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Glenn Gould plays Bach: Two-Part Inventions & Three-Part Sinfonias BWV 772-801; Toccatas BWV 910-916 [Box set]

Glenn Gould Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: 8.98 & FREE Delivery in the UK on orders over 10. Details
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Frequently Bought Together

Glenn Gould plays Bach: Two-Part Inventions & Three-Part Sinfonias BWV 772-801; Toccatas BWV 910-916 + Glenn Gould plays Bach: English Suites BWV 806-811; French Suites BWV 812-817; Overture in the French Style BWV 831 + Glenn Gould plays Bach: 6 Partitas BWV 825-830; Chromatic Fantasy BWV 903; Italian Concerto BWV 971; The Art of the Fugue BWV 1080 (excerpts); Preludes, Fugues & Fantasies
Price For All Three: 30.14

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Product details

  • Audio CD (10 Sep 2012)
  • SPARS Code: ADD
  • Number of Discs: 3
  • Format: Box set
  • Label: Sony Music Classical
  • ASIN: B0085MK2C6
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 61,130 in Music (See Top 100 in Music)

Disc: 1
1. Invention No. 1 in C Major, BWV 772
2. Sinfonia No. 1 in C Major, BWV 787
3. Invention No. 2 in C Minor, BWV 773
4. Sinfonia No. 2 in C Minor, BWV 788
5. Invention No. 5 in E-Flat Major, BWV 776
6. Sinfonia No. 5 in E-Flat Major, BWV 791
See all 30 tracks on this disc
Disc: 2
1. Toccata in D Major, BWV 912
2. Toccata in F-Sharp Minor, BWV 910
3. Toccata in D Minor, BWV 913
Disc: 3
1. Toccata in C Minor, BWV 911
2. Toccata in G Minor, BWV 915
3. Toccata in G Major, BWV 96
4. Toccata in E Minor, BWV 914

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
5.0 out of 5 stars Gould - fantastic. 11 Mar 2013
Verified Purchase
This series of Gould re releases are amazing, the quality of the recordings suggests they may not originally have been intended for release. For example the sound of Gould humming or thumping the the instrument... Bottom line is they are 'of their time' and totally engaging. Price is right too!
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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 Gould, as you would expect 14 Sep 2013
By Ish - Published on Amazon.com
Verified Purchase
what can we say? it's glenn, amazing contrapuntal clarity and voicing. on this, no one touches him or comes close..
5.0 out of 5 stars Gould Does it again 12 Feb 2014
By Willy - Published on Amazon.com
Verified Purchase
Once again you have a definitive recording by Glenn Gould of Bach. Probably the greatest Bach scholar of the 20th century, he makes these works (which are typically ignored by people) to be prestigious. A fantastic recording for any Bach enthusiast.
1 of 2 people found the following review helpful
5.0 out of 5 stars Glenn Gould: An Apology... 4 Sep 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).

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