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Glenn Gould|Bach: The Well-Tempered Clavier, Book 2, BWV 870-877

Bach: The Well-Tempered Clavier, Book 2, BWV 870-877

Glenn Gould

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The good news in the summer of 1968 for classical listeners who always wanted to like Glenn Gould but were put off by his incessant vocalizations was that producer Andrew Kazdin had found a way to muzzle the great Canadian pianist. In this Columbia release of Gould's 1966 and 1967 recordings of the first eight preludes and fugues from Bach's Well-Tempered Clavier Book II, listeners were treated to almost humming-free performances. This absence left listeners free to contemplate Gould's idiosyncratic interpretations without distractions.
And make no mistake, these interpretations are idiosyncratic. Gould's virtuoso technique and propulsive tempos carried over Bach's linear counterpoint with nary a stumble, but his tempos are often exceedingly fast, his articulation excessively staccato, his phrasing oddly askew, and his structures strangely out of balance. There's no question that the result reflects Gould's intentions given his technique and his intellect. The question is, ultimately, why did he do it? And the only answer is because he could. Whether or not this works is up to the individual listener.

© TiVo

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Bach: The Well-Tempered Clavier, Book 2, BWV 870-877

Glenn Gould

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Prelude & Fugue No. 1 in C Major, BWV 870 (Johann Sebastian Bach)

1
Praeludium
00:03:00

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

2
Fuga
00:01:52

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Prelude & Fugue No. 2 in C Minor, BWV 871 (Johann Sebastian Bach)

3
Praeludium
00:01:25

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

4
Fuga
00:01:29

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Prelude & Fugue No. 3 in C-Sharp Major, BWV 872 (Johann Sebastian Bach)

5
Praeludium
00:01:40

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

6
Fuga
00:03:35

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Prelude & Fugue No. 4 in C-Sharp Minor, BWV 873 (Johann Sebastian Bach)

7
Praeludium
00:03:09

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

8
Fuga
00:01:56

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Prelude & Fugue No. 5 in D Major, BWV 874 (Johann Sebastian Bach)

9
Praeludium
00:04:14

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

10
Fuga
00:02:49

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Prelude & Fugue No. 6 in D Minor, BWV 875 (Johann Sebastian Bach)

11
Praeludium
00:01:56

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

12
Fuga
00:01:48

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Prelude & Fugue No. 7 in E-Flat Major, BWV 876 (Johann Sebastian Bach)

13
Praeludium
00:01:28

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

14
Fuga
00:01:43

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Prelude & Fugue No. 8 in D-Sharp Minor, BWV 877 (Johann Sebastian Bach)

15
Praeludium
00:02:21

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

16
Fuga
00:02:18

Glenn Gould, Main Artist, Piano - Johann Sebastian Bach, Composer - Andrew Kazdin, Producer - Fred Plaut, Recording Engineer - Raymond Moore, Recording Engineer

(P) 1968 Sony Music Entertainment

Album review

The good news in the summer of 1968 for classical listeners who always wanted to like Glenn Gould but were put off by his incessant vocalizations was that producer Andrew Kazdin had found a way to muzzle the great Canadian pianist. In this Columbia release of Gould's 1966 and 1967 recordings of the first eight preludes and fugues from Bach's Well-Tempered Clavier Book II, listeners were treated to almost humming-free performances. This absence left listeners free to contemplate Gould's idiosyncratic interpretations without distractions.
And make no mistake, these interpretations are idiosyncratic. Gould's virtuoso technique and propulsive tempos carried over Bach's linear counterpoint with nary a stumble, but his tempos are often exceedingly fast, his articulation excessively staccato, his phrasing oddly askew, and his structures strangely out of balance. There's no question that the result reflects Gould's intentions given his technique and his intellect. The question is, ultimately, why did he do it? And the only answer is because he could. Whether or not this works is up to the individual listener.

© TiVo

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