Glenn Gould in Re-performance

Buy the 1981 interpretation. It sounds better, is in true stereo and IMO the interpretation is much better if less historic.

I have always preferred the 1955 recording to the later one. The remaster of the 1955 recording issued in the "State of Wonder" package a few years ago was excellent, and I wonder if this new version isn't mostly hype. I can see using the technology on older 78s, but question whether the effort is worth it on LP recordings that have been competently remastered already.

Some thoughts on playing the keyboard music of JS Bach on the Piano and Harpsichord:

Bach...

A good two pence worth from Fredrik

If I might reinforce Fredrik's thoughts with my own.

Personally, I don't think the works shouldn't be played on the piano (though I don't own a piano recording that really satisfies me and have heard plenty, such as Tureck's torturously slow reading, that left me utterly cold). I'm keen to hear Barenboim's reading, as I rather enjoyed his Well Tempered. However, there is something special about the way this music sounds of the harpsichord and I doubt I'll ever hear anything to rival Walcha's Goldbergs, discussed at length in the thread I've posted a link too. Sadly, shockingly, unavailable in this country, but yours from Amazon.fr shockingly cheaply (in a 5 disc box that includes his Well Tempered). Link in the above thread.

As to Gould, I have a box containing both the '55 and '81 readings. I prefer the latter (it is both slower and observes more repeats). Be warned though, Gould likes to sing along and while this adds to the experience for some, for others it has the opposite effect.

regards, Tam

I don't mean to sidetrack the thread, but can anyone recommend a good modern performance of the Goldbergs on harpsichord? I have four piano versions (call me a philistine, but I prefer Bach's keyboard works that way!) and fancy a change!

For the record, the piano versions I own are Gould (both versions, as collected in "A Sense of Wonder"), Hewitt, and Schiff (Sony). My bfavourite is the Hewitt, closely followed by the first Gould.

For the Goldbergs on the harpsichord, try Pierre Hantai. His latest rendition of them is on Mirare. An earlier recording by him is on Opus 111, and might be easier to obtain.

Mark S

quote:

Originally posted by munch:
HMV.UK Have it down as out on the 28th so you should not have to long to go.
Regards munch

asked in the shop, and was told would take as long as a month after release in the State / Europe here in Hong Kong.

oh well, a month is not that long for a CD, might be long for a Naim waiting deilivery perhaps

quote:

Originally posted by cider glider:
For the Goldbergs on the harpsichord, try Pierre Hantai. His latest rendition of them is on Mirare. An earlier recording by him is on Opus 111, and might be easier to obtain.

Mark S

And is in my view preferable. I did not realise the Opus 111 set was still out. I would have recomended it immediately had I known. Of the moderns, this is about the best!

ATB from Fredrik

Another vote for the Hantai on Opus 111-superb, and beautifully recorded

Maybe not modern (it dates from 1961 - no apology need be made for it in terms of sound quality), but I would take Walcha's harpsichord recording to my desert island - it is magical. As I mentioned above, it can only be had in France, but even when you take into account the postage, at 20 euros (less if you use the marketplace) it's still a steal (it's actually five discs, having the Well Tempered as well). You can also listen to samples on the amazon website:

http://www.amazon.fr/exec/obidos/ASIN/B00004UT8G/qid=11.../171-1228097-1079409

regards, Tam

I'm confused as to what's been done to the Gould recording mentioned at the start of this thread. Anyone care to enlighten me?

Thanks for the recommendations - I'll check them out.

Thread Hijack Ends!

Some kind of allegedly precise measurements of the sound waves from the original that are then transferred to the Yamaha player piano, and then that sound is recorded, and then released on disc. At least I think that's what is involved. Obviously not for the purist, though Gould would probably have loved it. Apparantly they intend to use the same procedure with some old Art Tatum cuts. I imagine this technology lends itself to a solo instrument like piano easier than an orchestral piece, and that's why the initial releases are solo instrumental works.

while i appreciate the purist pov, i have a half-dozen naxos cd's of bach on piano, and play them all the time. i think a couple of them are violin trancriptions, not just harpsichord pieces. naxos as many of you are probably aware employs relatively unknown (read: low labor costs) but talented eastern european musicians and orchestras. these particular recordings get as much play as any in my collection. bach is where it is, and it's a bach fix. i actually prefer the more conventional (but excellent) renderings of these pianists to gould's sensational and headlong technique - although he is brilliant, i experience his work as a little less bach and a little more gould.

i will probably purchase the gould recording in question just for the novelty effect. at first i rejected the notion as a gimmick, but have read a couple of interesting reviews which have piqued my interest. can't this be fun?? note that it is a multi-channel sacd recording so we won't won't be listening to that version anyway on our naim cdp's. lucky for you fellows, it's a hybrid.

tengentially, i also have perihia doing the goldberg variations. while he is an excellent pianist, i experience him more as a chopin specialist perhaps. i think i may still be seeking my favorite goldberg.

rgds. and best wishes,

fiddy

I'm not sure I'm a purist (enjoying Bach very much on both piano and harpsichord). Even Fredrik is partial to a bit of Well Tempered from Fischer.

No, I think the point is that this music was written for the harpsichord and the mechanics of the instruments mean you hear something very different, something which I think can greatly enhance one's understanding of the structure, given the force with which the keys are struck can't really be varied or the notes held in the same was as with a piano - making structure more import (even if you then prefer to listen on a piano - and no reason why you shouldn't). This can be particularly true when different manuals use different registrations and you can thus achieve and effect where the melodic and singing lines are in different textures.

I'd add that, if I'm reading it right, the disc that started this thread is clearly some machine playing a piano to recreate the notes Glenn Gould played. As an academic exercise, maybe, but there is something rather unsettling about it.

regards, Tam

Dear Tam,

Quite true about Bach on the piano for me. I actually gave the Well Tempered Clavier in Fischer's recording to a very good friend, who loves it, but the purpose was not to get shot of it, but spread a little happiness! I have Bach played on the piano by Fischer, Schnabel and Pires. All priceless, and never to leave!

It is fascinating to think how with such dissimilar instruments as Fischer's Piano and Walcha's Harpsichord these two can get such spiritually similar results in the something like the Chromatic Fantasy and Fugue. Their aims were clearly similar. One of the miracles of great musicians completely transcending the limitations of the mere mechanics of the instruments! The players are more important than the instruments, and the music, being "All That Really Matters," the most important of all.

ATB from Fredrik

I will probably buy the Glenn Gould [out of curiosity] since I already have both of his recordings + the reissue.

I am happy to listen to his recordings even with his singing.

What would be great would be Richter and the Sofia Concert with Pictures at an Exhibition. Everyone says its great but there is so much audience noise I cannot listen to it....

James H.

I'll be interested to hear your thoughts on the disc if you do get it.

As far as audience noise goes, I find the annoyance is related to the quality of the performance. For example, Giulini's live recording of Don Carlos has a lot of noise, yet I'd choose it over the studio issue. On the other hand, in a mediocre performance much less noise can be more frustrating.

regards, Tam

quote:

Originally posted by Tam:
I'd add that, if I'm reading it right, the disc that started this thread is clearly some machine playing a piano to recreate the notes Glenn Gould played. As an academic exercise, maybe, but there is something rather unsettling about it.

regards, Tam

yes, tam, it is a little creepy. i feel a bit like a moth to a flame, as i am curious, just based on some reviews i've seen. but is this the first step in an inexorable journey to a completely "musicianless" future? i know some would scoff at such a notion, but ....