Glenn Gould Official

Glenn Herbert Gould (September 25, 1932 – October 4, 1982) was a celebrated Canadian pianist, noted especially for his recordings of Johann Sebastian Bach's keyboard music. He gave up live performance in 1964, dedicating himself to the recording studio for the rest of his career. He was also a composer of piano and chamber music and an arranger of piano reductions of the operatic music of Richard Wagner.Glenn Gould was born in Toronto, Ontario, Canada on September 25, 1932, to Russell Herbert ("Bert") Gould and Florence ("Flora") Emma Greig Gould, Presbyterians of Scottish extraction. (Greig is the original Scottish spelling of this name, unlike the Norwegian variant Grieg.)Gould's first piano teacher was his mother, whose grandfather was a cousin of Norwegian composer Edvard Grieg. From the age of ten he began attending the Royal Conservatory of Music in Toronto, where he studied piano with Alberto Guerrero, organ with Frederick C. Silvester and theory with Leo Smith.In 1945, he gave his first public performance (on the organ), and the following year he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of Beethoven's Piano Concerto No. 4. His first public recital followed in 1947, and his first recital on radio came with the CBC in 1950. This was the beginning of his long association with radio and recording.In 1957, Gould toured the Soviet Union, becoming the first North American to play there since World War II. His concerts featured Bach, Beethoven, and the serial music of Arnold Schoenberg and Alban Berg, which previously had been suppressed in the Soviet Union during the era of Socialist Realism.On April 10, 1964, Gould gave his last public performance in Los Angeles, California, at the Wilshire Ebell Theater. Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's last work, the unfinished The Art of Fugue (BWV 1080), and the Piano Sonata No. 3, Op. 92 No. 4 by Ernst Krenek. For the rest of his life he eschewed live performance, focusing instead on recording, writing, and broadcasting. He died in Toronto in 1982 after suffering a massive stroke, and is buried in Toronto's Mount Pleasant Cemetery.Gould was known for his vivid musical imagination, and listeners regarded his interpretations as ranging from brilliantly creative to, on occasion, outright eccentric. It was said of Gould that he never played a piece the same way twice.His piano playing had great clarity, particularly in contrapuntal passages. Gould disliked and rebelled against the hedonistic approach to music that had become popular in the 19th and 20th centuries. Gould was rarely virtuosic for the sake of being virtuosic, but rather, often had a refreshingly thoughtful and withdrawn interpretation of the music he played. Gould's style has supposedly influenced later Bach interpreters, notably András Schiff and Angela Hewitt, although these two pianists do not appear to share Gould's almost unique ability to clearly separate the voices in polyphonic music while maintaining a strong and exciting rhythmic pulse.Gould had a formidable technique that enabled him to choose very fast tempos while retaining the separateness and clarity of each note. Part of the technique consisted of taking an extremely low position at the instrument, which allowed him more control over the keyboard. Charles Rosen's view is that a low position at the piano is unsuitable for playing the technically demanding music of the 19th century. However, this did not seem to impede Gould in the slightest, since he exhibits arguably the best technique of any known musician, in both his recordings of Bach, and in extremely virtuosic and romantic works like his own arrangement of Ravel's, "La Valse".Regarding the performance of Bach on the piano, Gould said, "the piano is not an instrument for which I have any great love as such... [But] I have played it all my life and it is the best vehicle I have to express my ideas." In the case of Bach, Gould admitted, "[I] fixed the action in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."In creating music, Gould much preferred the control and intimacy provided by the recording studio, and he disliked the concert hall, which he compared to a competitive sporting arena. After his final public performance in 1964, he devoted his career solely to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although his producer at CBS, Andrew Kazdin, has stated that he was the classical artist least in need of splices or dubs, Gould felt that he could produce effects in the studio not possible in live performance. He recounted his recording of the A minor fugue from Book I of The Well-Tempered Clavier, and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.[2].Gould's first studio recording came in 1955, at Columbia Masterworks 30th Street Studios in New York City. He performed the Goldberg Variations by Johann Sebastian Bach. Although there was initially some controversy at CBS as to whether this was the most appropriate piece to record, the finished product received phenomenal praise, and sold more than any music album in the world at that time. This recording is often credited as popularising the interpretation of Bach's keyboard works with the piano rather than the harpsichord. He had performed this piece a year earlier for a CBC broadcast, which was also made available on record. Gould became closely associated with the Goldbergs, playing it in full or in part at many of his recitals. Another version of the Goldberg Variations, recorded in 1981, would be among his last recordings, and one of only a few pieces he recorded twice in the studio. The 1981 recording was one of (CBS) Masterworks' first digital recordings, and also the last recording made in 30th Street Studios before it closed. Both studio versions are critically acclaimed. The two recordings are very different, the first highly energetic and often frenetic, the second slower and more introspective. It has been said that in his second recording of the Goldberg Variations, Gould treats the Aria and its thirty variations as one cohesive piece, while the earlier recording treats the variations as a set of separate miniatures. (It is also said, however, that the two performances bring out different aspects of what is already a cohesive structure.) The 1981 recording won two Grammy Awards in 1983, including Best Classical Album.Gould recorded most of Bach's other keyboard works, including the complete Well-Tempered Clavier and the keyboard concertos. For his only recording at the organ, he recorded about half of The Art of Fugue. He also recorded all five of Beethoven's Piano Concertos and most of the Piano Sonatas.Gould also recorded works by many prominent piano composers, though he was outspoken in his criticism of some of them, apparently not caring for Frédéric Chopin, for example. In a radio interview, when asked if he didn't find himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment — maybe once a year or twice a year for myself. But it doesn't convince me." Although Gould recorded all of his sonatas, Gould was a harsh critic of Wolfgang Amadeus Mozart, claiming that his music is simple and derivative. He was fond of many lesser-known composers, such as the early keyboard music of Orlando Gibbons, who he claimed was his favorite composer. He also made critically acclaimed recordings of little-known piano music by Jean Sibelius, Richard Strauss, and Paul Hindemith. His recordings of the complete piano works of Arnold Schoenberg are also highly regarded.One of Gould's performances of the Prelude and Fugue in C Major from Book Two of The Well-Tempered Clavier was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The disc was placed on the spacecraft Voyager 1, which is now approaching interstellar space and is the most distant human-made object from Earth.Less well-known, but critically praised, is Gould's work in radio documentary. This work was, in part, the result of Gould's long association with the Canadian Broadcasting Corporation, for whom he produced numerous television and radio programmes. Notable recordings include his Solitude Trilogy, consisting of The Idea of North, a meditation on Northern Canada and its people; The Latecomers, about Newfoundland; and The Quiet in the Land, on Mennonites in Manitoba. All three use a technique which Gould called "contrapuntal radio," in which several people are heard speaking at once. According to his co-producer, Lorne Tulk, he first used this technique out of necessity, when he found that he had fourteen minutes' too much material for The Idea of North. It is this technique, combined with skillful editing of music, sounds, and the voices of people in conversation, that makes his documentary work acclaimed.In 2002, during preparations for Queen Elizabeth II's Jubilee Tour of Canada, lost footage of a Glenn Gould performance was discovered. It was part of a CBC programme containing various musical performances which had followed the Queen's 1957 television address to Canadians from Ottawa's Rideau Hall. Within this footage was a seven-minute live performance of Glenn Gould, most likely unseen for the previous 45 years, in which he played the second and third movements of Bach's Keyboard Concerto in F Minor. The Queen arrived in Canada on October 4, 2002, exactly 20 years after Gould's death.[3]Glenn Gould usually hummed while he played, and his recording engineers varied in how successfully they were able to exclude his voice from his recordings. In most of them, it's quite easy to discern his humming. Gould claimed this singing was subconscious, and increased proportionately with the inability of the piano in question to realise the music as he intended.Gould also was known for his peculiar body movements while playing, and for his insistence on sameness. He would only play concerts while sitting on an old chair his father had made. He continued to use this chair even when the seat was completely worn through.[4] His chair is so closely identified with him that it is shown in a place of honour in a glass case at the National Library of Canada.Gould was so afraid of being cold that he wore heavy clothing, including gloves, even in warm places. He also disliked social functions. He had an aversion to being touched, and in later life he limited personal contact, relying on the telephone and letters for communication. Upon one visit to historic Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould by giving him a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue due to the incident; he even went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent.[5] When he was still performing publicly, he performed in concert with the Cleveland Orchestra, after which conductor George Szell remarked, "No doubt about it—that nut's a genius".Gould was not without a sense of humour, as in his creation of numerous alter egos for satirical, humorous, or didactic purposes. From the liner notes to Bach Partitas, Preludes and Fugues:"David Johnson", of course, was none other than Gould himself, the first in a long line of more than two dozen fictional characters whom Gould was to impersonate during the coming years, and of whom the most famous are the German composer "Karlheinz Klopweisser", the English conductor "Sir Nigel Twitt-Thornwaite", and the American pianist "Theodore Slutz".[6]Fran's Restaurant was a constant haunt of Gould's. A CBC profile noted, "sometime between two and three every morning Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth and order the same meal of scrambled eggs."[7]Early in his life Gould suffered a spine injury which prompted his physicians to prescribe him an assortment of painkillers and other drugs. His continued use of prescribed medications throughout his career is speculated to have had a deleterious effect on his health. He was highly concerned about his health throughout his life, such as his high blood pressure, and was always concerned about the safety of his hands.Dr. Timothy Maloney (PhD), the director of the Music Division of the National Library of Canada, has written about and discussed the possibility that Gould had Asperger syndrome, a disorder related to autism. This idea was first tentatively proposed by Gould's biographer, Dr. Peter Ostwald (MD), though Ostwald died before he could develop this theory. (The diagnosis of Asperger syndrome did not exist in Gould's lifetime.) Gould's eccentricities, such as rocking and humming, isolation and difficulty with social interaction, and the uncanny focus and technical ability he displayed in music-making, can be related to the symptoms displayed by persons with Asperger's, according to Maloney.Others, such as Dr. Helen Mesaros (MD), a Toronto psychiatrist and author, dismiss this theory as post-mortem diagnosis, based on circumstantial evidence. Mesaros wrote a rebuttal to Maloney's paper, suggesting that there are ample psychological and emotional explanations for Gould's eccentricities, and that it is not necessary to resort to neurological explanations. ..
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