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Bach: The Six Sonatas for Violin & Harpsichord CD


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Biography

Glenn Gould was born in Toronto in 1932, and enjoyed a privileged, sheltered upbringing in the quiet Beach neighborhood. His musical gifts became apparent in infancy, and though his parents never pushed him to become a star prodigy, he became a professional concert pianist at age fifteen, and soon gained a national reputation. By his early twenties, he was also earning recognition through ... Read more in Amazon's Glenn Gould Store

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Product details

  • Audio CD (12 Nov 2007)
  • Number of Discs: 1
  • Format: CD
  • Label: SonyBMG
  • ASIN: B000UH8HTO
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 325,335 in Music (See Top 100 in Music)

Disc: 1
1. I. Adagio
2. II. Allegro
3. III. Andante
4. IV. Allegro
5. I. [without tempo indication]
6. II. Allegro assai
7. III. Andante un poco
8. IV. Presto
9. I. Adagio
10. II. Allegro
See all 12 tracks on this disc
Disc: 2
1. I. Siciliano. Largo
2. II. Allegro
3. III. Adagio
4. IV. Allegro
5. I. Largo
6. II. Allegro
7. III. Adagio
8. IV. Vivace
9. I. Allegro
10. II. Largo
See all 13 tracks on this disc

Product Description

I will ship by EMS or SAL items in stock in Japan. It is approximately 7-14days on delivery date. You wholeheartedly support customers as satisfactory. Thank you for you seeing it.

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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By Galtee More on 9 Mar 2012
Format: Audio CD Verified Purchase
A sleeve note written by Burnett James for a ?1950s Erato / World Record Club recording (of sonatas BWV 1021 - 4) speculates from date evidence that the BWV 1014 - 9 sonatas were written `under the cloud of the death of Bach's first wife', Maria-Barbara. Burnett comments on the `depths of private sorrow' suggested by BWV 1014 - 9, and the opening of BWV 1014 as played by Glenn Gould does suggest private grief: the tempo is much slower than in other recordings I've heard and the spare, détachée style is dark and private. It's as if we have opened a door on a musician who was already playing for his own consolation. Even when Laredo enters, the tempo of this movement remains implacably steady. In all the sonatas there is a clear dialogue between equals with the voices yielding to each other or combining to reflect the musical interest. Laredo's intonation is not always above reproach, though: he tends to play flat in a couple of the sonatas.

Gould collaborated with Yehudi Menuhin in 1966 for a TV project which included the 4th sonata (BWV 1017). The sound track of this programme is on SMK 52 688 and there's no doubt here that in a collaboration with a musical personality as large as Menuhin Gould adopts a more conventional accompanying role. Other complete recordings also tend to give us the harpsichord muttering away in the background and the violin performing a near solo: very nice when a violinist has as lovely a sound as Grumiaux but it seems musically silly when the violin is simply holding a note for a couple of bars or doubling phrases from the harpsichord part.

The only recording I've found which approaches the equal balance in the Gould-Laredo one is by Walch and Szeryng from the 1970s but this has not been in the catalogue for many years.
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2 of 4 people found the following review helpful By Eddie Nguyen on 23 Jan 2011
Format: Audio CD Verified Purchase
Bach: The Six Sonatas for Violin & Harpsichord
This is a great cd however whomever said this piano is a harpsichord must have been profoundly deaf. It is definitely a modern piano, not even a piano forte...not even close. So don't be misled by the title. Nonetheless the cd is lovely & I play it many times daily...some very beautiful pieces.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 2 reviews
2 of 3 people found the following review helpful
Spectrometric Bach thru the Gouldian Prism... 28 May 2012
By B.E.F. - Published on Amazon.com
Format: Audio CD
*

Look: there are at least half-a-hundred recordings of Bach's Violin Sonatas available.
So, what's the attraction here?
Well, quite obviously it's Gould's participation.
Recordings made in the later phase of his career in Toronto (1975-76).

Laredo is a very competent craftsmanlike musician: his chief virtue at these sessions was that he could work well with the challenging, virtuosic, brilliant Gould who frequently in collaborations wanted to explore new visions which traditional [nearsighted] musicians oft found eccentric.

With Bach's egalitarian elevation to equality of voicing between the two instruments, he virtually established the modern violin sonata: as Geiringer says, `He planted precious seeds for the growth [of the genre], establishing, for the benefit of later generations, one of the most significant and cherished forms of joint music-making'.

The pieces are in some of Bach's favourite keys: b, A, E, c, f, and G.
And withal he proceeds to deploy a spectrum of forms and technical devices: part-writing for multiple voicing--(from 3 to 6 voices); movements from three to five; et cetera.
But even more striking is the individual character of alternating moods expressed: from ebullient and energetic, to philosophic and poetic, to pensive and tragic.

So in conclusion, if one wants HIPP, then one may have HIPP; if one wants Gould, then one may have Gould; if one wants Bach, then here he is.

*
Two Stars 19 Dec 2014
By The critics - Published on Amazon.com
Format: Audio CD Verified Purchase
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