Classical

Bach – The Well-Tempered Clavier, Book I (Glenn Gould) [1971]

2010-01-15T09:40:39Z

Bach – The Well-Tempered Clavier, Book I (Glenn Gould) [1971]

Book I Complete (Preludes And Fugues 1–24)

	Prelude And Fugue No. 1 In C Major 	4:17 	
	Prelude And Fugue No. 2 In C Minor 	3:43 	
	Prelude And Fugue No. 3 In C-sharp Major 	3:07 	
	Prelude And Fugue No. 4 In C-sharp Minor 	5:46 	
	Prelude And Fugue No. 5 In D Major 	2:48 	
	Prelude And Fugue No. 6 In D Minor 	3:01 	
	Prelude And Fugue No. 7 In E-flat Major 	6:56 	
	Prelude And Fugue No. 8 In E-flat Minor 	8:53 	
	Prelude And Fugue No. 9 In E Major 	4:04 	
	Prelude And Fugue No. 10 In E Minor 	4:49 	
	Prelude And Fugue No. 11 In F Major 	3:40 	
	Prelude And Fugue No. 12 In F Minor 	3:17 	
	Prelude And Fugue No. 13 In F-sharp Major 	4:00 	
	Prelude And Fugue No. 14 In F-sharp Minor 	6:10 	
	Prelude And Fugue No. 15 In G Major 	2:02 	
	Prelude And Fugue No. 16 In G Minor 	5:36 	
	Prelude And Fugue No. 17 In A-flat Major 	2:52 	
	Prelude And Fugue No. 18 In G-sharp Minor 	3:08 	
	Prelude And Fugue No. 19 In A Major 	3:23 	
	Prelude And Fugue No. 20 In A Minor 	4:35 	
	Prelude And Fugue No. 21 In B-flat Major 	2:34 	
	Prelude And Fugue No. 22 In B-flat Minor 	9:05 	
	Prelude And Fugue No. 23 In B Major 	2:34 	
	Prelude And Fugue No. 24 In B Minor 	6:47

Glenn Gould - piano

It's rather amazing today, when recordings of Bach's Well-Tempered Clavier practically fall of the shelves, to recall just how unusual it was back in the 1960s for a pianist to undertake to record this amazing work. It's probably fair to say that until Glenn Gould got his fingers around it, Bach's music was used for teaching purposes more than anything else. What Gould proves in this essential set is that Bach is decidedly not just a threat to hold over the head of budding pianists but a joy to listen to. One of Gould's very greatest recordings. --David Hurwitz, amazon.com

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Bach – The Well-Tempered Clavier, Book II (Glenn Gould) [1971]

2010-01-15T10:38:28Z

Bach – The Well-Tempered Clavier, Book II (Glenn Gould) [1971]

Book II Complete (Preludes And Fugues 1–24)

Prelude And Fugue No. 1 In C Major 	4:17 	
Prelude And Fugue No. 2 In C Minor 	3:43 	
Prelude And Fugue No. 3 In C-sharp Major 	3:07 	
Prelude And Fugue No. 4 In C-sharp Minor 	5:46 	
Prelude And Fugue No. 5 In D Major 	2:48 	
Prelude And Fugue No. 6 In D Minor 	3:01 	
Prelude And Fugue No. 7 In E-flat Major 	6:56 	
Prelude And Fugue No. 8 In E-flat Minor 	8:53 	
Prelude And Fugue No. 9 In E Major 	4:04 	
Prelude And Fugue No. 10 In E Minor 	4:49 	
Prelude And Fugue No. 11 In F Major 	3:40 	
Prelude And Fugue No. 12 In F Minor 	3:17 	
Prelude And Fugue No. 13 In F-sharp Major 	4:00 	
Prelude And Fugue No. 14 In F-sharp Minor 	6:10 	
Prelude And Fugue No. 15 In G Major 	2:02 	
Prelude And Fugue No. 16 In G Minor 	5:36 	
Prelude And Fugue No. 17 In A-flat Major 	2:52 	
Prelude And Fugue No. 18 In G-sharp Minor 	3:08 	
Prelude And Fugue No. 19 In A Major 	3:23 	
Prelude And Fugue No. 20 In A Minor 	4:35 	
Prelude And Fugue No. 21 In B-flat Major 	2:34 	
Prelude And Fugue No. 22 In B-flat Minor 	9:05 	
Prelude And Fugue No. 23 In B Major 	2:34 	
Prelude And Fugue No. 24 In B Minor 	6:47 

Glenn Gould - piano

Glenn Gould's Bach is by now so ingrained in the 20th-century musical consciousness that it's almost hard to remember just how unusual his devotion to this composer was back in the 1950s and '60s when he first started making records. That his Bach recordings are still the standard by which all others are measured is a tribute to his self-awareness as an artist. If you are looking for the essential Glenn Gould playing Bach, then the three sets you really ought to have are his Goldberg Variations (either version), plus the two books of The Well-Tempered Clavier. Gould was simply incomparable in the contrapuntal intricacies of Bach's fugal writing, and in The Well-Tempered Clavier he has 48 opportunities to strut his stuff. He makes a show of every one. --David Hurwitz

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Beethoven - Eroica Variations - Variations & Bagatelles (Glenn Gould) [1995]

2010-02-23T19:29:17Z

Beethoven - Eroica Variations - Variations & Bagatelles (Glenn Gould) [1995]

	32 Variations On An Original Theme In C Minor, WoO 80
1-1  	   	Tema. Allegretto - Variation II  	1:03  	
1-2 	  	Variation III - Variation V 	1:05 	
1-3 	  	Variation VI - Variation VIII 	0:42 	
1-4 	  	Variation IX Con Espressione - Variation XI 	0:56 	
1-5 	  	Variation XII. Maggiore - Variation XIV 	1:28 	
1-6 	  	Variation XV + Variation XVI 	0:39 	
1-7 	  	Variation XVII. Minore + Variation XVIII 	0:47 	
1-8 	  	Variation XIX - Variation XXI 	0:42 	
1-9 	  	Variation XXII - Variation XXV. Leggiermente 	1:03 	
1-10 	  	Variation XXVI - Variation XXVIII 	1:01 	
1-11 	  	Variation XXIX + Variation XXX 	0:57 	
1-12 	  	Variation XXXI - Variation XXXII 	2:57 	
  	6 Variations In F Major, Op. 34
1-13 	  	Tema. Adagio 	1:07 	
1-14 	  	Variation I 	1:36 	
1-15 	  	Variation II. Allegro, Ma Non Troppo 	0:55 	
1-16 	  	Variation III. Allegretto 	1:11 	
1-17 	  	Variation IV. Tempo Di Menuetto 	1:11 	
1-18 	  	Variation V. Marcia. Allegretto 	1:52 	
1-19 	  	Variation VI. Allegretto - Molto Adagio 	4:01 	
  	15 Variations With Fugue In E-Flat Major, Op. 35 "Eroica"
1-20 	  	Introduzione Col Basso Del Tema. Allegretto Vivace - Tema 	4:41 	
1-21 	  	Variation I 	0:39 	
1-22 	  	Variation II 	0:35 	
1-23 	  	Variation III 	0:39 	
1-24 	  	Variation IV 	0:28 	
1-25 	  	Variation V 	1:04 	
1-26 	  	Variation VI 	0:32 	
1-27 	  	Variation VII. Canone All'Ottava 	0:51 	
1-28 	  	Variation VIII 	1:11 	
1-29 	  	Variation IX 	0:40 	
1-30 	  	Variation X 	0:42 	
1-31 	  	Variation XI 	1:04 	
1-32 	  	Variation XII 	0:45 	
1-33 	  	Variation XIII 	0:51 	
1-34 	  	Variation XIV. Minore 	2:02 	
1-35 	  	Variation XV. Maggiore. Largo 	4:01 	
1-36 	  	Finale Alla Fuga. Allegro Con Brio - Adagio - Andante Con Moto 	5:42 	
  	7 Bagatelles, Op. 33
2-1 	  	No. 1 In E-Flat Major. Andante Grazioso Quasi Allegretto 	3:54 	
2-2 	  	No. 2 In C Major. Scherzo. Allegro 	2:55 	
2-3 	  	No. 3 In F Major. Allegretto 	1:27 	
2-4 	  	No. 4 In A Major. Andante 	3:20 	
2-5 	  	No. 5 In C Major. Allegro Ma Non Troppo 	2:34 	
2-6 	  	No. 6 In D Major. Allegretto Quasi Andante 	3:40 	
2-7 	  	No. 7 In A-Flat Major. Presto 	1:53 	
  	6 Bagatelles, Op. 126
2-8 	  	No. 1 In G Major. Andante Con Moto Cantabile E Compiacevole 	4:00 	
2-9 	  	No. 2 In G Minor. Allegro 	1:57 	
2-10 	  	No. 3 In E-Flat Major. Andante Cantabile E Grazioso 	3:51 	
2-11 	  	No. 4 In B Minor. Presto 	5:04 	
2-12 	  	No. 5 In G Major. Quasi Allegretto 	2:16 	
2-13 	  	No. 6 In E-Flat Major. Presto - Andante Amabile E Con Moto 	4:44

Glenn Gould - piano

Glenn Gould has been one of the most emblematic artists who characterized with major mercurial breath and singular commitment what the role of a pianist must be. His profound sense of the span, and visible concerns around the search of the whole expression and meaning of every work he played was even not enough for him. And as well as others colleagues such Artur Schnabel, Paul Badura Skoda, György Sandor or Alfred Brendel was a deep thinker and published two illustrative books. In the meantime there is a lot of abundant information in different interviews and TV videos. The impressive command of his leonine intelligence may be verified in the four hands program with Yehudi Menuhin, for instance, among some others equally representative.

This album is one the most important recordings of his wide discography. These 32 Variations on an Original Theme are simply superb. Steeled fingering and powerful interpretative creativeness, make of this performance an absolute must for all who love this admirable creation.

6 Variations Op. 34 possesses that fortunate combination of elegance, expression and temperament without additional ornaments. Balance and musicality shake hands in this fabulous performance.

15 Variations with Fugue Op. 35 "Eroica" is by far, one of my favorite choices. You should realize the Final Movement is composed for a true kaleidoscope of visions which clasp humor, sadness, bitterness and this notable sense of foreknowable epic breath. These are masterful performances supported by that sublime conviction and vibrant sound. The variations must be played under the perspective of the epic spirit about the absolute understanding about what the term hero represents. The true Beethovenian dissonances are rude but that does not mean to cudgel or hammer the piano as many pianists mistakenly tend to make it.

The set of Bagatelles are extraordinary. They are scented of this aristocratic atmosphere, and never should be played under a romantic or nostalgic approach, because you simply would seem to ignore the role of Beethoven in music. ---Hiram Gomez Pardo, amazon.com

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Beethoven – Piano Concerto no.5 – Glenn Gould (1966)

2010-04-10T21:31:11Z

Beethoven – Piano Concerto no.5 – Glenn Gould (1966)


1. Piano Concerto No. 5 in E flat major ('Emperor'), Op. 73: 1. Allegro 
2. Piano Concerto No. 5 in E flat major ('Emperor'), Op. 73: 2. Adagio un poco moto - attacca: 
3. Piano Concerto No. 5 in E flat major ('Emperor'), Op. 73: 3. Rondo. Allegro

Glenn Gould – piano
American Symphony Orchestra
Leopold Stokowski – conductor

Glenn Gould and Leopold Stokowski's 1966 Columbia recording of Beethoven's "Emperor" Concerto is so entertaining that trying not to laugh out loud while listening would make a good drinking game. The two can't seem to agree on the essential character of the piece, and hearing them argue back and forth is downright hilarious. First, Stokowski and the American Symphony land with both feet on a big fat orchestral tutti, then Gould enters and nonchalantly noodles his way up the piano to the slowest trill in creation. Stokowski jumps on a second tutti and Gould picks up the thread and wanders off into another lazy trill, humming all the way (as he always did while playing). Stokowski slams a third tutti and Gould rambles. If Groucho Marx was conducting and Chico Marx was playing the piano, it couldn't be any funnier. So it goes with Stokowski playing the music as if it's essentially heroic and Gould playing it as if it's meant for Looney Tunes. In the end, Stokowski proves the more stubborn, and he never allows the performance to give over to Gould's blandishments. While it's undeniably odd to hear two musicians argue so noticeably in performance -- Stokowski with his mainstream Romanticism, Gould with his straight-faced Dadaism -- one cannot help but enjoy the ride. ---James Leonard, Rovi

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Beethoven – Piano Sonatas Nos. 30-32 – Glenn Gould (1956/2015)

2018-06-25T14:13:22Z

Beethoven – Piano Sonatas Nos. 30-32 – Glenn Gould (1956/2015)

Sonata No. 30 in E Major, Op. 109
1 I. Vivace, ma non troppo 03:15
2 II. Prestissimo 02:01
3 III. Andante molto cantabile ed espressivo (Gesangvoll, mit innigster Empfindung) 07:39

Sonata No. 31 in A-Flat Major, Op. 110
4 I. Moderato cantabile molto espressivo 06:55
5 II. Allegro molto 02:06
6 III. Adagio, ma non troppo – Fuga. Allegro, ma non troppo 10:45

Sonata No. 32 in C Minor, Op. 111
7 I. Maestoso – Allegro con brio ed appassionato 07:14
8 II. Arietta. Adagio molto semplice e cantabile 15:14

Glenn Gould - piano

Myths abound when it comes to the late works of important composers. It is debatable as to whether this is due to their timelessness, or their often extensive form, which makes great demands on the listener, or simply the supreme skill with regard to the composer’s own musical language, which is demonstrated in mature works. It is commonly understood that a performer of late works should treat them with due respect and possess an exceptional command of his instrument. But not so with Glenn Gould, who at the tender age of 23, shortly after his recording debut for the Columbia label of Bach’s Goldberg Variations, dared to perform Beethoven’s last three Piano Sonatas.

Gould, as always analytical, yet supremely flowing, carves out the tightly-knit contrapuntal structure of the fast movements. The slow movements are finely perceived though free of contemplative sentiment and waft gently through the air, here somewhat dryly dabbed at, then again singing and full of round, melodious piano sound. Bar for bar it is noticeable that the young Gould knows exactly what he is doing and with whom he is dealing. Here in the hands of this young maestro Beethoven’s spirit is certainly compelling and intoxicating. ---elusivedisc.com

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Franz Joseph Haydn – Piano Sonata Nos. 48 and 52 (Glenn Gould)

2010-02-16T23:44:45Z

Franz Joseph Haydn – Piano Sonatas Nos. 48 and 52 (Glenn Gould)

Piano Sonata No.48 In C, Hob.XVI-48
1 - Andante Con Espressione
2 - Rondo Presto

Piano Sonata No.52 In E-flat, Hob.XVI-52
1 – Allegro
2 – Adagio
3 - Finale Presto

Glenn Gould – piano

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Glenn Gould - Live in Moscow 12 May 1957

2009-10-22T16:37:39Z

Glenn Gould - Live in Moscow 12 May 1957

The whole program was the following:

1. A. Berg (1885-1935)
Piano Sonata, Op. 1
Allegro Moderato--8.30

2. G. Gould speaks on the composers
of New Vienna School (demonstrating
an excerpt from the Passacaglia for Orchestra
by A. Webern)--5.18

3. A. Webern (1883-1945)
Piano Variations, Op. 27--4.43

4. G. Gould speaks on E. Krenek--1.25

5. E. Krenek (b. 1900)
From Piano Sonata No. 3,
Op. 62 No. 4
1. Allegretto piacvole,
animato e flessible--4.48
4. Adagio--6.00

6. G. Gould thanks the listeners--1.26

7. J.S. Bach (1685-1750)
From "Die Kunst der Fuge", BWV 1080
Contrapuncti 1, 4, 2--10.15

8. From "Goldberg Variations", BWV 998
Variations 3, 18, 9, 24, 10, 30


Small Hall of the Moscow Conservatory. 
Gould's May 1957 tour of Moscow and Leningrad.

At the beginning of May 1957, a young Canadian pianist, not well known to general public, performed at the Moscow Conservatory. Glenn Gould's concerts in Moscow and Leningrad several years later, when the musician was at the high point of his glory and his best professional form, were an enormous success. But as Gould admitted, it was his first visit in 1957 that initiated the renown he would later achieve. This tape, which retains moments of live communication between Gould and his Russian listeners, is valuable evidence of the event. --- hbdirect.com

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Glenn Gould - The Music of Arnold Schoenberg (2007)

2014-04-26T16:03:21Z

Glenn Gould - The Music of Arnold Schoenberg (2007)

	Zwei Gesänge Op. 1
1-1 	I. Dank 	5:55
1-2 	II. Abschied 	8:45
	Vier Lieder Op. 2
1-3 	I. Erwartung 	4:13
1-4 	II. Schenk Mir Deinen Goldenen Kamm 	3:43
1-5 	III. Erhebung 	1:08
1-6 	IV. Waldsonne 	2:50
	Das Buch Der Hängenden Gärten Op. 15
1-7 	I. Unterm Schutz Von Dichten Blättergründen 	2:37
1-8 	II. Hain In Diesen Paradiesen 	1:18
1-9 	III. Als Neuling Trat Ich Ein In Dein Gehege 	1:41
1-10 	IV. Da Meine Lippen Reglos Sind Und Brennen 	1:28
1-11 	V. Saget Mir Auf Welchem Pfade 	1:12
1-12 	VI. Jedem Werke Bin Ich Fürder Tot 	0:59
1-13 	VII. Angst Und Hoffen Wechselnd Mich Beklemmen 	1:09
1-14 	VIII. Wenn Ich Heut Nicht Deinen Leib Berühre 	0:57
1-15 	IX. Streng Ist Uns Das Gkück Und Spröde 	1:23
1-16 	X. Das Schöne Beet Betrachte Ich Mir Im Harren 	2:16
1-17 	XI. Als Wir Hinter Dem Beblümten Tore 	3:24
1-18 	XII. Wenn Sich Bei Heilger Ruh In Tiefen Matten 	1:59
1-19 	XIII. Du Lehntest Wider Einer Silberweide 	1:33
1-20 	XIV. Sprich Nicht Mehr Von Dem Laub 	0:40
1-21 	XV. Wir Bevölkerten Die Abend-Düsteren Lauben 	6:11

	Drei Klavierstücke Op. 11
2-1 	I. Mäßige Achtel 	4:11
2-2 	II. Mäßige Achtel 	8:24
2-3 	III. Bewegte Achtel 	2:37
	Fünf Klavierstücke Op. 23
2-4 	I. Sehr Langsam 	2:38
2-5 	II. Sehr Rasch 	2:01
2-6 	III. Langsam 	4:31
2-7 	IV. Schwungvoll. Mäßige Viertel 	2:49
2-8 	V. Walzer 	2:49
	Sechs Kleine Klavierstücke Op. 19
2-9 	I. Leicht, Zart 	1:26
2-10 	II. Langsam 	1:03
2-11 	III. Sehr Langsam 	0:51
2-12 	IV. Rasch, Aber Leicht 	0:21
2-13 	V. Etwas Rasch 	0:30
2-14 	VI. Sehr Langsam 	1:20
	Suite Für Klavier Op. 25
2-15 	Präludium. Rasch 	0:54
2-16 	Gavotte. Etws Langsam Nicht Hastig - Musette. Rasche - Gavotte Da Capo 	8:07
2-17 	Intermezzo 	2:12
2-18 	Menuett. Moderato - Trio - Menuett Da Capo 	3:52
2-19 	Gigue. Rasch 	2:31
	Zwei Klavierstücke Op. 33A & B
2-20 	A) Mäßig Viertel 	2:41
2-21 	B) Mäßig Langsam 	4:23

Glenn Gould – piano
Ellen Faull – soprano
Helen Vanni – mezzo-soprano
Donald Gramm – bass baritone

If the songs and piano pieces of Arnold Schoenberg were cool, calm, and completely objective, Glenn Gould's recordings of them would be ideal. In the songs -- the Zwei Gesänge, Op. 1; the Vier Lieder, Op. 2; and the 15 songs of Das Buch der Hängenden Gärten, Op. 15 -- Gould's detached touch, precise articulation, and very discrete use of the sustain pedal reveals every note of the accompaniment with astounding clarity. In the piano pieces -- the Drei Klavierstücke, Op. 11; the Sechs Kleine Klavierstücke, Op. 19; the Fünf Klavierstücke, Op. 23; the Suite for Klavier, Op. 25; and the Zwei Klavierstücke, Op. 33 A & B -- Gould's dry tone, restrained dynamics, and disinclination to apply the sustain pedal creates virtual x-rays of the score with astonishing lucidity. And for those who prize clarity and lucidity above all else in Schoenberg, Gould's performances will be perfect.

But for those who prize emotion and expression above all else in Schoenberg, Gould's performances will be acutely disappointing. To them, the brutal dissonances, harsh harmonies, jagged textures, abrupt transitions, and violent rhythms of Schoenberg's music demand anguish and expressivity from the performers, and this Gould resolutely refuses to provide. Some might argue that hearing all the notes is the paramount criteria for any performance, and that one can indubitably hear everything in Gould's performances. But others might reply that it's possible to have both lucidity and expressivity and point to Maurizio Pollini's recordings of Schoenberg's piano pieces as proof. And still others might point out that one can hear too much in Gould's performances, to wit, Gould's own moaning vocalizations behind and beneath the music he's playing. Though his fans have learned to tolerate this eccentricity, many others have not, and listeners fresh to Gould should be warned of it beforehand.

As for the singers, bass-baritone Donald Gramm's tired tone makes it hard to listen to the Zwei Gesänge, soprano Ellen Faull's wobbly intonation makes it difficult to listen to the Vier Lieder, and mezzo-soprano Helen Vanni's screechy attack makes it almost impossible to listen to Das Buch der Hängenden Gärten. Recorded between 1959 and 1965, Columbia's stereo sound here is as cool and objective as Gould's performances. ---James Leonard, Rovi

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Glenn Gould – The Sound Of Glenn Gould (2015)

2017-10-10T12:03:46Z

Glenn Gould – The Sound Of Glenn Gould (2015)


01 – Bach: Goldberg Variations, BWV 988 – Highlights: Aria
02 – Bach: Goldberg Variations, BWV 988 – Highlights: Variation 1 a 1 Clav.
03 – Bach: Goldberg Variations, BWV 988 – Highlights: Variation 2 a 1 Clav.
04 – Bach: Goldberg Variations, BWV 988 – Highlights: Variation 3 a 1 Clav. Canone all’ Unisuono
05 – Brahms: Intermezzo No. 2 in A Major, Op. 118 – Andante teneramente
06 – Bach: Concerto for Piano and Orchestra No. 5 in F Minor, BWV 1056: II. Largo
07 – Beethoven: Sonata No. 14 in C-Sharp Minor, Op. 27, No. 2 “Moonlight”: I. Adagio sostenuto
08 – Bach: Keyboard Concerto No. 2 in E Major, BWV 1053: II. Siciliano
09 – Mozart: Piano Sonata No. 11 in A Major, K. 331: III. Alla Turca – Allegretto
10 – Beethoven: Concerto No. 4 in G Major for Piano and Orchestra, Op. 58: III. Rondo: Vivace
11 – Haydn: Sonata in D Major, Hob. XVI:51: I. Andante
12 – Bach: Keyboard Concerto No. 3 in D Major, BWV 1054: I. Allegro
13 – Sibelius: Three Sonatines for Piano, Op. 67:Sonatina No.1 in F-Sharp Minor: III. Allegro moderato
14 – Bach: Invention No. 8 in F Major, BWV 779
15 – Beethoven: : Sonata No. 17 in D Minor, Op. 31, No. 2 “The Tempest”: III. Allegretto
16 – Bach: Italian Concerto in F Major, BWV 971 – Version of 1959: I. [ – Version of 1959
17 – Strauss: Fünf Klavierstücke, Op. 3: I. Andante
18 – Beethoven: Sonata No. 8 in C Minor, Op. 13 “Pathétique”: II. Adagio cantabile
19 – Bach: 6 Little Preludes, BWV 933-938: Praeludium in C Major, BWV 933
20 – Bach: Goldberg Variations, BWV 988 (1981) – Highlights: Variation 30 a 1 Clav. Quodlibet
21 – Bach: Goldberg Variations, BWV 988 (1981) – Highlights: Aria da capo

Glenn Gould - piano
Columbia Symphony Orchestra (tracks: 6, 8, 12)
Vladimir Golschmann - conductor
New York Philharmonic (tracks: 10)
Leonard Bernstein - conductor

In 1956 Glenn Gould’s first Columbia Masterworks release, Bach’s Goldberg Variations, took the music world by storm and immediately established the 23-year-old Canadian pianist as one of the most brilliant, original, charismatic and provocative classical performers of his time. Sixty years later, Gould’s prolific recorded output remains a stimulating presence, thanks to Sony Classical’s newly remastered collection of his complete authorized recordings in an 81-CD limited edition. The Sound of Glenn Gould presents highlights from this definitive presentation of the legendary pianist’s discography. --- glenngould.com

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Handel – Suites for Harpsichord Nos. 1-4 (1972/2015) [Glenn Gould]

2019-01-18T15:56:33Z

Handel – Suites for Harpsichord Nos. 1-4 (1972/2015) [Glenn Gould]

Suite No. 1 in A Major, HWV 426
1  I. Prelude 02:17 
2  II. Allemande 03:06  
3  III. Courante 02:20   
4  IV. Gigue 02:01 

Suite No. 2 in F Major, HWV 427
5  I. Adagio 02:29   
6  II. Allegro 01:26  
7  III. Adagio 01:57  
8  IV. Allegro – Fuga 01:55 

Suite No. 3 in D Minor, HWV 428
9  I. Prelude. Presto 00:59  
10  II. Allegro – Fugue 01:55   
11  III. Allemande 02:31  
12  IV. Courante 01:56  
13  V. Air 03:59  
14  Variation 1 00:42 
15  Variation 2 00:40  
16  Variation 3 00:40   
17  Variation 4 00:48  
18  Variation 5 00:36 
19  VI. Presto 02:03   

Suite No. 4 in E Minor, HWV 429
20  I. Allegro – Fugue 02:49 
21  II. Allemande 01:10 
22  III. Courante 01:17 
23  IV. Sarabande 02:48 
24  V. Gigue 01:04

Glenn Gould - Harpsichord

Handel's standing as one of the greatest composers of the high baroque period is based on his Messiah, dozens of other oratorios and operas, Water Music, and Music for the Royal Fireworks. His works for solo keyboard do not get prime exposure although recordings of these works are not infrequent. Are Handel's Suites for Keyboard lesser creations? Definitely not. His supreme gift for melody is readily apparent in his keyboard works, just on a smaller scale than found in his orchestral and vocal works. Be it poignant Sarabandes or super-charged Gigues, Handel's Suites are life-affirming and beautiful creations.

I should mention the organization of Handel's Suites for Keyboard. He composed twenty Suites, but only eight are generally grouped together. They are designated as HWV 426 thru 433 and are often referred to as the Eight Great Suites or the Eight Suites for Keyboard.

For a rather odd alternative, we have Glenn Gould playing four of the Eight Suites on a harpsichord. Guess what? He plays them just as he would on the piano. Regardless, his interpretations are always interesting. Gould's penchant for ceremony, precision, and propulsion are in full display, and his Prelude from Suite #1 is amazing for its improvisatory and busy character replete with a Latin American flavor. ---Don Satz, classical.net

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