Overview
Glenn Gould (1932–1982) was a Canadian pianist best known for his highly individual interpretations of classical music, especially the works of J.S. Bach. He gained international fame with his 1955 recording of Bach’s Goldberg Variations, which showcased his exceptional clarity, precision, and unique approach to phrasing and tempo. Gould was known for his eccentricities, including singing along while playing, avoiding live performances after 1964, and favoring studio recording as a way to achieve artistic perfection.
His repertoire extended beyond Bach to include Beethoven, Mozart, Brahms, and 20th-century composers like Schoenberg and Hindemith. Gould was also an outspoken critic of traditional concert culture and had strong views on music interpretation, often reimagining works in unconventional ways. His later recording of The Goldberg Variations in 1981, markedly different from his 1955 version, remains one of the most famous classical recordings of all time.
Beyond the piano, Gould was a writer, broadcaster, and composer, producing insightful radio documentaries and essays on music and philosophy. His legacy endures as one of the most distinctive and controversial musicians of the 20th century.
History
Glenn Gould’s story is one of brilliance, eccentricity, and an unshakable devotion to artistic individuality. Born in Toronto in 1932, he was a musical prodigy from an early age, showing an extraordinary ability to read music before he could read words. His mother, who had hoped to become a professional pianist herself, guided his early training. By the age of ten, he had been admitted to the Royal Conservatory of Music, where he studied with Alberto Guerrero, a teacher who helped shape Gould’s famously unorthodox technique.
From the start, Gould was different. He sat unusually low at the piano, his fingers barely leaving the keys as he played with remarkable precision and clarity. His first major performances in the early 1950s quickly set him apart, but it was in 1955, at just 22 years old, that he catapulted to international fame with his groundbreaking recording of Bach’s Goldberg Variations. The album stunned listeners with its clarity and speed, challenging long-held ideas about how Bach should be played. It was a dazzling debut, and Columbia Records immediately signed him to an exclusive contract.
His fame grew rapidly, and his concert career flourished. Yet, by 1964, Gould had grown disillusioned with performing live. He despised the unpredictability of concerts, the expectations of audiences, and what he saw as the limitations of real-time interpretation. At the height of his career, he made a radical decision: he would never perform live again. Instead, he retreated into the recording studio, where he could construct performances with meticulous control.
From then on, Gould became not just a pianist but a thinker, a writer, and a broadcaster. He produced deeply philosophical radio documentaries, often experimenting with layered voices and unconventional structures. He wrote essays on music, arguing that recording technology would replace live performance entirely. His interpretations became more daring—he slowed down, sped up, and reshaped pieces to fit his unique vision, often disregarding traditional performance practices.
In 1981, Gould returned to The Goldberg Variations, recording them once more, now with a slower, more introspective approach. It was his farewell to the piano, though he didn’t know it at the time. A year later, at just 50 years old, he suffered a stroke and passed away, leaving behind a legacy of recordings, writings, and ideas that continue to fascinate and provoke musicians and listeners alike.
Gould was not just a pianist; he was a philosopher of music, someone who redefined what it meant to interpret a piece. His legacy endures, not only in his recordings but in the way he challenged the very nature of performance itself.
Chronology
Early Life and Education (1932–1952)
1932 (September 25): Born in Toronto, Canada, as Glenn Herbert Gold (later changed to Gould).
1935: Begins playing the piano at age three, showing remarkable talent.
1940: Enters the Royal Conservatory of Music in Toronto, studying with Alberto Guerrero.
1944: Wins the conservatory’s Associate Diploma at age 12, the youngest to do so.
1945: Gives his first public performance, playing Beethoven’s Fourth Piano Concerto with the Toronto Symphony Orchestra.
Early Career and Rise to Fame (1952–1955)
1952: Makes his professional debut as a solo pianist in Toronto.
1955: Travels to New York and records Bach’s Goldberg Variations for Columbia Records, an album that brings him international fame.
Concert Career and Growing Eccentricities (1956–1964)
1956: Tours Europe and performs with major orchestras, including in Moscow and Leningrad, becoming one of the first North American musicians to perform in the Soviet Union during the Cold War.
1957–1963: Gains a reputation as one of the most brilliant and unconventional pianists of his time, playing works by Bach, Beethoven, Schoenberg, and others.
1964 (April 10): Gives his final public concert in Los Angeles, performing Beethoven’s Piano Sonata No. 30 and other works. He announces his retirement from live performances, believing the recording studio is the future of music.
Recording Studio Years and Multimedia Career (1965–1981)
1965–1982: Focuses entirely on studio recordings, exploring experimental techniques and interpretations.
1967: Produces The Idea of North, an innovative radio documentary using overlapping voices, marking his interest in sound collage.
1970s: Writes essays, produces radio and television programs, and records extensively. His interpretations become increasingly radical, often challenging traditional performance practices.
1981: Records The Goldberg Variations for the second time, a slower and more introspective interpretation compared to his 1955 version.
Final Year and Death (1982)
1982 (September 27): Suffers a stroke just two days after his 50th birthday.
1982 (October 4): Passes away in Toronto, leaving behind a vast and influential body of work.
Gould’s legacy remains as one of the most distinctive and thought-provoking musicians of the 20th century, with his recordings continuing to inspire pianists and listeners worldwide.
Characteristics of Performances
Glenn Gould’s playing was unlike that of any other pianist. His approach to interpretation, technique, and performance philosophy set him apart from traditional concert pianists. His key characteristics include:
1. Unique Pianistic Technique
Flat-fingered playing: Gould employed a highly individual technique, keeping his fingers close to the keys and using minimal arm weight. This contributed to his extraordinary clarity and precision.
Low seating position: He sat unusually low at the piano, which allowed him greater control over articulation and tone. He famously used a small, battered chair his father had modified, rather than a standard piano bench.
2. Distinctive Interpretations
Fast, precise articulation: Many of his performances, particularly his early recordings of Bach, were known for their rapid yet incredibly clear execution.
Unusual phrasing and tempo choices: Gould often ignored traditional expressive markings, choosing tempos and phrasing that reflected his own vision of a piece rather than historical performance practices.
Emphasis on counterpoint: His playing highlighted intricate inner voices, making complex textures more transparent, particularly in Bach’s works.
3. Avoidance of Traditional Romanticism
Detached, non-legato touch: Unlike many pianists who used the sustain pedal for a lush sound, Gould preferred a detached articulation that avoided excessive pedal use.
Objective approach: He rejected the expressive rubato and heavy emotionalism of Romantic interpretations, favoring intellectual clarity over sentimentality.
4. Vocalization and Physical Mannerisms
Singing along: Gould was known for audibly humming while playing, which became a signature trait in his recordings.
Eccentric physical movements: He often swayed or leaned closely into the keyboard, completely absorbed in the music.
Contributions to Performance Practice and Music Interpretation
1. Redefining Bach on the Piano
Gould is widely credited with revolutionizing the performance of Johann Sebastian Bach’s keyboard music. Before him, Bach was often played in a heavy, Romantic style with expressive rubato. Gould’s approach—lean, crisp, and highly articulated—helped reestablish Bach as a central figure in piano repertoire and influenced generations of pianists.
2. Pioneering the Recording Studio as an Artistic Medium
Gould saw recording not as a simple documentation of a performance but as an opportunity to create a definitive artistic statement.
He used editing and multiple takes to construct “ideal” interpretations, which he believed were superior to the unpredictability of live performances.
His view that recorded music would surpass live concerts in importance foreshadowed modern digital music consumption.
3. Innovations in Broadcasting and Media
Gould created radio documentaries, such as The Idea of North, that experimented with overlapping voices and sound collage.
He explored multimedia formats, writing and speaking about music in an intellectual and philosophical manner.
4. Challenging the Role of the Performer
By retiring from live concerts at age 31, Gould questioned the necessity of public performance, advocating for a more thoughtful, controlled approach to music-making.
His extreme interpretative choices, such as his radical tempo shifts in Beethoven and his deconstruction of Mozart’s works, sparked debates about artistic freedom versus composer intent.
Legacy
Gould’s influence extends beyond classical music, shaping modern approaches to performance, recording, and music philosophy. His interpretations remain some of the most distinctive in piano history, and his belief in technology’s role in music-making continues to resonate in the digital age.
Piano and Instruments
Glenn Gould primarily played a Steinway & Sons Model D concert grand piano, but he was particularly famous for his preference for one specific piano:
Steinway CD 318
This was his favorite piano, a Steinway Model D concert grand, which he used extensively in recordings and performances.
He favored it for its unique action and sound, which he felt suited his playing style.
Unfortunately, it was damaged during transport in 1971, which devastated him.
Before CD 318, he also played other pianos, including a Steinway CD 174 in his early career.
Other Instruments
Although best known as a pianist, Gould was also interested in and played:
Organ (he recorded Bach’s Art of Fugue on organ)
Harpsichord (occasionally experimented with it)
Synthesizers (he showed interest in electronic music later in life)
Relationships
Glenn Gould had many significant relationships—both direct and indirect—with composers, musicians, orchestras, and non-musicians. Here’s a breakdown of some of his most notable connections:
1. Composers (Direct and Indirect)
Johann Sebastian Bach – Gould’s most iconic relationship was with Bach, whose works he interpreted in a highly individualistic way, starting with his groundbreaking 1955 recording of the Goldberg Variations.
Arnold Schoenberg – He admired Schoenberg’s music and recorded some of his works, including Piano Pieces, Op. 11.
Paul Hindemith – Gould was a strong advocate for Hindemith’s piano music and recorded some of it.
Richard Strauss – Though mostly known for his Baroque and 20th-century repertoire, Gould championed Strauss’s late piano works.
Jean Sibelius – He deeply respected Sibelius and made a radio documentary about him.
2. Pianists
Vladimir Horowitz – They met and reportedly had a mutual admiration, though Gould was never interested in the Romantic bravura style Horowitz embodied.
Rosalyn Tureck – Gould openly acknowledged her as an influence on his approach to Bach.
Artur Schnabel – He appreciated Schnabel’s intellectual approach to music but didn’t share his interpretative style.
Leonard Bernstein – They famously collaborated, but Bernstein publicly distanced himself from Gould’s interpretation of Brahms’ Piano Concerto No. 1 in 1962, calling it unconventional.
3. Conductors & Orchestras
Leopold Stokowski – Conducted Gould in a 1966 recording of Beethoven’s Piano Concerto No. 5.
Herbert von Karajan – They worked together on a Bach keyboard concerto recording.
Toronto Symphony Orchestra – Performed with them, particularly in his early career.
Columbia Symphony Orchestra – Frequently recorded with them, especially in his Bach concerto recordings.
4. Non-Musicians
Bruno Monsaingeon – A filmmaker who documented Gould extensively and produced interviews and documentaries about him.
Marshall McLuhan – The media theorist and Gould shared ideas about communication and technology.
1955 Recording of Goldberg Variations
Glenn Gould’s 1955 Recording of Goldberg Variations
Recording Date: June 10, 14, and 16, 1955
Studio: Columbia 30th Street Studio, New York
Label: Columbia Masterworks (now Sony Classical)
Piano Used: Steinway Model CD 174
Why It’s Legendary
Unprecedented Speed and Clarity
Gould’s tempos were radically fast, with some variations taken at breakneck speed.
He maintained incredible articulation, making every note distinct.
Unique Interpretation
Gould’s approach was highly contrapuntal, emphasizing independent voices rather than traditional phrasing.
He played with very little pedal, making his articulation crisp and precise.
He took some variations at unexpected tempos, breaking from past interpretations.
Instant Critical Acclaim
The recording became an instant success, catapulting Gould to international fame.
Many considered it a revolutionary interpretation of Bach.
His Iconic Vocal Humming
Gould had a habit of humming while playing, which can be heard throughout the recording.
Comparison to His 1981 Recording
1955: Fast, virtuosic, energetic, youthful.
1981: Slower, more introspective, philosophical, recorded shortly before his death.
1981 Recording of Goldberg Variations
The 1981 recording of J.S. Bach’s Goldberg Variations by Glenn Gould is one of the most profound and revered piano recordings in history. It stands as a deeply introspective contrast to his 1955 debut recording, showing how Gould’s interpretation evolved over the years.
Recording Details
Recording Dates: April–May 1981
Location: Eaton Auditorium, Toronto, Canada
Label: CBS Masterworks (now Sony Classical)
Piano Used: Steinway CD 318 (Gould’s personal piano)
Key Characteristics of the 1981 Recording
Much Slower and More Meditative
Compared to the 1955 recording, this version is considerably slower, particularly in the Aria and select variations.
Gould takes almost twice as long to complete the piece—about 51 minutes, compared to the 38 minutes of the 1955 version.
More Expressive, With Greater Attention to Structure
The phrasing is more deliberate, emphasizing the emotional depth and structure of each variation.
His interpretation is less showy and virtuosic, and more introspective and refined.
Recorded in a Unique Way
Instead of a standard concert grand sound, Gould and the engineers worked to get a more intimate, close-miked sound, making it feel almost like a private performance.
The sound is warmer and rounder, unlike the brighter, more percussive 1955 recording.
His Last Studio Recording
This was the last album Gould recorded before his death in October 1982 at age 50.
Many consider it his musical farewell, marked by deep reflection and maturity.
Comparison to the 1955 Version
Legacy of the 1981 Recording
Many regard it as one of the greatest recordings of all time, not just of Bach, but in the entire history of classical music.
It showcases Gould’s lifelong evolution as an artist, from a dazzling virtuoso in 1955 to a contemplative, philosophical interpreter in 1981.
His death shortly after its release has only added to its mythic status.
Famous Repertory and Great Recordings Repertory of Piano Solo
Glenn Gould had a unique and highly personal approach to the piano, and his solo piano repertoire was centered around Bach, early polyphonic composers, and 20th-century modernists, while he largely avoided Romantic composers like Chopin and Liszt. Here are some of his most famous solo repertoire choices and great recordings,
1. J.S. Bach
Gould was one of the greatest Bach interpreters of all time, bringing a clear, contrapuntal approach with crisp articulation and minimal pedal use.
The Well-Tempered Clavier, Books 1 & 2 (1962, 1966–67)
A landmark recording showcasing his intellectual approach to Bach.
Played with incredible clarity, some fugues are unusually fast.
Partitas Nos. 1–6 (1956–1963)
One of his most polished Bach recordings.
The Partita No. 2 in C minor is particularly famous.
French & English Suites (1971, 1973)
Highly articulated, with great dynamic contrasts.
Bach: The Art of Fugue (1980, organ & piano mix)
Unfinished masterpiece; Gould recorded it on both piano and organ.
Bach: Toccatas (1963)
Brilliant and lively performances of Bach’s seven keyboard toccatas.
2. Ludwig van Beethoven
Though he disliked Beethoven’s later works, Gould made some fascinating recordings:
Piano Sonata No. 30 in E major, Op. 109 (1956, 1981)
His 1981 version is slower, more introspective, while the 1956 version is more energetic.
Piano Sonata No. 31 in A-flat major, Op. 110 (1967, 1982)
The final fugue in Op. 110 is played with remarkable counterpoint clarity.
Piano Sonata No. 32 in C minor, Op. 111 (1967, 1982)
The Arietta in the 1982 recording is transcendental, emphasizing structure over emotion.
3. Wolfgang Amadeus Mozart
Gould famously disliked Mozart, calling him a “bad composer who died too late rather than too early”—but his Mozart recordings remain fascinating.
Piano Sonatas K. 330, K. 331, K. 333 (1965–66)
His highly idiosyncratic approach includes fast tempos and detached articulation.
Some critics love it, others find it almost a parody of Mozart.
4. Jean Sibelius
Gould had a deep respect for Sibelius’s piano music, which is less commonly played.
Piano Pieces, Opp. 5, 40, 41 (1976)
Gould championed these little-known works.
The Op. 41 Sonatina No. 1 is one of his finest recordings.
5. Arnold Schoenberg
Gould was an advocate of Schoenberg’s 12-tone music and modernist style.
Piano Pieces, Opp. 11, 19, 23, 25 (1964)
Incredible clarity and precision in atonal works.
His Op. 11 performance remains one of the best interpretations.
6. Paul Hindemith
Sonatas Nos. 1–3 (1967, 1973)
Hindemith’s contrapuntal style suited Gould perfectly.
The Sonata No. 3 was one of Gould’s favorites.
7. Richard Strauss
Piano Sonata in B minor, Op. 5 (1960)
A rare Romantic recording in Gould’s discography.
Famous Non-Standard Recordings
Berg: Piano Sonata, Op. 1 (1959) – A rare recording of Berg’s early atonal work.
Scriabin: Sonata No. 5 (1960) – Gould’s only Scriabin recording, taken at an unusually slow tempo.
Gibbons & Byrd (Renaissance Keyboard Works, 1971) – Gould admired early polyphonic keyboard music.
Famous Repertory and Great Recordings Repertory of Piano Concertos
Glenn Gould was highly selective about the piano concertos he performed and recorded. He had little interest in Romantic-era virtuoso concertos, focusing instead on Bach, Beethoven, and 20th-century composers. Here are his most famous concerto recordings:
1. J.S. Bach – Keyboard Concertos
Gould’s Bach concerto recordings are among his finest. He played them with crisp articulation, minimal pedal use, and clear contrapuntal voicing.
Concerto No. 1 in D minor, BWV 1052 (1957, 1969)
1957 version (with Vladimir Golschmann) is faster and more energetic.
1969 version (with Leonard Bernstein) is more controlled and lyrical.
Concerto No. 5 in F minor, BWV 1056 (1958)
The slow movement (Largo) is one of Gould’s most beautiful Bach interpretations.
Concerto for Two Keyboards in C major, BWV 1061 (1967, with Leonard Bernstein)
Played without orchestral accompaniment in some sections, highlighting the chamber music-like quality.
2. Ludwig van Beethoven – Piano Concertos
Gould had an uneasy relationship with Beethoven’s music, detesting some of the later works. However, he made fascinating recordings of Beethoven’s concertos.
Piano Concerto No. 1 in C major, Op. 15 (1958, with Vladimir Golschmann)
Gould plays with light articulation and detached phrasing.
Piano Concerto No. 2 in B-flat major, Op. 19 (1958, with Vladimir Golschmann)
Features Gould’s own cadenzas in the first movement.
Piano Concerto No. 3 in C minor, Op. 37 (1959, with Leopold Stokowski)
A fascinating collaboration with Stokowski, featuring bold tempos and phrasing.
Piano Concerto No. 4 in G major, Op. 58 (1966, with Leonard Bernstein)
Bernstein loved this concerto, while Gould gave it a highly introspective interpretation.
Piano Concerto No. 5 in E-flat major, Op. 73 “Emperor” (1966, with Leopold Stokowski)
One of Gould’s least Romantic interpretations of the piece, with a sharp, analytical approach.
3. Wolfgang Amadeus Mozart – Piano Concertos
Gould famously disliked Mozart, saying he was a bad composer who died too late rather than too soon. Still, his recordings of Mozart’s concertos are uniquely fast, detached, and sometimes even quirky.
Piano Concerto No. 24 in C minor, K. 491 (1966, with Vladimir Golschmann)
Played in a very fast and detached manner, almost mechanical at times.
Contains Gould’s own cadenza, which is highly unconventional.
4. Arnold Schoenberg – Piano Concerto, Op. 42 (1961, with Robert Craft)
A landmark 12-tone concerto, which Gould played with astonishing clarity.
One of his favorite modern works—he deeply admired Schoenberg’s music.
Conducted by Robert Craft, a key figure in 20th-century music performance.
5. Paul Hindemith – Piano Music with Orchestra (1967, with Hindemith conducting)
Gould was a strong advocate of Hindemith’s music.
This recording is one of the definitive interpretations of Hindemith’s piano concertos.
6. Anton Webern – Variations for Piano, Op. 27 (Arranged for Orchestra)
A rare performance where Gould plays Webern’s highly compact, atonal piano variations in an orchestral arrangement.
Notable Absences in Gould’s Concerto Repertoire
Gould avoided many famous concertos, such as:
❌ Chopin – He disliked Chopin’s music.
❌ Liszt – He saw Liszt’s concertos as too flashy.
❌ Tchaikovsky, Rachmaninoff, Brahms – He had no interest in these large-scale Romantic concertos.
Final Thoughts
Gould’s concerto recordings are notable for their clarity, unique phrasing, and sometimes controversial interpretations. If you’re looking for his best concerto recordings, I’d recommend:
🎵 Bach – D minor Concerto, BWV 1052 (1969, Bernstein)
🎵 Beethoven – Piano Concerto No. 4 (1966, Bernstein)
🎵 Schoenberg – Piano Concerto, Op. 42 (1961, Craft)
The Brahms Piano Concerto No. 1 Incident with Bernstein
The Brahms Piano Concerto No. 1 incident between Glenn Gould and Leonard Bernstein is one of the most famous controversies in classical music history. It took place on April 6, 1962, at Carnegie Hall, with the New York Philharmonic.
What Happened?
Before the performance, Leonard Bernstein addressed the audience with an unprecedented speech in which he publicly distanced himself from Gould’s interpretation.
Bernstein’s Speech (Paraphrased Summary)
He acknowledged that a conductor and soloist often have artistic disagreements, but typically, they compromise.
He stated that Gould’s interpretation was so unusual that he felt the need to clarify that he did not agree with it.
However, he still respected Gould’s artistry and was willing to conduct the performance.
He humorously asked the audience: “Who is the boss: the soloist or the conductor?”
His final words: “So why am I conducting it? Because Glenn Gould is so fascinating that I can’t resist.”
This public disclaimer was unheard of in classical music. Many interpreted it as a polite way of saying he strongly disagreed with Gould.
Why Was Gould’s Interpretation So Controversial?
Radically Slow Tempos
Gould took the first movement extremely slowly, stretching it to an unprecedented length.
His overall timing was much longer than usual, making the concerto sound more meditative than dramatic.
Extreme Rubato & Unorthodox Phrasing
Gould played with unpredictable phrasing and sudden shifts in dynamics.
His version lacked the Romantic sweep and grandeur traditionally associated with Brahms.
Detachment & Anti-Romantic Approach
Gould played with minimal sustain pedal, making the piano sound dry and analytical.
His interpretation focused on structural clarity rather than emotional weight.
Unusual Dynamics
He often played extremely softly, almost making the piano disappear into the orchestra.
Audience & Critical Reaction
The performance divided the audience.
Some admired Gould’s originality, while others felt it was too slow and eccentric.
Critics were mixed—some thought Bernstein’s speech was unprofessional, while others felt it was necessary.
Aftermath
Gould never performed with an orchestra again after this.
Bernstein and Gould remained friends, but this was their last major collaboration.
The recording of the performance became legendary, showcasing Gould’s unique vision.
Final Thoughts
This event is still discussed as an example of:
✅ The tension between a conductor’s and a soloist’s artistic vision
✅ How interpretation can spark controversy in classical music
✅ Gould’s refusal to conform to mainstream Romantic traditions
Other Great Performances and Recordings
Glenn Gould was known primarily as a pianist, but he also explored other areas of music, including chamber music, vocal accompaniment, and conducting. Here are some of his great recordings and performances outside of solo piano and piano concertos:
1. Chamber Music Recordings
Though Gould disliked chamber music (he found it creatively restrictive), he made a few exceptional recordings, mainly with string players.
J.S. Bach – Sonatas for Violin and Harpsichord (Piano), BWV 1014–1019
🎻 Violinist: Jaime Laredo
📅 Recorded in 1975–76
Gould plays Bach’s harpsichord parts on the piano, bringing clarity and precision to the counterpoint.
His articulation is crisp, with minimal pedal use.
One of his finest chamber music recordings.
Ludwig van Beethoven – Cello Sonatas Nos. 2 & 5, Op. 5 & 102
🎻 Cellist: Leonard Rose
📅 Recorded in 1960
A rare Romantic-era collaboration for Gould.
His detached phrasing and cool interpretation contrast with Rose’s warm, expressive tone.
2. Vocal Accompaniment Recordings
Gould was fascinated by vocal music and made a few notable recordings accompanying singers.
Richard Wagner – Wesendonck Lieder
🎤 Singer: Elisabeth Schwarzkopf (soprano)
📅 Recorded in 1966
Gould and Schwarzkopf had artistic tensions—she preferred a traditional Romantic style, while he played with a more restrained approach.
The recording is historically significant, but Schwarzkopf later criticized it.
Arnold Schoenberg – Songs, Op. 15 & Op. 25
🎤 Singer: Helen Vanni (mezzo-soprano)
📅 Recorded in 1964
Gould championed Schoenberg’s atonal music, and this is an excellent recording of his 12-tone lieder.
3. Organ Performances
Gould occasionally played the organ, although he admitted he was not a trained organist.
J.S. Bach – The Art of Fugue, BWV 1080 (1980, organ & piano mix)
Gould recorded some sections on the organ to emphasize different contrapuntal textures.
His approach is intellectual, structured, and detached, focusing on the fugues’ architecture rather than emotional depth.
4. Conducting & Experimental Recordings
Later in his career, Gould experimented with recording technology and even tried conducting.
Wagner – Siegfried Idyll (as Conductor, 1973)
Gould conducted this orchestral piece by Wagner, arranging it for a small ensemble.
His interpretation is clear and precise, with minimal Romantic excess.
He never conducted a full orchestra, making this one of his few conducting recordings.
The Idea of North (1967, Radio Documentary)
A spoken-word documentary with music interwoven.
Part of Gould’s “Solitude Trilogy”, reflecting his interest in isolation and northern landscapes.
Final Thoughts
Gould’s non-solo, non-concerto recordings reveal his wide-ranging musical curiosity. If you’re looking for his most fascinating collaborations, I’d recommend:
🎻 Bach Violin Sonatas with Jaime Laredo (1975–76) – Chamber music at its finest.
🎤 Schoenberg Songs with Helen Vanni (1964) – A bold modernist statement.
🎶 Wagner Siegfried Idyll (1973, conducting) – A rare glimpse of Gould as a conductor.
TV and Radio Projects
Glenn Gould was not just a pianist but also a media innovator, particularly in radio and television. He believed that recording technology could transform music and communication, allowing for new artistic possibilities. Here’s an overview of his most significant TV and radio projects:
🎙 Radio Documentaries (“The Solitude Trilogy”)
Gould created a groundbreaking series of radio documentaries for the Canadian Broadcasting Corporation (CBC), exploring themes of solitude, isolation, and the North. These were experimental in format, using a technique he called “contrapuntal radio”—layering multiple voices like a fugue.
1. The Idea of North (1967)
Gould’s most famous radio documentary.
Explores the experiences of people living in Canada’s remote northern regions.
Features overlapping voices, with multiple speakers talking at once, mimicking musical counterpoint.
Considered a masterpiece of radio storytelling.
2. The Latecomers (1969)
Examines the lives of Newfoundland fishermen and their isolation from modern society.
Uses a similar contrapuntal technique as The Idea of North.
Shows Gould’s fascination with solitude and remote communities.
3. The Quiet in the Land (1977)
Focuses on Mennonites in Manitoba, a religious community known for its rejection of modernity.
Explores themes of faith, tradition, and self-imposed isolation.
The last installment of The Solitude Trilogy.
📺 Television Productions
Gould was a natural performer on TV, combining music, philosophy, and humor in unique ways.
1. The Anatomy of Fugue (1963)
A CBC special in which Gould explains the fugue through Bach, Beethoven, Hindemith, and Schoenberg.
Uses live performances and discussions to break down musical structure.
2. Conversations with Glenn Gould (1966)
A series of TV interviews where Gould discusses his views on music, recording, and culture.
He critiques concert life, calling it a “force of evil” in music.
3. The Glenn Gould Variations (1974)
A mix of performance, interviews, and dramatic segments.
Features Gould playing Bach and Wagner while discussing his recording philosophy.
4. Music in Our Time (1974)
A TV special where Gould introduces and plays modern composers, including Schoenberg and Hindemith.
Highlights his passion for 20th-century music.
🎬 Gould as an Actor & Satirist
Gould had a playful side and sometimes acted in his own productions.
1. Glenn Gould’s “Self-Interviews”
In some TV appearances, Gould plays multiple roles, interviewing himself under different personas.
His alter egos include a German musicologist, a Canadian politician, and a British critic.
2. The Beethoven Bicentennial Film (1970)
A humorous short film where Gould dresses as Beethoven and mocks the idea of heroic interpretations.
🔹 Final Thoughts
Gould’s TV and radio work shows that he was much more than a pianist—he was a thinker, experimenter, and innovator.
If you’re interested in experiencing his non-piano projects, I’d recommend:
🎙 The Idea of North (1967) – His greatest radio work.
📺 The Anatomy of Fugue (1963) – A brilliant TV special for music lovers.
🎭 His Self-Interviews – A mix of comedy and music analysis.
Activities Excluding Music
Glenn Gould was best known as a pianist, but he was also deeply involved in various intellectual and artistic pursuits beyond music performance. Here are some of his notable activities:
1. Writing and Broadcasting
Gould was an essayist and critic, writing extensively on music, technology, philosophy, and the future of performance.
He contributed articles to publications such as The New York Times and High Fidelity magazine.
He had a strong interest in media and wrote scripts for radio and television programs.
2. Radio Documentaries (The Solitude Trilogy)
Gould created innovative radio documentaries for the CBC (Canadian Broadcasting Corporation).
His Solitude Trilogy (comprising The Idea of North, The Latecomers, and The Quiet in the Land) explored themes of isolation and the human condition.
He developed a technique called “contrapuntal radio,” where multiple overlapping voices were edited together like musical counterpoint.
3. Philosophy and Media Theory
He was fascinated by the relationship between technology and art, predicting the rise of recorded music over live performances.
He believed in the power of recording as an artistic medium and theorized about the role of media in shaping human experience.
4. Acting and Experimental Film Work
He occasionally performed as an actor, notably appearing in a satirical TV sketch called The Anatomy of Fugue (1963).
He directed experimental films, including Glenn Gould’s Toronto, a self-reflective tour of his hometown.
5. Conducting and Producing
Though primarily known as a pianist, he experimented with conducting and oversaw recording projects.
He took a producer-like role in his later recordings, meticulously editing performances to achieve his artistic vision.
6. Advocacy for Technology in Music
Gould was a strong advocate for the use of recording technology to shape musical interpretation.
He foresaw the digital age of music long before it arrived and supported the idea of a personalized listening experience.
7. Correspondence and Intellectual Debates
He maintained extensive correspondence with other intellectuals, musicians, and writers.
He engaged in debates about art, music, and technology, particularly concerning the role of interpretation in music.
Episodes & Trivia
Glenn Gould was a fascinating and eccentric pianist, best known for his interpretations of Bach. Here are some interesting episodes and trivia about him:
Episodes from His Life
1955 Goldberg Variations Recording
At just 22 years old, Gould recorded Bach’s Goldberg Variations, which became one of the most famous piano recordings ever. He approached the piece with extraordinary speed and clarity, redefining how it was played. In 1981, he recorded it again, offering a vastly different, slower, and more introspective interpretation.
Humming While Playing
Gould had a habit of humming audibly while playing, which frustrated sound engineers. Even advanced recording technology couldn’t completely remove his singing from the tracks.
Retirement from Concerts at 31
In 1964, at the height of his career, Gould gave up live performances, claiming he disliked the audience’s influence on his playing. He focused entirely on studio recordings, radio, and television.
Obsessive Recording Process
Gould was meticulous in the studio, sometimes recording multiple takes of just a few measures, splicing together the best versions to create the final piece.
Unusual Playing Posture
He always played on a specially modified chair that was much lower than a regular piano bench, allowing his hands to be at an unusual angle. He refused to use any other seat, even when it became worn out.
Strange Daily Habits
Gould wore heavy winter clothing, including gloves, even in warm weather, to “protect” his hands. He also followed an unconventional daily schedule, often working through the night and sleeping during the day.
Driving While Listening to Recordings
He loved to drive long distances alone, often listening to recordings of his own music while analyzing his playing.
The Beethoven Dispute
He had controversial opinions about Beethoven, often playing his works with extreme tempos and unique phrasing. His interpretation of Beethoven’s Emperor Concerto was so unusual that Leonard Bernstein publicly distanced himself from it before conducting the performance.
Trivia
Gould was a germophobe and avoided shaking hands, fearing it would affect his piano technique.
He loved radio documentaries and created experimental programs like The Idea of North, which used overlapping voices to tell stories.
His death at 50 was sudden, following a stroke in 1982.
Gould never married and had no children, though he was rumored to have had several deep friendships and relationships.
(This article was generated by ChatGPT. And it’s just a reference document for discovering music you don’t know yet.)
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