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Glenn Gould plays Hindemith: 3 Piano Sonatas; 5 Sonatas for Brass & Piano; Das Marienleben [Box set]

Glenn Gould , Paul Hindemith Audio CD

Price: £22.16 & FREE Delivery in the UK. Details
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Frequently Bought Together

Glenn Gould plays Hindemith: 3 Piano Sonatas; 5 Sonatas for Brass & Piano; Das Marienleben + Glenn Gould plays Schoenberg: Klavierstücke opp. 11, 19, 23, 33; Piano Suite op. 25; Piano Concerto op. 42; Fantasy for Violin & Piano op. 47; Ode to Napoleon Buonaparte op. 41; Lieder opp. 1; 2; 3; 6; 12; 14; 15; 48
Price For Both: £39.01

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Product details

Disc: 1
1. I. Ruhig bewegte Viertel
2. II. Im Zeitmass eines sehr langsamen Marsche
3. III. Lebhaft
4. IV. Ruhig bewegte Viertel
5. V. Lebhaft
See all 13 tracks on this disc
Disc: 2
1. I. Mit Kraft
2. II. Massig bewgt - Lebhaft - Wie zuerst - Wie vorher
3. III. Trauermusik. Sehr langsam - Ruhig bewegt - Wie am Anfang -
4. Alle Menschen mussen sterben. Sehr ruhig
5. I. Massig bewegt
See all 7 tracks on this disc
Disc: 3
1. I. Allegro pesante
2. II. Allegro assai
3. III. Variationen - Moderato, comodo
4. Scherzando, l'istesso tempo
5. Lento
See all 15 tracks on this disc
Disc: 4
1. Geburt Mariä
2. Die Darstellung Mariä im Tempel
3. Mariä Verkündigung
4. Mariä Heimsuchung
5. Argwohn Josephs
See all 15 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 on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  2 reviews
7 of 8 people found the following review helpful
5.0 out of 5 stars Same Recordings, New CD Covers! 7 Jan 2013
By JimmyHayes - Published on Amazon.com
Look, let's face it, buying Glenn Gould recordings, which is a finite activity by the way since Glenn is no longer with us, can be a troubling experience. So many different CDs with the same performances and yet with different CD covers or different combinations of pieces can really drive you batty after a while. Now there's even a large, new "complete" set of Gould playing Bach, which is nothing more than the same CDs that have been available for years in one big set.

I don't know why this is. Perhaps, in part, it has to do with smart record companies taking advantage of customer loyalty. Now, Sony has put out these same recordings which have been available for 50 years in new CD covers with sharp, attractive photos of Glenn in his Sunday best. BUT, they are the same darn recordings as before!!!! And they're expensive to boot!

I have noticed, however an option that will make it cool for people just starting their love affair with Gould's playing. Amazon is charging an arm and a leg for these "new" recordings, but if you look at the other options for purchasing you will find a UK distributer who is selling the CDs for a fraction of the price Amazon is charging. For example this recording of the Hindemith piano sonatas that by the way are sensational, sells for almost 15 bucks. Go to the other purchasing options and the UK Company has it for 6 and change plus postage. That's a significant savings in these hard times. This is true for nearly all of these recently released CDs.

My dream is that someday someone will find a vault filled with heretofore unheard recordings of Glenn playing Beethoven's Diabelli variations, the complete works of Handel, and a host of other Baroque and Classical works that we wish Glenn had recorded. Sadly, it ain't gonna happen.

Update: Are you kidding? Now they want 24 bucks for this CD. Heed my advice. Go with the cheap vendor.
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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