Artist: Friedrich Gulda
Album: The Gulda Touch, Vol. 3
Genre: Classique
Release Date: 2023
Audio Format:: FLAC (tracks) 24 bit, 48 kHz
Duration: 01:03:40
Total Tracks: 15
Total Size: 325 MB

Tracklist:

1-1. Friedrich Gulda – Piano Sonata No. 31 in A-Flat Major, Op. 110: I. Moderato cantabile molto espressivo (06:03)
1-2. Friedrich Gulda – Piano Sonata No. 31 in A-Flat Major, Op. 110: II. Allegro molto (01:54)
1-3. Friedrich Gulda – Piano Sonata No. 31 in A-Flat Major, Op. 110: III. Adagio ma non troppo (09:22)
1-4. Friedrich Gulda – 6 Bagatelles, Op. 126: No. 1, Andante con moto, cantabile e con piacevole (02:32)
1-5. Friedrich Gulda – 6 Bagatelles, Op. 126: No. 2, Allegro (02:43)
1-6. Friedrich Gulda – 6 Bagatelles, Op. 126: No. 3, Andante, cantabile ed espressivo (03:38)
1-7. Friedrich Gulda – 6 Bagatelles, Op. 126: No. 4, Presto (04:21)
1-8. Friedrich Gulda – 6 Bagatelles, Op. 126: No. 5, Quasi allegretto (02:53)
1-9. Friedrich Gulda – 6 Bagatelles, Op. 126: No. 6, Presto – Andante amabile e con moto (02:23)
1-10. Friedrich Gulda – 6 Moments musicaux, Op. 94, D. 780: No. 1, Moderato (05:38)
1-11. Friedrich Gulda – 6 Moments musicaux, Op. 94, D. 780: No. 2, Andantino (05:07)
1-12. Friedrich Gulda – 6 Moments musicaux, Op. 94, D. 780: No. 3, Allegro moderato (01:53)
1-13. Friedrich Gulda – 6 Moments musicaux, Op. 94, D. 780: No. 4, Moderato (05:39)
1-14. Friedrich Gulda – 6 Moments musicaux, Op. 94, D. 780: No. 5, Allegro vivace (02:09)
1-15. Friedrich Gulda – 6 Moments musicaux, Op. 94, D. 780: No. 6, Allegretto (07:18)

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The Symphony in G presented here was only discovered in the SWR archives in the course of research for the Gulda series published by SWR music. Until then, nothing was known about the existence of this work; there is no indication of a commission or a special occasion for which this symphony could have been written. This is the world premiere of a work that has never been heard in the studio outside of the recording made on 20 November 1970. Gulda’s symphonic work is closer to the orchestral pieces of jazz composers Gil Evans and Claus Ogerman than to the classical-romantic tradition. Around 1970, Gulda gave concerts with (almost) exclusively his own compositions, including at the Heidelberg Jazztage in 1971. These works are not playable without improvisational knowledge, in order to, in Gulda’s words, ‘keep them away from the incompetents’.