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Gould in later yearsBackground informationBorn( 1932-09-25)25 September 1932,Died4 October 1982 (1982-10-04) (aged 50)Toronto, Ontario, CanadaOccupation(s)PianistInstrumentsPianoGlenn Herbert Gould (; 25 September 1932 – 4 October 1982) was a Canadian pianist who became one of the best-known and most-celebrated classical pianists of the 20th century. He was renowned as an interpreter of the keyboard works of. Gould's playing was distinguished by a remarkable technical proficiency and a capacity to articulate the texture of Bach's music.Gould rejected most of the standard piano literature by, and others, in favor of, late-Romantic, and composers (Webern, Ravel.). Although his recordings were dominated by Bach and, Gould's repertoire was diverse, including works by, pre-Baroque composers such as, and, and such 20th-century composers as,. Gould was known for his eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard, to aspects of his lifestyle and behaviour. He stopped giving concerts at the age of 31 to concentrate on and other projects.Gould was also a writer, broadcaster, and conductor. He was a prolific contributor to musical journals, in which he discussed and outlined his musical philosophy.
He performed on television and radio, and produced three radio documentaries called the, about isolated areas of Canada. Gould with his teacher, at the in Toronto, in 1945.
Guerrero demonstrated his technical idea that Gould should 'pull down' at the keys instead of striking them from above.At the age of 10, he began attending the in Toronto (known until 1947 as the Toronto Conservatory of Music). He studied with, the organ with, and piano with. Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of.
This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard. He used this famous chair for the rest of his life and took it with him almost everywhere. The chair was designed so that Gould could sit very low at the keyboard, and allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero.Gould developed a technique that enabled him to choose a very fast while retaining the 'separateness' and clarity of each note. His extremely low position at the instrument permitted him more control over the keyboard.
Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of 's, and 's transcriptions of Beethoven's and Symphonies. Gould worked from a young age with Guerrero on a technique known as: a method of training the fingers to act more independently from the arm.Gould passed his final Conservatory examination in piano at the age of 12, achieving the highest marks of any candidate, and thus attaining professional standing as a pianist at that age. One year later he had passed the written theory exams, qualifying for an Associate of the Toronto Conservatory of Music (ATCM) diploma.
Piano Gould was a and was described in adulthood as a musical phenomenon. He claimed to have almost never practiced on the piano itself, preferring to study repertoire by reading, another technique he had learned from Guerrero. His manual practicing focused on articulation, rather than facility.
He may have spoken ironically about his practicing as there is evidence that, on occasion, he did practice quite hard, sometimes using his own drills and techniques.He stated that he did not understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day. It seems that Gould was able to practice mentally without access to an instrument, once going so far as to prepare for a recording of ' piano works without playing them until only a few weeks before the sessions.
Gould could play from memory not just a vast repertoire of piano music, but also a wide range of orchestral and operatic transcriptions. He could 'memorize at sight' and once challenged his friend John Roberts to name any piece of music that he could not 'instantly play from memory'.The piano, Gould said, 'is not an instrument for which I have any great love as such. but I have played it all my life, and it is the best vehicle I have to express my ideas.' In the case of Bach, Gould noted, 'I fixed the in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things.'
As a teenager, Gould was significantly influenced by, 's recordings of Bach (which he called 'upright, with a sense of repose and positiveness'), and the conductor. Gould was known for having a vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outrightly eccentric. His pianism had great clarity and erudition, particularly in passages, and extraordinary control. Gould believed the piano to be 'a contrapuntal instrument,' and his whole approach to music was, in fact, centered in the. Much of the that followed he felt belongs to a less serious and less spiritual period of art.Gould had a pronounced aversion to what he termed 'hedonistic' approaches to piano repertoire, performance, and music generally. For Gould, 'hedonism' in this sense denoted a superficial theatricality, something to which he felt, for example, became increasingly susceptible later in his career.
He associated this drift towards hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the 'blood sport' with which he struggled, and which he ultimately rejected.
Performances On 5 June 1938, at the age of five, Gould played in public for the first time, joining his family on stage to play piano at a church service at the Business Men's Bible Class in Uxbridge, Ontario, in front of a congregation of about two thousand. In 1945, at the age of thirteen, he made his first appearance with an orchestra in a performance of the first movement of with the. His first solo recital followed in 1947, and his first recital on radio was with the in 1950. This was the beginning of Gould's long association with radio and recording. He founded the Festival Trio chamber group in 1953 with the cellist Isaac Mamott and the violinist.In 1957, Gould undertook a tour of the, becoming the first North American to play there since World War II. His concerts featured, Beethoven, and the of and, which had been suppressed in the Soviet Union during the era of. Gould made his Boston debut in 1958, playing for the Series.
On 31 January 1960, Gould made his American television debut on CBS's Ford Presents series, performing Bach's Keyboard Concerto No. 1 in D minor (BWV 1052) with conducting the New York Philharmonic.Gould was convinced that the institution of the public concert was not only an, but also a 'force of evil', leading to his retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience (musically and otherwise) mostly attendant to the possibility of the performer erring or not meeting critical expectation. He set forth this doctrine, only half in jest, in 'GPAADAK', the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds.
On 10 April 1964, Gould gave his last public performance, playing in Los Angeles, at the. Among the pieces he performed that night were Beethoven's, selections from Bach's, and 's Piano Sonata No. Gould performed fewer than 200 concerts over the course of his career, of which fewer than 40 were outside Canada. For a pianist such as, 200 concerts would have amounted to about two years' touring.One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a 'love affair with the microphone'.
There, he could control every aspect of the final musical 'product' by selecting parts of various. He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices. Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work. For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting.Eccentricities. A replica of Gould's piano chairGould was widely known for his unusual habits.
He often hummed or sang while he played, and his were not always successful in excluding his voice from recordings. Gould claimed that his singing was unconscious and increased in proportion to his inability to produce his intended interpretation from a given piano. It is likely that this habit originated in his having been taught by his mother to 'sing everything that he played', as his biographer puts it. This became 'an unbreakable (and notorious) habit'.
Some of Gould's recordings were severely criticised because of this background 'vocalising'. For example, a reviewer of his 1981 re-recording of the opined that many listeners would 'find the groans and croons intolerable'.
Gould was renowned for his peculiar body movements while playing and for his insistence on absolute control over every aspect of his environment. The temperature of the recording studio had to be precisely regulated. He invariably insisted that it had to be extremely warm. According to another of Gould's biographers, the air-conditioning engineer had to work just as hard as the recording engineers.The piano had to be set at a certain height and would be raised on wooden blocks if necessary. A small rug would sometimes be required for his feet underneath the piano. He had to sit exactly fourteen inches above the floor, and would play concerts only while sitting on the old chair his father had made.
He continued to use this chair even when the seat was completely worn through. His chair is so closely identified with him that it is shown in a place of honour in a glass case at the.Conductors had mixed responses to Gould and his playing habits., who led Gould in 1957 with the, remarked to his assistant, 'That nut's a genius.' Leonard Bernstein said, 'There is nobody quite like him, and I just love playing with him.' Bernstein created a stir at the when, just before the was to perform the Brahms with Gould as soloist, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: 'In a concerto, who is the boss – the soloist or the conductor?' , to which the audience laughed.
'The answer is, of course, sometimes the one and sometimes the other, depending on the people involved.' Specifically, Bernstein was referring to their rehearsals, with Gould's insistence that the entire first movement be played at half the indicated tempo.
The speech was interpreted by, music critic for The New York Times, as an abdication of responsibility and an attack on Gould. Plans for a studio recording of the performance came to nothing. The live radio broadcast was subsequently released on CD, Bernstein's disclaimer included.Gould was averse to the cold, and wore heavy clothing (including gloves), even in warm places. He was once arrested, having possibly been mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coats, hat and mittens. He also disliked social functions. He hated being touched, and in later life limited personal contact, relying on the telephone and letters for communication. On a visit to in New York City in 1959, Gould was greeted by the chief piano technician at the time, William Hupfer, with a slap on the back.
Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of the incident. He went on to explore the possibility of against if his apparent injuries were permanent. He was known for cancelling performances at the last minute, which is why Bernstein's aforementioned public disclaimer opened with, 'Don't be frightened, Mr. Gould is here. he will appear in a moment.' In his and broadcasts, Gould created more than two dozen for satirical, humorous, and didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist Karlheinz Klopweisser, the English conductor Sir Nigel Twitt-Thornwaite, and the American critic Theodore Slutz.
These facets of Gould, whether interpreted as or 'play', have provided ample material for. In Toronto was a regular haunt of Gould's. A CBC profile noted, 'sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs.' In a letter to the cellist Virginia Katims of 20 January 1973, Gould said he had been vegetarian for about ten years.
Personal life Gould lived a private life. The documentary filmmaker said of him, 'No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly.' He never married, and biographers have spent considerable time on his sexuality. Bazzana writes that 'it is tempting to assume that Gould was asexual, an image that certainly fits his aesthetic and the persona he sought to convey, and one can read the whole Gould literature and be convinced that he died a virgin'—but he also mentions that evidence points to 'a number of relationships with women that may or may not have been platonic and ultimately became complicated and were ended'.One piece of evidence arrived in 2007. When Gould was in Los Angeles in 1956, he met Cornelia Foss, an art instructor, and her husband, a conductor.
After several years, Gould and she became lovers. She left her husband in 1967 for Gould, taking her two children with her to Toronto.
She purchased a house near Gould's 110 apartment. In 2007, Foss confirmed that she and Gould had had a love affair lasting several years. According to Foss, 'There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual.' Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould, alluding to unusual behaviour that was more than 'just neurotic'.
Specifically he believed that 'someone was spying on him', according to Foss's son. Health and death Though he was an admitted hypochondriac, Gould suffered many pains and ailments; his autopsy, however, revealed few underlying problems in areas that often troubled him. He was highly concerned about his health throughout his life, worrying about everything from (which in his later years he recorded in diary form) to the safety of his hands. (Gould rarely shook people's hands, and habitually wore gloves.) The spine injury he had suffered early in life led to physicians prescribing, usually independently, an assortment of, and other drugs. Bazzana has speculated that Gould's increasing use of a variety of prescription medicines over his career may have had a deleterious effect on his health. It had reached the stage, Bazzana writes, that 'he was taking pills to counteract the side effects of other pills, creating a cycle of dependency'.
According to Peter Goddard, in 1955, Gould said, 'my hysteria about eating.it's getting worse all the time.' In 1956, he was also taking, an anti-psychotic medication, as well as, another anti-psychotic, but one that can also be used to lower blood pressure. Cornelia Foss has said that Gould took a lot of, which she blamed for his deteriorating mental state.Whether Gould's behaviour fell within the has been the subject of debate.
The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book Glenn Gould: The Ecstasy and Tragedy of Genius. There has also been speculation that he may have had, because he sometimes went several days without sleep, had extreme increases in energy, drove recklessly, and, in later life, endured deep depressive episodes.On 27 September 1982, two days after his 50th birthday, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to, and his condition rapidly deteriorated. By 4 October, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support. Gould's public funeral was held in on 15 October with singing.
The service was attended by over 3,000 people, and was broadcast on the CBC. He is buried next to his parents in Toronto's (section 38, row 1088, plot 1050).
The first few bars of the Goldberg Variations are carved on his grave marker. Gould, an unabashed animal-lover, left half his estate to the in Toronto; the other half went to the.
Perspectives Writings Gould is reported to have 'periodically told interviewers that if he had not been a pianist, he would have been a writer'. He expounded his criticism and philosophy of music and art in lectures, speeches, periodicals, and in radio and television documentaries for the CBC.
Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen to be as much off-the-cuff discussions as they are works proper. Gould's writing style was highly articulate, but sometimes florid, indulgent, and rhetorical. This is especially evident in his (frequent) attempts at humour and irony. Bazzana writes that although some of Gould's 'conversational dazzle' found its way into his prolific written output, his writing was 'at best uneven and at worst awful'. While offering 'brilliant insights' and 'provocative theses', Gould's writing is often marred by 'long, tortuous sentences' and a 'false formality', Bazzana writes.In his writing, Gould praised certain composers and rejected what he deemed banal in and its consumption by the public, and also gave analyses of the music of, Alban Berg.
Despite a certain affection for jazz, Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized the for 'bad ' —while praising. Gould and jazz pianist were mutual admirers, and Evans made his seminal record using Gould's celebrated Steinway model CD 318 piano.On art Gould's perspective on art is often summed up by this 1962 quote: 'The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations.
The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity.' Gould referred to himself repeatedly as 'the last ', a reference to the philosopher 's.
Weighing this statement against Gould's highly individualistic lifestyle and artistic vision leads to an apparent contradiction. He was progressive in many ways, promulgating the composers of the early 20th century, and anticipating, through his deep involvement with the recording process, the vast changes that technology would have on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers, this way:He was progressive and anti-progressive at once, and likewise at once both a critic of the and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius.
He both was and was not a man of his time. Technology The issue of 'authenticity' in relation to an approach like Gould's has been a topic of great debate, although diminished by the end of the 20th century—a development that Gould seems to have anticipated. It asks whether a recording is less authentic or 'direct' for having been highly refined by technical means in the studio.
Gould likened his process to that of a film director —one does not perceive that a two-hour film was made in two hours—and implicitly asks why the act of listening to music should be any different. He went so far as to conduct an experiment with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred.
Each group chose different points based on their relationship to music, but none was wholly successful. While the test was hardly scientific, Gould remarked, 'The tape does lie, and nearly always gets away with it'.In a lecture and essay titled 'Forgery and Imitation in the Creative Process', one of Gould's most significant texts, he makes explicit his views on authenticity and creativity. Gould asks why the epoch in which a work is received influences its reception as 'art', postulating a sonata of his own composition that sounds so like one of 's that it is received as such. If, instead, the sonata had been attributed to an earlier or later composer, it becomes more or less interesting as a piece of music.
Yet it is not the work that has changed but its relation within the accepted narrative of. Similarly, Gould notes the 'pathetic duplicity' in the reception of high-quality forgeries by of new paintings attributed to the, before and after the forgery was known.Gould, therefore, prefers an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: 'What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? Moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? What if the composer, as historian, is faulty?' Recordings. Gould recorded several Handel suites and a few pieces from J.S. Bach's WTC on a Wittmayer harpsichord.
The somewhat muffled sound of this 20th-century instrument is very different from modern recordings that are made using copies of old harpsichords.Problems playing these files? See.In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. He held his final public performance in 1964, and thereafter devoted his career to the studio, recording albums and several. He was attracted to the technical aspects of recording, and considered the manipulation of to be another part of the creative process. Although Gould's recording studio producers have testified that 'he needed less than most performers', Gould used the process to give himself total over the recording process.
He recounted his recording of the A minor from Book I of and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.Gould's first commercial recording (of ) came in 1953 on the short-lived Canadian Hallmark label. He soon signed with Columbia Records' classical music division and, in 1955, recorded, his breakthrough work. Although there was some controversy at Columbia about the appropriateness of this 'debut' piece, the record received phenomenal praise and was among the best-selling classical music albums of its era. Gould became closely associated with the piece, playing it in full or in part at many recitals. A new recording of the Goldberg Variations, made in 1981, would be among his last albums; the piece was one of only a few he recorded twice in the studio. The 1981 release was one of CBS Masterworks' first. The 1955 interpretation is highly energetic and often frenetic; the later is slower and more deliberate —Gould wanted to treat the aria and its 30 variations as a cohesive whole.Gould revered J.S.
Bach, stating that the Baroque composer was 'first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived'. He recorded most of Bach's other keyboard works, including both books of and the, keyboard concertos, and a number of toccatas (which interested him least, being less polyphonic). For his only recording at the organ, he recorded about half of, which was also released posthumously on piano.As for Beethoven, Gould preferred the composer's early and late periods. He recorded all five of Beethoven's, 23 of the 32, and numerous bagatelles and variations. Gould was the first pianist to record any of (beginning with the Fifth Symphony, in 1967, with the Sixth released in 1969).Gould also recorded works by Brahms, Mozart, and many other prominent piano composers (with the notable exception of Chopin), though he was outspoken in his criticism of the Romantic era as a whole. He was extremely critical of. When asked in a radio interview if he did not find himself wanting to play Chopin, he replied: 'No, I don't.
I play it in a weak moment – maybe once a year or twice a year for myself. But it doesn't convince me.' However, in 1970, he played the B minor sonata by Chopin for the CBC and stated that he liked some of the miniatures and that he 'sort of liked the first movement of the B minor' but never recorded any of Chopin's music.Although he recorded all of Mozart's sonatas and admitted enjoying the 'actual playing' of them, Gould claimed to dislike Mozart's later works, to the extent of arguing (perhaps facetiously) that Mozart died too late rather than too early. He was fond of a number of lesser-known composers such as, whose Anthems he had heard as a teenager, and whose music he felt a 'spiritual attachment' to. He recorded a number of Gibbons's keyboard works, and called him his favourite composer, despite his better-known admiration for the technical mastery of Bach. He made recordings of piano music by (the Sonatines and ), (the Variations Chromatiques de Concert and the Premier nocturne), Richard Strauss (the Piano Sonata, the Five Pieces, and with ), and Paul Hindemith (the three piano sonatas and the sonatas for brass and piano).
He also made recordings of the complete piano works Lieder by Arnold Schoenberg. In early September 1982, Gould made his final recording: Strauss's. Collaborations The success of Gould's collaborations was to a degree dependent upon his collaborators' receptiveness to his sometimes unconventional readings of the music. His television collaboration with in 1965, in which they played works by Bach, Beethoven and Schoenberg, was called a success by because 'Menuhin was ready to embrace the new perspectives opened up by an unorthodox view'. His 1966 collaboration with, however, recording Richard Strauss's Ophelia Lieder, Op. 67, was deemed an 'outright fiasco'. Schwarzkopf believed in 'total fidelity' to the score, but she also objected to the temperature, which was to Gould's liking:The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned.
But we persevered nonetheless. It wasn't easy for me.
Bach Three Part Invention Pdf
Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely.He worked with numerous vocalists to record Schoenberg, Hindemith, and Ernst Krenek, including. Gould also recorded Bach's ( 1014–1019) with, and the three sonatas for and keyboard with. Claude Rains narrated their recording of Strauss's Enoch Arden melodrama. Gould also collaborated with members of the New York Philharmonic, the flautist and the violinist in a recording of Johann Sebastian Bach's No. 4 in G Major, BWV 1049. Documentaries Gould made numerous television and radio programs for.
Notable productions include his, which consists of The Idea of North, a meditation on Northern Canada and its people, The Latecomers, about, and The Quiet in the Land, about in. All three use a radiophonic electronic-music technique that Gould called 'contrapuntal radio', in which several people are heard speaking at once—much like the voices in a fugue—manipulated through overdubbing and editing. Gould's experience of driving across northern Ontario while listening to in 1967 provided the inspiration for one of his most unusual radio pieces, The Search for Petula Clark, a witty and eloquent dissertation on the recordings of the renowned British pop singer, who was then at the peak of her international success.
Transcriptions, compositions, and conducting. Further information:Gould was not only a pianist, but also a prolific transcriber of orchestral repertoire for piano. He transcribed his own Wagner and Ravel recordings, as well as the operas of Richard Strauss and the symphonies of and, which he played privately for pleasure.He dabbled in composition with few finished works. As a teenager, Gould had written chamber music and piano works in the style of the.
His only significant work was a string quartet, which he finished when he was in his 20s (published 1956, recorded 1960), and perhaps his to Beethoven's. Later works include the Lieberson Madrigal (soprano, alto, tenor, bass and piano), and So You Want to Write a Fugue? (SATB with piano or string-quartet accompaniment). His String Quartet (Op. 1) was met with mixed reaction: the and were quite laudatory, while the was less so. There is little critical commentary on Gould's compositions for the simple reason that there are few of them; he never succeeded beyond Opus 1, and left a number of works unfinished. He attributed his failure as a composer to his lack of a 'personal voice'.
The majority of his work is published. The recording Glenn Gould: The Composer contains his original works.Towards the end of his life, Gould began conducting. He had earlier directed Bach's Brandenburg Concerto No. 5 and the from the (a piano with metal hammers to simulate a harpsichord's sound), and 's (the Urlicht section) in the 1960s. His last recording as a conductor was of 's in its original scoring. He intended to spend his later years conducting, writing about music, and composing.
Legacy and honours. Gould's star onGould is one of the most acclaimed musicians of the 20th century. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners while being highly objectionable to others. Philosopher writes that 'his influence is made inescapable. No performer after him can avoid the example he sets Now, everyone must perform through him: he can be emulated or rejected, but he cannot be ignored.' One of Gould's performances of the Prelude and Fugue in C major from Book I of The Well-Tempered Clavier was chosen for inclusion on the by a committee headed. The disc of recordings was placed on the spacecraft.
On August 25, 2012, the spacecraft became the first to cross the and enter the.Gould is a popular subject of biography and even critical analysis. Philosophers such as and Mark Kingwell have interpreted Gould's life and ideas. References to Gould and his work are plentiful in poetry, fiction, and the visual arts. 's winning 1993 film, includes documentary interviews with people who knew him, dramatizations of scenes from Gould's life, and fanciful segments including an animation set to music. Thomas Bernhard's renowned 1983 novel purports to be an extended first-person essay about Gould and his lifelong friendship with two fellow students from the Mozarteum school in Salzburg, both of whom have abandoned their careers as concert pianists due to the intimidating example of Gould's genius.Gould left an extensive body of work beyond the keyboard.
After his retirement from concert performance, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the on the consumption of media. (Gould grew up in Toronto at the same time that Canadian theorists, and were making their mark on communications studies.) Anthologies of Gould's writing and letters have been published, and holds a significant portion of his papers.In 1983, Gould was inducted into the.
He was inducted into in Toronto in 1998, and designated a in 2012. A federal plaque reflecting the designation was erected next to a sculpture of him in downtown Toronto.
The at the in Toronto was named after him. To commemorate what would have been Gould's 75th birthday, the held an exhibition titled Glenn Gould: The Sounds of Genius in 2007. The multimedia exhibit was held in conjunction with Library and Archives Canada. Glenn Gould Foundation. Main article:The Royal Conservatory of Music Professional School in Toronto adopted the name in 1997 after their most famous alumnus. Awards Gould received many honours both during his lifetime (while claiming to despise competition in music) and posthumously.
In 1970, the government of Canada offered him the, but he declined, believing himself to be too young. Juno Awards The are presented annually by the. Gould won three awards out of his six nominations, but accepted only one in person. YearAwardNominated workResult: Das Marienleben (with Roxolana Roslak)WonBest Classical Album of the YearBach Toccatas, Vol.
2NominatedBest Classical Album of the YearBach: Preludes. Fughettas & FuguesNominatedBest Classical Album of the YearHaydn: The Six Last SonatasNominatedWonBest Classical Album of the YearBrahms: Ballades Op. 10, Rhapsodies Op. 79WonGrammy Awards The are awarded annually by the. Gould won four awards, but, as with the Junos, accepted only one in person.
In 1983, he was honoured posthumously, being inducted into the for his 1955 recording (released in 1956) of the Goldberg Variations. YearAwardNominated workResult: Sonatas for Piano (Complete)Won(with producer Samuel H.
Carter)WonBach: The Goldberg VariationsWonBeethoven: Piano Sonatas Nos. 12 & 13WonWonSee also.References Footnotes., p. 27) states, 'Gould's first name is frequently misspelled as 'Glen' in documents (including official ones) dating back to the beginning of his life, and Gould himself used both spellings interchangeably throughout his life.' , p. 24) further investigated the name-change records in Ontario's Office of the Registrar General and found only a record of his father Bert's name-change to Gould in 1979 (to be able to legally marry with that name); he concludes that the family's name-change was informal and 'Gould was still legally 'Glenn Herbert Gold' when he died.' .According to, p. 24), 'Gould's birth certificate gave his name as 'Gold, Glenn Herbert.' The family name had always been Gold. All of the documents through 1938 that survive among Gould's papers give his surname as 'Gold,' but beginning at least as early as June 1939, the family name was almost always printed 'Gould' in newspapers, programs, and other sources; the last confirmed publication of 'Gold' is in the program for a church supper and concert on 27 October 1940.
The whole family adopted the new surname.' .Full circumstances of the name-change can be found in, pp. 24–26).According to, p. 27), 'At least as far back as the mid-eighteenth century, there were no Jews in this particular Gold lineage.' ., p. 27) dates this incident on the basis of a discussion with Gould's father, who is cited by Friedrich as stating that it occurred 'when the boy was about ten'.ATCM is Associate, Toronto Conservatory of Music. The Conservatory received its in 1947 and became.During Gould's 1957 concert performances in Moscow, labelled him a phenomenon.In their documentary film Glenn Gould: A Portrait , Glenn Gould's father recalled that Glenn 'would not come out of his bedroom until he memorized the whole music' regarding one of Beethoven's piano concertos.In outtakes of the Goldberg Variations, Gould describes his practising technique by composing a drill on Variation 11, remarking that he is 'still sloppy' and with his usual humour that 'a little practising is in order.' He is also heard practising other parts of the Goldbergs.Gould: 'The piano was a means to an end for him, and the end was to approach Beethoven.'
See 07:40 minutes in.Friedrich first states that Gould performed the Beethoven Piano Sonata No. 30 (Opus 109), p. 108) but later states that he performed the Beethoven Piano Sonata No.
31 (Opus 110), p. 354)., p. 229) cites Beethoven Piano Sonata No. 30 (Opus 109).Originally published in Piano Quarterly in 1974. Reprinted and quoted in, p. 159). See at world catalogue., pp. 352–368) In a section, quotes Gould: 'They say I'm a hypochondriac, and, of course, I am.' ., p. 329) specifies 'No physical abnormalities were found in the kidneys, prostate, bones, joints, muscles, or other parts of the body that Glenn so often had complained about.'
.This is discussed and can be seen in the 1959 documentary film On and Off the Record.The claim that Gould 'never shook hands' is exaggerated., p. 267) quotes: 'Everybody said you never touched his hands, you never try to shake hands with him, but the first thing he did to me was to offer to shake hands. He offered me his hand in a very definite way, none of this tentative, 'don't-touch-me' stuff.' .These include his famous 'self-interview', his book review of a biography written about him (in which he refers to himself in the third person)—not to mention the various appearances of his 'alter egos' in print, radio, or TV, including an 'extended and rather strained radio joke show', ('Critics Callout Corner' on the Silver Jubilee Album, 1980) which, p. 180) comments: 'The humour is punishing. There can be no excuse for it, and the one clear lesson of the recording is that it could exist only because of the stature of its creator. Gould in effect called in twenty-five years of chits from Columbia when he got them to release this embarrassing piece of twaddle.' .These comments can be found in essays in.There are two other Gould recordings of the Goldberg Variations.
One is a live recording from 1954; the other is live recorded in Moscow on 7 May 1957 and in on 25 August 1959 (Sony SRCR 9500). It is part of The Glenn Gould edition and has been re-released on CD on.Gould discusses this in the 1974 film series Chemins de la Musique (Ways of the Music). His 24 part series features Gould in four of those parts: La Retraite (The Retreat), L'Alchimiste (The Alchemist), 1974, Partita No. 6 (Bach's Partia No 6). The four parts on Gould were re-released in 2002 on DVD as Gould: the alchemist.The Schubert can be seen briefly in the film Hereafter. The transcription of Bruckner's Gould alludes to in an article where he deprecates its 'sheer ledger-line unplayability'; the Strauss opera playing can be seen in one of the conversations and is referred to by almost everyone who saw him play in private.Citations. Toronto: McClelland & Stewart.
(1985). London: Gollancz. (2012). Newcastle, Ontario: Penumbra Press. Friedrich, Otto (1990) Reprint. Originally published: New York: Random House, 1989. New York: Random House.
Gould, Glenn (1987). Page, Tim (ed.). Boston: Faber and Faber. — (1999).
Roberts, John Peter Lee (ed.). Contributing author Roberts.
Toronto: Malcolm Lester Books.; Layton, Robert & March, Ivan (1988). London: Penguin Books. (2009).
Toronto: McClelland & Stewart. (2009). Toronto: Penguin Canada.
Ostwald, Peter F. Norton & Company. Payzant, Geoffrey (1978).
Toronto; London: Van Nostrand Reinhold.Multimedia sources.
⇒ 14 more: 2. Invention in C minor, BWV 773. 3. Invention in D major, BWV 774. 4. Invention in D minor, BWV 775. 5.
Invention in E♭ major, BWV 776. 6. Invention in E major, BWV 777.
7. Invention in E minor, BWV 778. 8. Invention in F major, BWV 779. 9. Invention in F minor, BWV 780. 10.
Invention in G major, BWV 781. 11. Invention in G minor, BWV 782. 12. Invention in A major, BWV 783. 13. Invention in A minor, BWV 784.
14. Invention in B♭ major, BWV 785. 15. Invention in B minor, BWV 786. URTEXT EDITIONThis 'urtext' or 'scholarly' (scientific) edition was published at least 25 years ago in the EU (or 20 years ago in Italy, before 1992 in the former USSR). Hence, the edition is in its country of origin or a government publication.
Such editions are also in Canada because they fail to meet the minimum 'threshold of originality' to qualify for copyright as an 'adaptation'. They may not be elsewhere. More information about this can be found.Please obey the copyright laws of your country. IMSLP does not assume any sort of legal responsibility or liability for the consequences of downloading files that are not in the public domain in your country.Copyright.