet music between the camera and the cello player, so Rose decided to play out of memory to please the producers. Glenn Gould didn’t want to look less talented and so he memorized the entire sonata the night before the recording!

Rostropovich playing the Prelude of Bach’s Cello Suite No. 1

Mstislav Rostropovich is one of the great cello players of all times. His interpretations are well received among the classical music lovers, even though some of the people who like to listen to classical compositions like the Cello Suites composed by Johan Sebastian Bach prefer other performers, e.g., Yo Yo Ma or Pablo Cazals. We think that it is a matter of taste.
Watch this video with Mstislav Rostropovich performing the Prelude of the Cello Suite No. 1 and compare it to Yo Yo Ma’s performance. While Rostropovich plays the prelude in about 2 minutes while Yo Yo Ma slows it down about 25% resulting in a 2 minutes and a half performance. Personally, I prefer the faster version of the prelude.
Play this video clip and listen to the Cello Suite No. 1 in G major, which is included in the catalogue of Johan Sebastian Bach’s compositions under the number BWV 1007. The present footage was filmed at the Basilique Sainte Madeleine, Vézelay, Yvonne, France in 1991.
Since Johan Sebastian Bach did not include any indications about the performing details, it is supposed that this prelude should not be played with a slowing down effect on certain parts, which is one of the stylistic elements Yo Yo Ma uses almost anywhere. Since Bach didn’t annotate anything like this in his composition sheets, it should be played straight forward as Mstislav Rostropovich is doing it. He catches and expresses more of the original spirit of this composition.