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Glenn Gould Plays Bach: Goldberg Variations Bwv 988 - The Historic 1955 Debut Recording; The 1981 Digital Recording

Glenn Gould Audio CD
5.0 out of 5 stars  See all reviews (2 customer reviews)
Price: 6.99 & FREE Delivery in the UK on orders over 10. Details
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Frequently Bought Together

Glenn Gould Plays Bach: Goldberg Variations Bwv 988 - The Historic 1955 Debut Recording; The 1981 Digital Recording + Glenn Gould Plays Bach: The Well-Tempered Clavier Books I & Ii, Bwv 846-893
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Product details

  • Performer: Glenn Gould
  • Audio CD (10 Sep 2012)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Sony Music Classical
  • ASIN: B0085MK2M6
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 7,724 in Music (See Top 100 in Music)

Disc: 1
1. Goldberg Variations, BWV 988 / Aria
2. Goldberg Variations, BWV 988 / Variation 1 a 1 Clav.
3. Goldberg Variations, BWV 988 / Variation 2 a 1 Clav.
4. Goldberg Variations, BWV 988 / Variation 3 a 1 Clav. Canone all' Unisuono
5. Goldberg Variations, BWV 988 / Variation 4 a 1 Clav.
6. Goldberg Variations, BWV 988 / Variation 5 a 1 ovvero 2 Clav.
7. Goldberg Variations, BWV 988 / Variation 6 a 1 Clav. Canone alla Seconda
8. Goldberg Variations, BWV 988 / Variation 7 a 1 ovvero 2 Clav.
9. Goldberg Variations, BWV 988 / Variation 8 a 2 Clav.
10. Goldberg Variations, BWV 988 / Variation 9 a 1 Clav. Canone alla Terza
See all 34 tracks on this disc
Disc: 2
1. Goldberg Variations; BWV 988 / Aria
2. Goldberg Variations; BWV 988 / Variation 1 a Clav.
3. Goldberg Variations; BWV 988 / Variation 2 a 1 Clav.
4. Goldberg Variations; BWV 988 / Variation 3 a 1 Clav. Canone all'Unisono
5. Goldberg Variations; BWV 988 / Variation 4 a 1 Clav.
6. Goldberg Variations; BWV 988 / Variation 5 a 1 ovvero 2 Clav.
7. Goldberg Variations; BWV 988 / Variation 6 a 1 Clav. Canone alla Seconda
8. Goldberg Variations; BWV 988 / Variation 7 a 1 ovvero 2 Clav. Al tempo di Giga
9. Goldberg Variations; BWV 988 / Variation 8 a 2 Clav.
10. Goldberg Variations; BWV 988 / Variation 9 a 1 Clav. Canone alla Terza
See all 32 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.

Customer Reviews

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Most Helpful Customer Reviews
5.0 out of 5 stars Gould plays Bach; Bach plays Gould! 8 July 2014
Format:Audio CD|Verified Purchase
Gould plays Bach's music as if it was composed yesterday, or improvised by him at the keyboard. Magnificent!
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5.0 out of 5 stars Gould - Goldberg Variations 18 Dec 2013
Format:Audio CD|Verified Purchase
For some reason, I have never been very fond of this Air + Variations. The two recordings by Glenn Gould have offered me the opportunity to revisit these pieces and, with the printed music, re-evaluate them. Thank you for suggesting them to me. A1 service from yourselves. A Merry Christmas and a very Happy New Year !
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  3 reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars Wonderful version 1 April 2014
By marco - Published on Amazon.com
Format:Audio CD|Verified Purchase
I prefer the 1981 version. It's more relaxing. By the way, the logistics is terrible and caddy was broken. Fortunately, the CD is in good shape.
1 of 1 people found the following review helpful
5.0 out of 5 stars For my love of Bach - Gould 27 Jan 2014
By Linda V. Good - Published on Amazon.com
Format:Audio CD|Verified Purchase
Loved hearing the contrast of the two playings. I knew his first recording which I loved for years but now prefer his later, slower interpretation. which was new to me.
To me Glen Gould is my Bach god. I have every recording now that he has ever made..
5.0 out of 5 stars Glenn Gould: An Apology... 4 Sep 2012
By B.E.F. - Published on Amazon.com
Format:Audio CD
~~~

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).

~~~
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