Glenn gould goldberg variations torrent mp3

In Take 3 he teases out certain crucial notes in the left hand in Take 4, to me, the melodic line sings out more prominently. Still, he shaves 8 seconds off the timing of Take 1 (which was 2 minutes, 7 seconds). In Take 2, he plays the aria more fleetly and brightly, though the tempo slows a little as the music unfolds. вЂњListen, hey, who the heck tuned this piano this morning, listen to this,вЂќ Gould says, thumping on a note that sounds off. He begins by playing the opening aria at a gently lilting tempo and with pristine clarity, though a hint of intensity hovers within. GouldвЂ™s restlessness courses through every track (at least those I listened to). Scott said, to complete the вЂњGoldbergвЂќ recording.

But itвЂ™s also what made it challenging, Mr. Scott explains in that 2004 interview, Gould вЂњchanged a lot as he recorded because he wanted to try different tempos, different accents, different phrasings, because thatвЂ™s why he loved recording so much.вЂќ His restless, searching mind is part of what made his playing so engrossing and original. Clearly, in this recording, he was trying maintain a semblance of that вЂњephemeral,вЂќ вЂњunrepeatableвЂќ immediacy. The flaws wouldnвЂ™t have bothered him a bit in a live concert. The demonic, perpetual-motion finale of the вЂњAppassionataвЂќ Sonata, for example, has stretches of hectic, rushed and smudgy playing.Д«ut SchnabelвЂ™s account also has exciting sweep and wondrous shadings. Listening today, you might wonder why he approved some of the takes. His discography includes a probing survey of BeethovenвЂ™s 32 piano sonatas, recorded in London during the early 1930s. Schnabel eventually decided that the potential benefits outweighed the downsides. The nature of a performance, he wrote in a memoir, вЂњis to happen but once, to be absolutely ephemeral and unrepeatable.вЂќ The master pianist Artur Schnabel, for one, initially resisted entreaties to make records. What, I asked myself, was the point?ДЄnd yet the more I dipped into these takes, the more revealing they seemed - not just of GouldвЂ™s process, but also of the conflicting imperatives of making a recording. Hearing the intense young Gould at work during these arduous recording sessions, playing through a variation at a breakneck tempo with prickly sound, then playing it again, and again, and again, is not just exhausting itвЂ™s stupefying. And, for all his frenetic energy, in passage after passage, he brings out the musicвЂ™s majesty, dancing grace and tenderness. ItвЂ™s still amazing to hear the seemingly impossible clarity of GouldвЂ™s playing, the sometimes manically fast tempos. Scott, said it would be a вЂњdisgraceвЂќ to make them public. But in a 2004 interview, the recordingвЂ™s producer, Howard H. The tapes of those sessions were stored for years in the archives of Columbia Records, now Sony Classical. It also made the gangly, eccentric Gould an unlikely classical superstar. In four intense sessions in a Manhattan studio in June 1955, the 22-year-old Gould recorded his breathless, uncannily clear account of the вЂњGoldbergs.вЂќ The release turned what had previously been considered a lengthy piece for harpsichord, of interest only to Bach specialists, into a runaway hit. For Bach lovers, Glenn Gould fans and pianists (IвЂ™m all three), here was perhaps the ultimate find of recording history, finally available: the nearly five hours of GouldвЂ™s complete recording sessions for his momentous debut album, BachвЂ™s вЂњGoldbergвЂќ Variations.вЂќД«ut I couldnвЂ™t make it through, not even close.

Sitting comfortably in my living room, I had every intention of listening to the boxed set that had recently landed with a thud in my mailbox.

Glenn gould goldberg variations torrent mp3