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Glenn Gould plays Richard Strauss: Ophelia Lieder op. 67; Enoch Arden op. 38; Piano Sonata op. 5; 5 Piano Pieces op. 3

Glenn Gould Audio CD

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Glenn Gould plays Richard Strauss: Ophelia Lieder op. 67; Enoch Arden op. 38; Piano Sonata op. 5; 5 Piano Pieces op. 3 + 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 + Glenn Gould plays Sonatas, Fantasies, Variations: Scriabin; Prokofiev; Grieg, Sibelius; Berg; Krenek; Schumann; Bizet; Morawetz
Price For All Three: £33.59

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Product details

Disc: 1
1. No. 1 "Wie erkenn' ich mei Traulieb?" - Glenn Gould
2. No. 2 "Guten Morgen, 's ist Sankt Valentinstag" - Glenn Gould
3. No. 3 "Sie trugen ihn auf der Bahre bloss" - Glenn Gould
4. Part One / Erster Teil - Prelude. Andante - Claude Rains, Glenn Gould
5. "So these were wed" - Claude Rains, Glenn Gould
6. Allegro appasionato - Claude Rains, Glenn Gould
7. Tranquillo - Claude Rains, Glenn Gould
8. Annie's dream. Langsam. - Claude Rains, Glenn Gould
9. Part Two / Zweiter Teil - Prelude. Allegro moderato - Claude Rains, Glenn Gould
10. "Thus over Enoch's early-silvering head" - Claude Rains, Glenn Gould
See all 12 tracks on this disc
Disc: 2
1. I. Allegro molto appassionato - Glenn Gould
2. II. Adagio cantabile - Glenn Gould
3. III. Scherzo. Presto - Trio. Un poco piu lento - Glenn Gould
4. IV. Finale. Allegretto vivo - Glenn Gould
5. 1. Andante - Glenn Gould
6. 2. Allegro vivace scherzando - Glenn Gould
7. 3. Largo - Glenn Gould
8. 4. Allegro molto - Glenn Gould
9. 5. Allegro marcatissimo - Glenn Gould

Product Description

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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.0 out of 5 stars  3 reviews
2 of 2 people found the following review helpful
5.0 out of 5 stars Yet Another Ace Up Gould's Sleeve 5 Mar 2013
By Tuesdays with Mallarmé - Published on Amazon.com
Verified Purchase
Although Glenn Gould's renditions of Bach have become part of the classical canon, some of his more adventurous forays have hardly seen the light of day. Although Gould's name has become synonymous with cerebral fugues and hyper-precise dynamics, his Strauss instrumental work is warm, robust, and utterly Romantic. For those unfamiliar with Richard Strauss's youthful Piano Sonata and the Five Piano Pieces, they are reminiscent of the works of Schumann and Brahms. On the Ophelia Lieder, Gould is paired up with his favorite opera singer Elisabeth Schwarzkopf, and the results are both quirky and sublime. The lengthy Enoch Arden is perhaps one of the strangest pieces in the classical repertoire; renowned character actor Claude Rains reads the dramatic Tennyson poem about a love triangle, which is punctuated by brief impressionistic piano interludes. It is quite odd but if you listen to it on a long drive, it becomes hypnotic. This is a remarkably entertaining pair of albums at an absurdly low price, so it's a great sampler for fans of Gould or of the ever-surprising Richard Strauss.
2 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).

2 of 11 people found the following review helpful
2.0 out of 5 stars Claude Rains is a Dreadful Ham 16 Dec 2012
By James F. Houle - Published on Amazon.com
Verified Purchase
Someone should have restrained this overacting ham of a Claude Rains. The Strauss Sonata is nice but not the best of Strauss.
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