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Track Listings
| 1. "Keyboard Concerto No. 1 in D minor, BWV 1052" |
| 2. "Keyboard Concerto No. 4 in A Major, BWV 1055" |
| 3. "Concerto for Piano and Orchestra No. 5 in F minor, BWV 1056" |
| 4. I. Allegro |
| 5. II. Adagio |
| 6. III. Allegro |
| 7. I. Allegro |
| 8. II. Larghetto |
| 9. III. Allegro ma non tanto |
| 10. I. [Allegro] |
| 11. II. Largo |
| 12. III. Presto |
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Customer Reviews
Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Audio CD
A fantastic and completely typical Glen Gould recording. The emotion can be felt as much as heard and his completely unique performance style will either enthral or enrage.
4 of 4 people found the following review helpful
Format:Audio CD
Glenn Gould plays Bach's concertos with the typical clarity and dazzling both-handed dexterity, which make these performances absolutely electrifying and unforgettable! A must for fans alongside the Bach - Piano Concertos Vol 2.
0 of 1 people found the following review helpful
Format:Audio CD
The first page of the booklet lists all three concertos as having been recorded on the same two days (11 & 30 April, 1957) and the conducting duties as shared between Leonard Bernstein (BWV 1052) and Vladimir Golschmann (BWVs 1055 and 1056).
I suppose we have to believe this although BWV 1052 bumps doggedly along both in solo and accompaniment despite having been among Gould's 'standards' according to Michael Stegemann's notes. For Bernstein the orchestra is remote and not always all that well coordinated with the solo part.
Especially in BWV 1055, however, Golschmann secures more alert, responsive playing from the Columbia Symphony Orchestra and achieves a convincing, accurate, lively dialogue with Gould who now seems lifted or galvanised by the accompaniment. The wittier, more animated effect is undoubtedly helped by the fact that (notwithstanding the claims in the booklet that the whole disc is in mono) BWVs 1055 and 1056 are recorded in stereo which prevents the piano from obscuring the orchestra so much, although it is still well to the fore. I think that the players have been re-seated between these two concertos, 1055 seems to have divided / antiphonal violins, while in 1056 the celli are to the conductor's right.
Is it too much to hope that a stereo tape of BWV 1052 lurks in the CBS / Sony archives?
I suppose we have to believe this although BWV 1052 bumps doggedly along both in solo and accompaniment despite having been among Gould's 'standards' according to Michael Stegemann's notes. For Bernstein the orchestra is remote and not always all that well coordinated with the solo part.
Especially in BWV 1055, however, Golschmann secures more alert, responsive playing from the Columbia Symphony Orchestra and achieves a convincing, accurate, lively dialogue with Gould who now seems lifted or galvanised by the accompaniment. The wittier, more animated effect is undoubtedly helped by the fact that (notwithstanding the claims in the booklet that the whole disc is in mono) BWVs 1055 and 1056 are recorded in stereo which prevents the piano from obscuring the orchestra so much, although it is still well to the fore. I think that the players have been re-seated between these two concertos, 1055 seems to have divided / antiphonal violins, while in 1056 the celli are to the conductor's right.
Is it too much to hope that a stereo tape of BWV 1052 lurks in the CBS / Sony archives?
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