I love the early sonatas; I love the early Mozart, period. I'm really fond of that moment when he was either emulating Haydn or Carl Philipp Emanuel Bach or anybody but himself. The moment he found himself, as conventional wisdom would have it, at the age of 18 or 19 or 20, I stop being so interested in him.
In this quote, Glenn Gould, a renowned Canadian pianist, expresses his admiration for the early sonatas and early works of Mozart, particularly those from his formative years. Gould appreciates the period when Mozart was still influenced by other composers like Haydn and Carl Philipp Emanuel Bach, before he had fully developed his own distinctive style. For Gould, the charm of Mozart's early work lies in the exploration and emulation of other composers, a time when Mozart was still searching for his voice in the music world.
Gould goes on to say that once Mozart reached the age of 18, 19, or 20, and found his own unique musical identity, he became less interested in his work. This marks a point where Gould feels that Mozart's compositions, while brilliant, became more conventional and less fascinating to him. For Gould, the authenticity and originality of an artist is found in the early stages of their development, before they settle into a recognizable style or become influenced by established norms.
The origin of this quote comes from Gould’s deep engagement with Mozart's music, which he was known for interpreting and performing extensively. As a highly individualistic artist, Gould was often critical of conventional interpretations and sought to challenge norms in both his music and his commentary. His love for the early Mozart reflects his own appreciation for artistic growth and the exploration of different influences before an artist becomes fully established.
Ultimately, Gould’s words reflect a preference for the rawness and experimental quality of early music, where composers, like Mozart, were still in the process of discovering their voice. His views offer a fascinating perspective on how artistic development is perceived and how early works can hold a special place for those who value the process of self-discovery in music.
AHTran Dinh Anh Hieu
Gould’s remark makes me think about how often we define creative success by originality. But perhaps there’s deep beauty in an artist's homage to those who came before. Is it possible that once Mozart found his voice, he also lost some of the wonder, curiosity, or innocence that makes the early works resonate more with certain listeners? Maybe Gould wasn't dismissing Mozart's greatness, but rather seeking something more emotionally elusive.
Ddaotienhaivu
There’s something poetic about preferring an artist’s early work—the phase where they’re shaped by influences, still reaching. Maybe Gould was drawn to the youthful vulnerability in Mozart's early sonatas. It’s like watching a genius in rehearsal instead of in performance. Does this reveal more about Mozart or about Gould’s own artistic sensibilities? Could his own creative identity have been more sympathetic to the idea of ongoing formation rather than arrival?
CPDung Cu Phi
I find this opinion a bit hard to digest. Isn't it a little dismissive to lose interest in an artist once they've come into their own? I get that Gould had his unique tastes, but Mozart's mature compositions are considered masterpieces for a reason. Is there something in Gould's mindset that resists perfection or convention? It makes me question whether he values technical brilliance less than raw potential.
VAViet Anh
This quote raises a really interesting question about how we value artistic development. Could it be that the early, formative stages of a genius are more compelling because they show the tension and searching? I think we often romanticize 'finding oneself,' but maybe that journey—the emulation, the uncertainty—is just as, if not more, human and relatable than mastery. Do we sometimes overlook beauty in artistic imitation?
HHMai Hoang Huy
That's such an unexpected take! Most people celebrate Mozart's mature works, so it's fascinating that Glenn Gould prefers the period where Mozart was still imitating others. It makes me wonder—does artistic greatness lie more in originality, or in the struggle to find one's voice? Maybe Gould saw more vulnerability, experimentation, or rawness in those early pieces that felt more emotionally engaging than the polished genius Mozart later became known for.