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  • Glenn Gould Plays Renaissance & Baroque Music: Byrd; Gibbons; Sweelinck; Handel: Suites For Harpsichord Nos. 1-4 Hwv 426-429; D. Scarlatti: Sonatas K. 9, 13, 430; C.p.e. Bach: "Württembergische Sonate" No. 1
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Glenn Gould Plays Renaissance & Baroque Music: Byrd; Gibbons; Sweelinck; Handel: Suites For Harpsichord Nos. 1-4 Hwv 426-429; D. Scarlatti: Sonatas K. 9, 13, 430; C.p.e. Bach: "Württembergische Sonate" No. 1


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Glenn Gould Plays Renaissance & Baroque Music: Byrd; Gibbons; Sweelinck; Handel: Suites For Harpsichord Nos. 1-4 Hwv 426-429; D. Scarlatti: Sonatas K. 9, 13, 430; C.p.e. Bach: "Württembergische Sonate" No. 1 + Glenn Gould Plays Sonatas, Fantasies, Variations: Scriabin; Prokofiev; Grieg, Sibelius; Berg; Krenek; Schumann; Bizet; Morawetz + Glenn Gould Plays Beethoven & Wagner
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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: B0085MK2IU
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Bestsellers Rank: 96,248 in Music (See Top 100 in Music)

Disc: 1
1. First Pavan and Galliard
2. Fantasy in C Major
3. Allemande (Italian Ground)
4. Hughe Ashton's Ground
5. Sixth Pavan and Galliard
6. Lord of Salisbury Pavan and Galliard
7. A Voluntary
8. Sellinger's Round
Disc: 2
1. Suite No. 1 in A Major, HWV 426 / I. Prelude
2. Suite No. 1 in A Major, HWV 426 / II. Allemande
3. Suite No. 1 in A Major, HWV 426 / III. Courante
4. Suite No. 1 in A Major, HWV 426 / IV. Gigue
5. Suite No. 2 in F Major, HWV 427 / I. Adagio (attacca)
6. Suite No. 2 in F Major, HWV 427 / II. Allegro
7. Suite No. 2 in F Major, HWV 427 / III. Adagio (attacca)
8. Suite No. 2 in F Major, HWV 427 / IV. Allegro (Fuga)
9. Suite No. 3 in D minor HWV 428 / I. Prelude. Presto {attacca
10. Suite No. 3 in D minor HWV 428 / II. Allegro {Fugue
See all 30 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

4 of 4 people found the following review helpful By MatteoN on 1 Oct. 2012
Contrary to what is written on the cover of the booklet, this double cd doesn't contain Gould's recording of Sweelinck's Fantasia in D. (See the pic of the cd's back cover.)

Gould's recordings of Byrd and Gibbons are great and deservedly well-known.
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0 of 2 people found the following review helpful By John L Langley on 1 July 2014
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As described promptly delivered, thank you
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 4 reviews
8 of 8 people found the following review helpful
A little bit of false advertising... 6 Mar. 2013
By D. J. Krug - Published on Amazon.com
Verified Purchase
[Standard disclaimer for reissues - this review is about the reissue and not about the music, which is splendid]. Sony Classical has updated and reissued their earlier "Glenn Gould Edition" releases with this new line of "Glenn Gould Collection" releases in conjunction with what would have been the pianist's 80th birthday. This 2-disc set contains the Renaissance and (non-Bach) Baroque music, to include the wonderful Gibbons and Byrd pieces that were included as part of his "Consort of Musick" release. The earlier "Glenn Gould Edition" version of this disc also contained a newly-released piece (at the time), the 'Fantasia in D' by Jan Sweelinck. Now ... take a closer look at the cover of this newer release: go down the list of composers and one finds ... Sweelinck! But take out the disc(s) - no Sweelinck! Somehow this piece was dropped from the reissue. How frustrating, since you now have to either buy or retain the old release if you are a Gould completist.
4 of 4 people found the following review helpful
English Baroque and a wonderful harpischord 16 Dec. 2012
By James F. Houle - Published on Amazon.com
Verified Purchase
An unusual look at the early baroque in England, including the German-born Handel. The Handel is quite brilliant and the marvelous harpischord sounds are transporting.
1 of 1 people found the following review helpful
Glenn Gould: An Apology... 4 Sept. 2012
By B.E.F. - Published on Amazon.com
~~~

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).

~~~
1 of 1 people found the following review helpful
A great example of why Gould was so brillant. 29 Mar. 2013
By Anapanasati - Published on Amazon.com
I find this to be a great example of what made Glenn Gould brilliant. Detours into rare areas and pulling off the results marvelously. The William Byrd and Orlando Gibbons is beautiful, the Handel (Harpsichord) is really strange (due to not having a proper technique on the instrument, but have great musicality and piano technique), Scarlatti is great (wish he did more) and the CPE Bach is something I have to hear again to understand more. The more I look into Glenn Gould, the more it seems that the current scene of young pianists is truly disappointing (to be polite). I could go on and on, but I find that in the long run it was good Gould did less standard repertoire because it freed him up to learn/record material like this.
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