| Glenn Gould Bach: Goldberg Variations |
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 | Tracklist:
1. Goldberg Variations, BWV 988/Aria
2. Goldberg Variations, BWV 988/Variation 1 a 1 Clav.
3. Goldberg Variations, BWV 988/Variation 2 a 1 Clav.
4. Variation 3 a 1 Clav. Canone all' Unisuono
5. Goldberg Variations, BWV 988/Variation 4 a 1 Clav.
6. Goldberg Variations, BWV 988/Variation 5 a 1 ovvero 2 Clav.
7. Variation 6 a 1 Clav. Canone alla Seconda
8. Goldberg Variations, BWV 988/Variation 7 a 1 ovvero 2 Clav.
9. Goldberg Variations, BWV 988/Variation 8 a 2 Clav.
10. Variation 9 a 1 Clav. Canone alla Terza
11. Variation 10 a 1 Clav. Fughetta
12. Goldberg Variations, BWV 988/Variation 11 a 2 Clav.
13. Goldberg Variations, BWV 988/Variation 12 Canone alla Quarta
14. Goldberg Variations, BWV 988/Variation 13 a 2 Clav.
15. Goldberg Variations, BWV 988/Variation 14 a 2 Clav.
16. Variation 15 a 1 Clav. Canone alla quinta. Andante
17. Variation 16 Ouverture a 1 Clav.
18. Goldberg Variations, BWV 988/Variation 17 a 2 Clav.
19. Goldberg Variations, BWV 988/Variation 18 - Canone alla Sesta a 1 Clav.
20. Goldberg Variations, BWV 988/Variation 19 a 1 Clav.
21. Goldberg Variations, BWV 988/Variation 20 a 2 Clav.
22. Goldberg Variations, BWV 988/Variation 21 Canone alla Settima
23. Variation 22 Alla breve a 1 Clav.
24. Goldberg Variations, BWV 988/Variation 23 a 2 Clav.
25. Variation 24 Canone all' Ottava a 1 Clav.
26. Goldberg Variations, BWV 988/Variation 25 a 2 Clav.
27. Goldberg Variations, BWV 988/Variation 26 a 2 Clav.
28. Variation 27 Canone alla Nona
29. Goldberg Variations, BWV 988/Variation 28 a 2 Clav.
30. Goldberg Variations, BWV 988/Variation 29 a 1 ovvero 2 Clav.
31. Goldberg Variations, BWV 988/Variation 30 a 1 Clav. Quodlibet
32. Goldberg Variations, BWV 988/Aria da capo
Release Date: 1956 | |
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| Summary: Like a sunday drive acid trip... |
Classical music: Whether loved or hated, it simply predates everything hip, groovy, kvlt, or otherwise. It may go unnoticed by the heathen masses, but the music of composers centuries past permeates our modern soundscape on a global level. Any student of film can speak to the emotional manipulation made possible by these antiquitous reverberations. Though generally accepted as affecting (both positively and negatively), you are unlikely to share the opinion that “Classical Rocks!” That is, of course, unless you make yearly contributions to your local public radio station. In defense of the genre I offer this album as exhibit #1.
In 1955 an ambitious young Canadian pianist by the name of Glenn Herbert Gould sat down to record The Goldberg Variations of Johann Sebastian Bach. The material was considered too esoteric to be commercially successful, yet a brazen performance vaulted Gould to international stardom and became one the most celebrated classical recordings of the 20th century. Some fifty years later the performance remains relevant.
The Goldberg Variations consist of 30 variations and two arias serving as bookends. Notes and melodies swirl about in all directions here, with fluttering fingers and keystrokes dominating the bulk of the material. Gould was renown for the unsurpassed clarity of his playing, even with the remarkable speed exhibited on many variations. Brisk and whimsical occasionally gives way somber and deliberate, but this serves to give the listener a welcome respite from more intense, even overwhelming selections. Remarkable here is the manner in which sounds seem to flirt with each other in ways seemingly counterintuitive, even alien. The effect would be disturbing if not so utterly hypnotic. Mr. Gould’s performance at times seems to eclipse mere virtuosity for the superhuman, reminding me of a certain six-fingered pianist in the film GATTACA. It is important to understand that the music found here is an interpretation of Bach. It is the passion and intentions of this iconic baroque figure filtered through the soul of a cocksure young Canadian, and transmitted through his nimble fingers.
Glenn Gould is almost as well known for his bizarre behaviors as his musical virtuosity. Among these would be an extreme aversion to cold and a plentitude of neurotic performance requirements. The most relevant eccentricity for purposes of this review would be the habitual ‘humming’ Glen would exhibit during performance. To the sound engineer’s dismay, this sometimes becomes audible throughout The Goldberg Variations, as well as other recordings. Some, including this author, find it an endearing quality, indicative of the passion and commitment Gould instilled in his playing. Those intrigued should know that intimate knowledge the man behind the music allows for a finer appreciation of this bewitching recording.
For those who set aside a place for classical amidst all the skramz, jams, and joints, The Goldberg Variations is simply essential.
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| Recent reviews by this author | | |
Album Rating: 5
Sorry, had to repost this under the right album...also proud of myself for inclusion of the word cocksure in a review
Digging: Grayceon - This Grand Show | | | Album Rating: 5
Gould was a master of the ‘finger tapping’ technique
Just noticed this... this doesn't make any sense really.
Digging: Do Make Say Think - Other Truths | | |
never really liked bach myself but thats just me. although he did so much stuff its hard not to like some of it
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Not meaning to seem pedantic, but wasn't Bach in the "Baroque" era rather than the "Classical" era?
I'll check this out, though. Similarly to 'thebhoy', I'm not quite sure what you mean by the finger
tapping technique.
I'll rate when I get the album.
Digging: Ludwig van Beethoven - Piano Sonatas 13 & 14 (Moonlight), Opus
| | | Album Rating: 5
Gould worked from a young age with his teacher Alberto Guerrero on a technique known as finger-tapping, a method of training the fingers to act more independently from the arm. - wiki
anyway, it makes more sense when you listen...and you should do so
forgive me for my sweeping generalizations
| | | Album Rating: 5
yes, Bach is in the Baroque era, though I think he meant Classical as an umbrella genre as supposed to the Classical era, which came immediately after this I believe (or was that Romantic?)
Also: the 'finger-tapping' that you quote from wiki (which you should never quote from but whatevs) seems redundant because that's essentially how you play fast runs and cadenzas that are heard in this music in the first place.
| | | Album Rating: 5
never really liked bach myself but thats just me. although he did so much stuff its hard not to like some of it.
For me it's not even so much about liking it, it's more about being in awe of Gould.
| | | Album Rating: 5
For me it's not even so much about liking it, it's more about being in awe of Gould.
^^^^^^point of the entire review
edit: no more 'finger tapping'
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Sorry 'thebhoy', my mistake.
Anyway, 'WatchItExplode', I'll check this out, and then give my review on it =)
I've always rather liked Bach (apart from when made to complete 4 part choral harmonies, lol =@)
I'm not sure how this album stacks up against his other stuff, musically. I absolutely loved his Brandenburg Concertos, though naturally this is on the other end of the spectrum.
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