Word: goulding
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Dates: during 1960-1969
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Last week in Toronto, that happy hypochondriac Glenn Gould was busy coming down with the flu, having dizzy spells, getting massaged, guarding his private life, and communicating with the world, as usual, only by telephone...
Everywhere, however, his latest batch of recordings-five, all told-were pouring forth like gabby world travelers, which indeed they are. Four years after his withdrawal from public concert life, Pianist Gould is still pursuing one of the most remarkable careers in recording history. First, there is his initial installment of Book 2 of The Well-Tempered Clavier, dazzlingly executed, imaginatively shaped, proving more than ever that while Gould's Bach is invariably different from anybody else's, it invariably has its own kind of rightness. Then there are Mozart's first five piano sonatas, which...
Liszt's Fifth by Beethoven. In his concert days, when he was not singing along, Gould liked to conduct himself with whichever hand he could free at any moment. So it is not surprising that he has finally got around to Beethoven's Fifth Symphony. The piano transcription was written by Keyboard Demon Franz Liszt, meaning that both hands are too busy for shenanigans. Gould plays it in respectful dedication to both Liszt and Beethoven. The Fifth is largely free of Liszt's frequent pianistic bombastics and remarkably faithful to the original-save for an occasional missing...
Rounding out the package are the Schoenberg piano works, which Gould plays with the sense of divine order and mystery that Gieseking used to bring to Debussy; an excellent stereo rechanneling of the album that launched Gould's recording career 13 years ago, the Goldberg Variations ("In those days, my tempi were souped up and rather breakneck"); and a conversation LP in which he admits that his nine years as a recitalist were "rather unpleasant, rather traumatic." In the time since, Gould says that he has had "four of the best years of my life." It hasn...
SCHOENBERG: PIANO CONCERTO AND VIOLIN CONCERTO (Columbia). A new release bringing together two earlier performances of these ripe, satisfying examples of twelve-tone composition. With Robert Craft conducting the nadian Broadcasting Corporation Symphony Glenn Gould plays the rich, almost Brahms-like piano part in the first concerto, and Israel Baker tackles the difficult violin work in the second concerto. Both pieces demonstrate that the intricacies of the dodecaphonic scale in no way limit emotional expression. "If a composer does not write from the heart, said Schoenberg, "he simply cannot produce good music." Schoenberg did both...