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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 Box set


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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 + 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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Product details

  • Audio CD (10 Sep 2012)
  • SPARS Code: ADD
  • Number of Discs: 4
  • Format: Box set
  • Label: Sony Music Classical
  • ASIN: B0085MK2F8
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 60,834 in Music (See Top 100 in Music)

Disc: 1
1. I. Mässig
2. II. Mässige
3. III. Bewegt
4. I. Sehr langsam
5. II. Sehr rasch
See all 21 tracks on this disc
Disc: 2
1. Andante - CBC Symphony Orchestra
2. Molto allegro [Bar 176] - CBC Symphony Orchestra
3. Adagio [Bar 264] - CBC Symphony Orchestra
4. Giocoso - Moderato [bar 329] - CBC Symphony Orchestra
5. Grave - Più mosso - Meno mosso - Lento - Grazioso - Tempo I - Più mosso -
See all 7 tracks on this disc
Disc: 3
1. I. Dank
2. II. Abschied
3. I. Erwartung
4. II. Schenk mir deinen goldenen Kamm
5. III. Erhebung
See all 21 tracks on this disc
Disc: 4
1. I. Wie Georg von Frundsberg von sich selber sang*
2. II. Die Aufgeregten
3. III. Warnung
4. IV. Hochzeitslied
5. V. Geübtes Herz
See all 23 tracks on this disc

Product Description

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Most Helpful Customer Reviews

1 of 1 people found the following review helpful By nwc on 2 April 2013
Verified Purchase
Some very good performances here, particularly of the works for solo piano, the Piano Concerto, the Phantasy for Violin & Piano (with Israel Baker, not Gould's later recording with Menuhin) and the "Ode to Napoleon Bonaparte".

The songs are well performed, too, but less distinguished - the singers not matching Gould's insights into the piano "accompaniments".

But, more than I remember from the LP releases, the whole project is compromised by really unpleasant recorded sound - close and boxy, and quite difficult to listen to for long stretches of time.
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Most Helpful Customer Reviews on Amazon.com (beta)

Amazon.com: 1 review
1 of 3 people found the following review helpful
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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