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79 of 82 people found the following review helpful
5.0 out of 5 stars There is SO much of value on this CD.
This great-value double CD contains over 140 minutes of Glenn Gould playing unaccompanied pieces by Bach on the piano. There are 6 partitas (an old form of the sonata) recorded in 1957, just 2 years after his astonishing debut, and then a considerable number of preludes, fugues and fughettas recorded in 1980, at the end of Gould's career, just before he died. So what you...
Published on 11 Jun. 2001 by steve_c_graves@hotmail.com

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4 of 37 people found the following review helpful
3.0 out of 5 stars A Superabundance of Notes
I have listened to this CD perhaps two hundred times and I am sad to say that the return for so doing has been distinctly Sibylline. Gould's incontinence as a pianist is all-weaning and poor old Johann barely gets a look in.
These diachronic duets are an interesting idea but perhaps emerge more from the desire of record companies to bolster falling fughetta sales...
Published on 31 Oct. 2003


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79 of 82 people found the following review helpful
5.0 out of 5 stars There is SO much of value on this CD., 11 Jun. 2001
By 
steve_c_graves@hotmail.com (Wheathampstead, Herts., UK) - See all my reviews
This review is from: Bach: Partitas, Preludes Fugues (Glenn Gould Edition) (Audio CD)
This great-value double CD contains over 140 minutes of Glenn Gould playing unaccompanied pieces by Bach on the piano. There are 6 partitas (an old form of the sonata) recorded in 1957, just 2 years after his astonishing debut, and then a considerable number of preludes, fugues and fughettas recorded in 1980, at the end of Gould's career, just before he died. So what you get is a nice broad sweep of the Canadian genius' career, and an awful lot of Bach. The playing, as one expects from Gould, is charming, truthful, clear, fluent, enthusiastic, dazzling. He seems to be able to read the textures of the counter-point so well, and can carry 5 or 6 tunes at once with apparent ease. The 1st and 4th partitas are remarkably beautiful, and the two groups of 'little preludes' on the second CD contain so much of interest for Bach fans: some clock in at just 30 seconds, others last for three minutes, and every one contains a new idea. Gould explores and animates each note, and the role of each note in the piece, with a joy and an attention to detail that Bach would have called religious, and which Gould's psychoanalysts and biographers have called obsessive. But he is true to the music. He doesn't cheat. Never touching the sustain pedal, his interpretation is dry and pointed, and never errs into the watery mush that is Neo-Romanticism. There are no tricks at all. This is the sound of a man who was the greatest piano player of them all, and who dedicated his entire life to the worship of and, thankfully, the recording of J.S.Bach. I have listened to this CD a hundred times and I am only just starting to uncover the deep and varied textures that it contains. It will change the way you hear music.
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10 of 10 people found the following review helpful
5.0 out of 5 stars music for the soul and the heart, 2 Sept. 2004
By A Customer
This review is from: Bach: Partitas, Preludes Fugues (Glenn Gould Edition) (Audio CD)
From all of bach's works, this (the partitas) is my favourite one. Compared to similar compositions i'd say that it's not as simple as the french suites neither strict and cerebral as the english suites. There are of course greater works but to me this speaks straight to the soul and the heart. Each partita is different from the other, with the even-numbered ones going further than the odd-numbered. For me, the best is the fourth, especially in this rendition by glenn gould (the allemande here seems more of an anthem rather than a dance,and probably that's what bach ment it to be). I am not a pianist therefore i can not judge his piano playing. i am a guitarist though and i think i can appreciate his effort from another point of view. And i assure you that although there may be other pianists playing these pieces in a more "authentic" -if there is such a thing - or pianistic way, this is probably the one and only interpretation that will reveal itself to you with every new listening as being the most deep and musical. Best example perhaps is the sarabande from partita nr 3: not typical sarabande playing but it stops your breath where other renditions bore you to death. The little pieces prove once again that it takes a true musician to discover masterpieces in a repertory discarded as children's pieces.
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5 of 5 people found the following review helpful
5.0 out of 5 stars Touchstone of Bach playing, 5 Nov. 2008
By 
Scriabinmahler (UK) - See all my reviews
(TOP 1000 REVIEWER)   
This review is from: Bach: Partitas, Preludes Fugues (Glenn Gould Edition) (Audio CD)
This is a cornerstone of Bach playing which can stand as its own until the end of time. Very few pianists can match clarity & delicacy of these performances.
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4.0 out of 5 stars this is an excellent product to have, 26 Aug. 2014
By 
Mr. J. Allsop "Jake Allsop" (Cambridge, UK) - See all my reviews
(REAL NAME)   
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This review is from: Bach: Partitas, Preludes Fugues (Glenn Gould Edition) (Audio CD)
Glenn Gould is not everybody's cup of tea. Some find him a bit clinical, but if you are interested in the music in an analytical way, this is an excellent product to have. In other words, I was interested in the mechanics not the aesthetics. For the latter, there are many other versions that might suit you better.
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4 of 37 people found the following review helpful
3.0 out of 5 stars A Superabundance of Notes, 31 Oct. 2003
By A Customer
This review is from: Bach: Partitas, Preludes Fugues (Glenn Gould Edition) (Audio CD)
I have listened to this CD perhaps two hundred times and I am sad to say that the return for so doing has been distinctly Sibylline. Gould's incontinence as a pianist is all-weaning and poor old Johann barely gets a look in.
These diachronic duets are an interesting idea but perhaps emerge more from the desire of record companies to bolster falling fughetta sales than out of an authentic spirit of collaboration. Gould constantly reproves Bach, sotto voce, and one does not have to work hard to picture his rough Canadian hands outpacing those of the Teuton and beating him to nearly ever note.
I would cautions listeners from making my mistake and, purely as an aside, suggest they guard against parting with money for Elton John's Sing-a-long-a Scarlatti.
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