glenn gould concert

[104], Gould is one of the most acclaimed musicians of the 20th century. She purchased a house near Gould's 110 St. Clair Avenue West apartment. The life’s work of a Glenn Gould Prize Laureate embodies this connection. On 5 June 1938, at the age of five, Gould played in public for the first time, joining his family on stage to play piano at a church service at the Business Men's Bible Class in Uxbridge, Ontario, in front of a congregation of about two thousand. Other recordings exist of Gould playing the same concerto at a more conventional tempo, one with the Canadian conductor Victor Feldbrill,[9] and another with the Baltimore Symphony under Peter Herman Adler (October 9, 1962, once available on Music & Arts CD-297).[10]. [97] Schwarzkopf believed in "total fidelity" to the score, but she also objected to the temperature, which was to Gould's liking: The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. [52] He was known for cancelling performances at the last minute, which is why Bernstein's aforementioned public disclaimer opened with, "Don't be frightened, Mr. Gould is here... [he] will appear in a moment. 1) came in 1953 on the short-lived Canadian Hallmark label. It is likely that this habit originated in his having been taught by his mother to "sing everything that he played", as his biographer Kevin Bazzana puts it. Bernstein, in urging the musicians not to give up, referred to Gould as a "great man"[4] and held that his ideas should be taken seriously. The circumstances surrounding this April 6, 1962 concert at Carnegie Hall are as legendary as the performance itself. He invariably insisted that it had to be extremely warm. He continued to use this chair even when the seat was completely worn through. Transcriptions, compositions, and conducting, Full circumstances of the name-change can be found in, ATCM is Associate, Toronto Conservatory of Music. In a lecture and essay titled "Forgery and Imitation in the Creative Process", one of Gould's most significant texts,[81] he makes explicit his views on authenticity and creativity. I cannot say I am in total agreement with Mr. Gould's conception and this raises the interesting question: "What am I doing conducting it?" Why do I not make a minor scandal — get a substitute soloist, or let an assistant conduct? [68], On 27 September 1982, two days after his 50th birthday, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. [21] One year later he had passed the written theory exams, qualifying for an Associate of the Toronto Conservatory of Music (ATCM) diploma. This is especially evident in his (frequent) attempts at humour and irony. Each Glenn Gould Prize Laureate also chooses an outstanding young artist to receive The City of Toronto Glenn Gould Protégé Prize.. His String Quartet (Op. [fn 5] This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. This is a broadcast recording (recorded at Konzertsaal der Berlin Hochschule für Musik on 26th May 1957), but the sound quality is far better than the notorious Brahms concerto recording with Bernstein, although occasional coughs and sneezing - plus creaking noise from Glenn Gould's chair - are audible. Gould's playing was distinguished by a remarkable technical proficiency and a capacity to articulate the contrapuntal texture of Bach's music. Gould's perspective on art is often summed up by this 1962 quote: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. [9], Gould's interest in music and his talent as a pianist were evident very early. [98], He worked with numerous vocalists to record Schoenberg, Hindemith, and Ernst Krenek, including Donald Gramm and Ellen Faull. The Glenn Gould Foundation was established in Toronto in 1983 to honour Gould and to keep alive his memory and life's work. For Gould, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career. Glenn Gould famously retired from the stage in 1964 and thereafter only presented his performances through recordings. He often hummed or sang while he played, and his audio engineers were not always successful in excluding his voice from recordings. Gould and jazz pianist Bill Evans were mutual admirers, and Evans made his seminal record Conversations with Myself using Gould's celebrated Steinway model CD 318[75] piano. Of the 18 times he performed the Emperor concerto, it was the last one that came completely by chance – well after he never meant to perform live again. [36] His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. [fn 19]. Although Gould's recording studio producers have testified that "he needed splicing less than most performers",[83] Gould used the process to give himself total artistic control over the recording process. 4 in D Major, Beethoven's Op. We should see this failure, rather, as an aspect of his genius. It was, I think, his last performance in Toronto, and it was a staggering impression. Gould rejected most of the standard Romantic piano literature by Chopin, Liszt, and others, in favour of Bach and Beethoven mainly, along with some late-Romantic and modernist composers. Glenn Herbert Gould was born at home in Toronto, on 25 September 1932, to Russell Herbert Gold (1901–1996) and Florence Emma Gold (née Grieg; 1891–1975), Presbyterians of Scottish, English, and Norwegian ancestry. He did this at the Thursday concert, widely seen as a "preview" of the rest of the run, to which critics did not come; however, he repeated his speech at the Friday concert, which was usually the one chosen for review.[3]. [118], The Juno Awards are presented annually by the Canadian Academy of Recording Arts and Sciences. The performer had to make creative choices. Four years after his final public appearance Gould, in an interview with journalist John McClure, explained and vindicated his decision to drop out of the concert scene: “Except for a few octogenarians, I’m really the first person who has, short of having a nervous collapse or something, given up the stage. [108] François Girard's Genie Award winning 1993 film, Thirty Two Short Films About Glenn Gould includes documentary interviews with people who knew him, dramatizations of scenes from Gould's life, and fanciful segments including an animation set to music. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.[30]. He dabbled in composition with few finished works. Their affair lasted until 1972, when she returned to her husband. Clocking in at just over 53 minutes long, it was seen at the time to be far too slow. His April 1962 performance of Brahms’ first piano concerto, with the New York Philharmonic and Leonard Bernstein conducting, gave rise to an extraordinary situation in which Mr. Bernstein disagreed with Gould’s interpretation so vehemently that he felt it necessary to warn the audience beforehand. [100], Gould was not only a pianist, but also a prolific transcriber of orchestral repertoire for piano. The claim that Gould "never shook hands" is exaggerated. Don't be frightened. More Details. Gould referred to himself repeatedly as "the last puritan", a reference to the philosopher George Santayana's 1935 novel of the same name. This is the first live music by Gould I have encountered and am surprised to be writing this: it looks like the master pianist made a big mistake. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners while being highly objectionable to others. He transcribed his own Wagner and Ravel recordings, as well as the operas of Richard Strauss and the symphonies of Schubert and Bruckner,[6] which he played privately for pleasure. The pre-intermission part of the concert program consisted of two works by Carl Nielsen, the overture to his opera Maskarade, conducted by assistant John Canarina, and his Fifth Symphony. While in Sarasota Florida for a concert, Toronto-based pianist Glenn Gould — who famously had a proclivity for wearing hats, gloves, and winter coats in the summer — thought he’d take in some air on a park bench before a concert. He performed on television and radio, and produced three musique concrète radio documentaries called the Solitude Trilogy, about isolated areas of Canada. Glenn Gould: Concert Dropout - In Conversation with John McClure Glenn Gould (Artist), John McClure (Artist) Format: Audio CD. But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? [101] There is little critical commentary on Gould's compositions for the simple reason that there are few of them; he never succeeded beyond Opus 1, and left a number of works unfinished. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series. 4 in G Major, BWV 1049. The documentary filmmaker Bruno Monsaingeon said of him, "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly. He will appear in a moment. In his writing, Gould praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave analyses of the music of Richard Strauss, Alban Berg and Anton Webern. More recent research has, to a point, validated Gould's ideas. [12] Gould's interest in the piano was concomitant with an interest in composition. Mr. Gould is here. In 1970, the government of Canada offered him the Companion of the Order of Canada, but he declined, believing himself to be too young. [40] Among the pieces he performed that night were Beethoven's Piano Sonata No. Towards the end of his life, Gould began conducting. Bach, stating that the Baroque composer was "first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived". Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers, this way: He was progressive and anti-progressive at once, and likewise at once both a critic of the Zeitgeist and its most interesting expression. He was admitted to Toronto General Hospital, and his condition rapidly deteriorated. [50] Plans for a studio recording of the performance came to nothing. In 1964 at age 32, Glenn Gould stuns the world by walking away from the stage, declaring "the concert is dead." The answer is, of course, sometimes one, sometimes the other, depending on the people involved. [fn 3] Gould had no Jewish ancestry,[fn 4] though he sometimes made jokes on the subject, such as "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war.

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