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  • Glenn Gould Plays Bach: Piano Concertos Nos. 1 - 5 Bwv 1052-1056 & No. 7 Bwv 1058
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Glenn Gould Plays Bach: Piano Concertos Nos. 1 - 5 Bwv 1052-1056 & No. 7 Bwv 1058

4 customer reviews

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£5.99 & FREE Delivery in the UK on orders over £20. Details Only 4 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

Frequently Bought Together

Glenn Gould Plays Bach: Piano Concertos Nos. 1 - 5 Bwv 1052-1056 & No. 7 Bwv 1058 + Glenn Gould Plays Bach: The Well-Tempered Clavier Books I & Ii, Bwv 846-893 + Glenn Gould Plays Bach: Goldberg Variations Bwv 988 - The Historic 1955 Debut Recording; The 1981 Digital Recording
Price For All Three: £21.97

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Product details

  • Performer: Glenn Gould
  • Audio CD (10 Sept. 2012)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Sony Music Classical
  • ASIN: B0085MK2A8
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 5,209 in Music (See Top 100 in Music)

Disc: 1
1. Keyboard Concerto No. 1 in D minor, BWV 1052 / I. Allegro - Glenn Gould / Columbia Symphony Orchestra / Leonard Bernstein
2. Keyboard Concerto No. 1 in D minor, BWV 1052 / II. Adagio - Glenn Gould / Columbia Symphony Orchestra / Leonard Bernstein
3. Keyboard Concerto No. 1 in D minor, BWV 1052 / III. Allegro - Glenn Gould / Columbia Symphony Orchestra / Leonard Bernstein
4. Keyboard Concerto No. 2 in E Major, BWV 1053 / I. [Allegro]
5. Keyboard Concerto No. 2 in E Major, BWV 1053 / II. Siciliano
6. Keyboard Concerto No. 2 in E Major, BWV 1053 / III. Allegro
7. Keyboard Concerto No. 3 in D Major, BWV 1054 / I. Allegro - Glenn Gould / Vladimir Golschmann
8. Keyboard Concerto No. 3 in D Major, BWV 1054 / II. Adagio e piano sempre
9. Keyboard Concerto No. 3 in D Major, BWV 1054 / III. Allegro
Disc: 2
1. Keyboard Concerto No. 4 in A Major, BWV 1055 / I. Allegro
2. Keyboard Concerto No. 4 in A Major, BWV 1055 / II. Larghetto
3. Keyboard Concerto No. 4 in A Major, BWV 1055 / III. Allegro ma non tanto
4. Concerto for Piano and Orchestra No. 5 in F Minor, BWV 1056 / I. Allegro moderato
5. Concerto for Piano and Orchestra No. 5 in F Minor, BWV 1056 / II. Largo - Glenn Gould
6. Concerto for Piano and Orchestra No. 5 in F Minor, BWV 1056 / III. Presto
7. Keyboard Concerto No. 7 in G Minor, BWV 1058 / I. Allegro - Glenn Gould
8. Keyboard Concerto No. 7 in G Minor, BWV 1058 / II. Andante - Glenn Gould
9. Keyboard Concerto No. 7 in G Minor, BWV 1058 / III. Allegro assai - Glenn Gould

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Customer Reviews

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Most Helpful Customer Reviews

14 of 14 people found the following review helpful By barthol on 8 Mar. 2013
Verified Purchase
There is intense commitment everywhere to be heard in these very "alive" Bach performances. I was about to write "fierce" instead of "intense", and maybe therein lies the one problem that I have with episodes in them: Gould's playing can momentarily feel relentless and fiercely unyielding, particularly when the left hand is playing loudly.

That reservation now behind me (and different people will react differently to those episodes) I need to stress how very fine the performances are in other respects, and that they will give most listeners great pleasure, with tremendous momentum and "Schwung" in the swift movements, and great purity and delicacy in the slow ones. This music clearly mattered enormously to Glenn Gould, and he could convey exactly what he wanted to convey.

There will be some listeners who may prefer a more mainstream interpreter, Andras Schiff, for example. (I greatly admire Schiff: the word "mainstream" is not intended to denigrate him in any way.) These would be listeners who find Gould's playing too individual and too characterful. With Gould's playing, whether such qualities are felt to be marks of genius or to go too far and become defects is a matter of personal response. There isn't any doubt about his exalted level of skill and musicality as an executant. It is rather a question of how the individual listener reacts to the pianist's interpretative choices.

Prospective buyers should note that the F major Concerto BWV 1057 is missing from this set because Gould did not record it. The excellent liner notes go into fascinating detail about the pianist's Puritan attitude to performing, in particular to playing concertos, and are informative and thought-provoking.
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0 of 4 people found the following review helpful By tony r bennett on 27 Nov. 2014
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Absolutely brilliant
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0 of 4 people found the following review helpful By P. Harvey on 19 Dec. 2014
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Perfect!
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0 of 8 people found the following review helpful By mistykitty on 28 Nov. 2014
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This is a good album and ideal for background music.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 2 reviews
1 of 1 people found the following review helpful
Glenn Gould: An Apology... 4 Sept. 2012
By A Customer - Published on Amazon.com
Verified Purchase
~~~

Glenn Gould: An Apology...

‘When music affects us to tears, seemingly causeless, we weep not from “excess of pleasure”; but through excess of an impatient, petulant sorrow that, as mere mortals, we are as yet in no condition to banquet upon those supernal ecstasies of which music affords us merely a suggestive and indefinite glimpse’
--E.A. Poe, ‘Of Music’ (1844).

As for technical facility, Gould was a consummate master of musicianship whose seemingly effortless fluency of keyboard address was as accomplished and natural as has ever been witnessed in humankind vis-à-vis precision, clarity, control, dexterity, speed, and strength.

This technical facility was of course the sum of every fibre of his physicality--which also included perfect pitch; but what moreover makes Gould’s musical realizations uniquely distinctive--in tandem with the acoustical impact of the phenomena of his music-making, is his idealistic philosophy of poststructuralist aesthetics whereby he exercised in real space-time the production of musical sound.

In his art, Gould began with the premise that the musical artwork consists of the Idea conveyed via the intelligible data semiologically constructed within the system of orthography and illustrated upon the printed page.

In other words, the musical artwork is in fact the mental image conveyed within the immanent text itself, regardless of whether the textual data are ever acoustically realized in performance via the use of a mechanical instrument, or not--(an image possibly construed by the term ‘Augenmusik’, abetted by the ‘inner ear of the imagination’).

From this starting premise of idealist Form, the next most significant issue is that of musical intention--i.e., of metaphorical geometric design which may be termed ‘architectonic structure’.

Architectonic structure in a well-designed musical artwork is neutral in terms of dimensions, retaining its values of organic unity and consistency of relationships whether expanded or contracted in psychic duration or acoustical space-time.

From these considerations it directly follows that Gould, as the creative artist in musical interpretation, exercised liberty of decision in performance (e.g., with regards to tempi, rhythm, dynamics, phrasing, attack, tone, articulation, ornamentation, pedalling, etc.), while always maintining the principle of beauty as the sole motivating factor, thusly effecting the player (and not the auditor) as the true critic of the artwork.

‘To the critic the work of art is simply a suggestion for a new work of his own, that need not necessarily bear any obvious resemblance to the thing it criticizes. So, by intensifying his own personality the critic can interpret the personality and work of others, and the more strongly this personality enters into the interpretation the more real the interpretation becomes, the more satisfying, the more convincing, and the more true. The world has become sad because a puppet was once melancholy, and there are as many Hamlets as there are melancholies’
--O. Wilde, ‘The Critic as Artist’ (1890).

~~~
Five Stars 22 Sept. 2014
By Eleanor A. Gabriel - Published on Amazon.com
Verified Purchase
Excellent performance, both Gould and the orchestra. Meets my expectations completely.
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