Beethoven: Symphony 6 (Pastorale) (arranged by Franz liszt). These transport us back to a former time far removed from ours, before records, broadcasting or even efficient transportation. In Liszt's era, the vast majority of music lovers who wanted to hear a particular orchestral work had two choices: wait patiently for a local or visiting ensemble to program it (and continue to wait, perhaps in vain, to hear it again) or play. Although Liszt was known for virtuostic paraphrases, his transcriptions of the beethoven symphonies are relatively straightforward. Gould apparently intended at one point to record them all but only got to the fifth and the first movement of the sixth. (The cd of the complete pastorale is from a cbc radio broadcast.) Tempos tend to be strict, but not obsessively so, relying instead on subtle inflection and tone color to underline the structure. The Scene by the Brook, in particular, is extremely deliberate (nearly 21 minutes, as opposed to a standard 13 or so) and assumes an exquisite dream-like quality.
So, you, want to, write a, fugue » for 4 voices
The gould legend is one of an uncompromising artist, unyielding within the strict bounds of his personal taste, but his concert log suggests a far more practical recognition of commercial reality. True, he programmed loads of Bach and occasionally led his audiences down rarely trodden paths into Schoenberg, gibbons and others, writers but consider this: of the 250 or so concerts between his 1955 New York debut and his 1964 retirement, 90 featured beethoven concertos! Of those, 18 presented the Emperor, a work which, notwithstanding its enormous popularity and the nearly unanimous praise of others, he claimed to dislike, calling it harmonically simple-minded and an impossible mixture of naivete and professionalism. Nowhere this side of Grand Old Opry can one encounter more unadorned ii-v-i progressions. Gould recorded it with Stokowski in 1966 in a lush, stately reading designed to emphasize its symphonic nature (included in Sony sm3K 52632). This later (1970) Toronto tv appearance arose by chance. Apparently michelangeli was scheduled to perform and gould, aware of the Italian's reputation as unreliable, joked with the producer that he had better be ready to step. As predicted, michelangeli cancelled at the last moment and gould was held to his promise for what turned out to be his very last performance with an orchestra. Although conductor Ancerl was said to have remarked something about substituting one kook for another, gould gives a good, solid reading - indeed, perhaps the only surprise here, and a rather huge one at that, is that the reading is so conventional. As for the Strauss, gould would rise from the dead to challenge any accusation that he was a concert virtuoso, but the ease with which he dispatches this flashy and difficult piece provides proof that he could have had such a career and reputation had. Beethoven: Symphony 5; Symphony 6 (Pastorale) (first movement only) (arranged by Franz liszt).
This disc assembles all of gould's partial tapings. Gould was a proficient organist and issued the first nine pieces in 1962 but he never resumed the project (nor made any further organ records). Curiously, he plays mostly in a stark, staccato manner without any pedal, as if to coax the king of keyboard instruments to disavow its legato nature. Of the piano excerpts, the most enthralling is the final and incomplete fugue xiv, which gould plays with a seething, wrenching spirituality. He revered this piece as the one in which Bach disavowed the stylistic contraints of his time to produce a pure and deeply personal statement of just who he really was as an artist. Gould cited as the most beautiful moment in all music the point here type when Bach introduces a theme of notes corresponding to the letters of his own name. Incidentally, this performance was filmed and is included as one of the bonus video tracks on The gould Variations (Sony sm2K 89344 to see him utterly transported as he delves into this monumental piece draws the viewer into gould's special, private world and immeasurably enhances. Beethoven: piano concerto 5 (Emperor) (with the toronto symphony Orchestra conducted by karel Ancerl Strauss: Burlesque (with the toronto symphony Orchestra conducted by Vladimir Golschmann).
In the course of adjusting cd 318 for the Inventions session, gould managed to afflict it with a bizarre hiccup effect in the middle register, by which random sustained notes were repeated. Gould acknowledged this in the album notes (to columbia ms 6622) but professed to find the result charming and justified it as related to the clavichord's propensity for an intra-tone vibrato. He went on to assert his sober conviction that no piano need feel duty-bound to always sound like a piano. To me, though, the sonic quirk ruins the rhythm and becomes incredibly annoying. Here, then, is an alternate version that avoids this problem while preserving gould's fundamental approach to these wonderful morsels. Bach: Art of the fugue (excerpts - london fugues I through ix on the organ and i, ii, iv, ix, xi and xiv on piano prelude and Fugue, bwv 898. Gould often cited this massive final compendium of Bach's art as his favorite work, yet he never made a complete recording (nor, for that matter, ever performed it as a whole). Perhaps that's fitting - after all, bach died leaving it incomplete.
Much has already been written in awe (or bewilderment) about the core of gould's repertoire, and especially his extensive bach recordings. And so, perhaps inspired by a bit of gould's iconoclasm, i thought it might be more valuable to focus on his less popular records that are often overlooked but which reveal just as much about gould's outlook and art. For a short-cut to an area of particular interest, just click on the following: concert Bach, the Art of Fugue, beethoven, mozart, haydn, chamber music, chopin(!), brahms, grieg, bizet and Sibelius, scriabin and Prokofiev, hindemith, wagner, berg, Krenek and Webern, schoenberg, modern Canadians, byrd and. Bach: Goldberg Variations (live in Salzburg, 1959 Three-part Inventions (live in Moscow, 1957). Lest anyone fear that gould's astounding debut record of the goldberg Variations was a fabrication of the editing block, here's a magnificent live performance to document his unadulterated brilliance. It's nearly as note-perfect and every bit as volatile as the studio product (now on Sony smk 52594 yet it's tempered with just enough feeling to sidestep the occasional sterility of the record. The Inventions are of even greater value, though. Although the sound is distorted and rather low-fi, and although the first piece is missing and the others are shorn of their two-part introductions, this concert avoids the mechanical problem that for me destroys any enjoyment of the 1964 studio version (on Sony smk 52596). Until it was demolished in a moving accident, gould had a single favorite piano from Steinway inventory, known as cd 318, which was reserved exclusively for his use and upon which he performed major surgery in order to approach the clarity and feel.
So you want to write a fugue sheet music for Soprano
His style was precise, his rhythms were crisp and the clarity of his counterpoint was underlined by avoiding the blurred pedal effects typical of other pianists. The result was deeply respectful of the inherent values of the source, yet vibrant and exciting. Over the next 25 years, gould recorded nearly all the other Bach keyboard solos. They enthralled many, repelled some, but, most important, stimulated discussion and renewed interest in a neglected genius. Actually, gould did record some of the standard repertoire, including a complete set of the mozart piano sonatas and many of beethoven's.
While they were far from idiomatic and were generally written good off as perverse, for those who already know these works gould's approach can be a revelation. For example, gould sped up the first movement of beethoven's. Moonlight Sonata and drained it of inflection in order to suggest a wistful dance rather than wallowing in the usual melancholy despair. On the other hand, he decelerated the first movement of the. Appassionata sonata to barely half its standard pace, exaggerating its pauses and bass-heavy sonority to turn its drama into very heavy melodrama. But perhaps of greater interest and significance is gould's exploration of less traveled paths.
Born and raised in Toronto, he had concertized for a decade throughout Canada but had established a strictly local reputation. Only a few curious souls attended his 1955 New York debut, but among them was the head of the classical division of Columbia records. Stunned by gould's brilliance and intrigued by a challenging program that shunned all the usual crowd-pleasers for obscurities both old (Gibbons, Sweelink and Bach) and new (Webern and Berg he signed the youngster to a long-term exclusive contract the very next day, an unprecedented move. Gould's record debut was the bach. Goldberg Variations, a set of 32 rather staid, formal pieces, commissioned in 1742 to help its insomniac patron fall asleep. Such a reaction to gould's radical reconception, though, would be unthinkable.
In lieu of performing the work with traditional refined grace on an authentic instrument, gould regarded it as pregnant with promise and capacity for exhaustive exploitation, and proceeded to unleash his bold vision on a concert grand using extreme tempos, huge dynamics and phenomenal technique. Columbia stoked enthusiasm by inviting critics to observe the sessions, and they dutifully reported the new curiosity in the throes of his eccentricities. The album flew to the top of the classical charts and through constant lp, cassette and cd reissues has remained a best-seller ever since. Gould established an instant reputation as a bach specialist, and with good reason. A half-century earlier Wanda landowska had rescued Bach from romanticized high-calorie orchestrations and bloated keyboard adaptations by playing his works on the harpsichord with dignity and humanism. Her records remain deeply moving, but it was gould who went further to foster a genuine love and passion for Bach.
for 4 voices and String quaret
He sought to disguise being a recluse through seemingly informal broadcast interviews, although in fact they all were fully scripted, even including the interviewers' ostensibly spontaneous and fascinated reactions to his impromptu remarks. But much of gould's quirkiness led to striking results. Thus, his peculiar playing position let him achieve a purity of touch and an evenness of tone that the muscular, shoulder-heavy playing of his peers couldn't approach. Deafening noise enabled him to rely upon an inner ear of the imagination and to push his aural ideal beyond the limitations of actual sound. His contempt for standard repertoire led him to proselytize for important but neglected material in lieu of the same tired pieces his peers constantly programmed. Most important of all, forsaking concerts led him to the recording studio diary as a creative outlet. While most classical artists of his time claimed to be repulsed by the artifice of the recording process, gould came to view it as the only reliable means to capture and convey an artistic conception and embraced its creative possibilities to craft some of the. He used multiple microphones to build novel acoustical environments, played fearlessly at a super-human pace with the assurance that flaws would be corrected, and seized upon the resources of editing to fashion subtly complex emotional interpretations by intersplicing dozens of different takes. Gould took the world by storm with his very first.
body weight onto his groin. When he played he seemed utterly oblivious to his surroundings, swaying soulfully and waving a free hand as if conducting himself, his mouth and face contorted in constant expressive motion. His mother (and first teacher) was a vocal coach who had him sing notes as he played them, a habit he never lost and which remains all too apparent throughout his records. He studied music with loud random noise (such as several blaring radios or TVs). He condemned concerts as a degrading blood sport that detracted attention from the purity of the music and never again performed in public after his retirement at age 31 (although he faked his return in a mock recital ostensibly broadcast from an oil rig). He refused to play chopin, Schumann, liszt, debussy and much of the other core piano repertoire, deriding their masterpieces as empty theatrical gestures. He ridiculed concertos as an embarrasing wasteland that gratified the primeval human need for showing off. He insisted that the obscure Orlando gibbons was the greatest composer of all time. Although he purported to detest virtuosity, he was insanely jealous of Valdimir Horowitz (famed as the greatest keyboard technician of all time going so far as to record several of Horowitz's signature pieces (actually, quite credibly) and to contend that Horowitz faked his famous thundering.
Just how dates weird was he? Consider this: he was a world-class hypochondriac. He feared drafts and cold, wearing heavy sweaters, scarves, gloves and overcoats even in the hottest weather. He was terrified of germs, refusing to go to a hospital to visit his dying mother. He was frightened by physical contact, canceling a dozen concerts and suing after a piano-tuner jostled him. He gobbled vast amounts of pills in lieu of food. He crouched below the keyboard, sitting 14 inches off the floor on a chair his father had built and which he insisted on using his entire life.
Glenn gould so you want to write a fugue for four voices and string
A guide to some of thesis the less conventional volumes of Sony's, glenn gould Edition. Please click here for a september 2002 update (new. Glenn gould Anniversary Edition of Bach! the late canadian pianist Glenn gould was weird. Compared to his bizarre routines, the petulant attitudes and outrageous demands of spoiled rock and movie stars seem downright normal. But often it takes a spark of madness to kindle the fires of genius, especially in the arts. Gould left a fabulous legacy of brilliant and fascinating recordings.