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Glenn Gould plays Bach: The 6 Sonatas for Violin & Harpsichord BWV 1014-1019; The 3 Sonatas for Viola da gamba & Harpsichord BWV 1027-1029

5 out of 5 stars 2 customer reviews

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Audio CD, October 30, 2012
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  • Glenn Gould plays Bach: The 6 Sonatas for Violin & Harpsichord BWV 1014-1019; The 3 Sonatas for Viola da gamba & Harpsichord BWV 1027-1029
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Track Listings

Disc: 1

  1. I. Adagio - Jaime Laredo
  2. II. Allegro - Jaime Laredo
  3. III. Andante - Jaime Laredo
  4. IV. Allegro - Jaime Laredo
  5. I. [without tempo indication] - Jaime Laredo
  6. II. Allegro assai - Jaime Laredo
  7. III. Andante un poco - Jaime Laredo
  8. IV. Presto - Jaime Laredo
  9. I. Adagio - Jaime Laredo
  10. II. Allegro - Jaime Laredo
  11. III. Adagio ma non tanto - Jaime Laredo
  12. IV. Allegro - Jaime Laredo
  13. I. Siciliano. Largo - Jaime Laredo
  14. II. Allegro - Jaime Laredo
  15. III. Adagio - Jaime Laredo
  16. IV. Allegro - Jaime Laredo

Disc: 2

  1. I. Largo - Jaime Laredo
  2. II. Allegro - Jaime Laredo
  3. III. Adagio - Jaime Laredo
  4. IV. Vivace - Jaime Laredo
  5. I. Allegro - Jaime Laredo
  6. II. Largo - Jaime Laredo
  7. III. Allegro - Jaime Laredo
  8. IV. Adagio - Jaime Laredo
  9. V. Allegro - Jaime Laredo
  10. I. Adagio - Leonard Rose
  11. II. Allegro ma non tanto - Leonard Rose
  12. III. Andante - Leonard Rose
  13. IV. Allegro moderato - Leonard Rose
  14. I. Adagio - Leonard Rose
  15. II. Allegro - Leonard Rose
  16. III. Andante - Leonard Rose
  17. IV. Allegro - Leonard Rose
  18. I. Vivace - Leonard Rose
  19. II. Adagio - Leonard Rose
  20. III. Allegro - Leonard Rose


Product Details

  • Audio CD (October 30, 2012)
  • SPARS Code: ADD
  • Number of Discs: 2
  • Label: Sony Classical
  • Run Time: 139 minutes
  • ASIN: B0085MK2HQ
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #162,832 in Music (See Top 100 in Music)

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Beautiful music. Glen Gould is the very best there has ever been.
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~~~

Glenn Gould: An Apology...

‘When music affects us to tears, seemingly causeless, we weep not from “excess of pleasure”; but through excess of an impatient, petulant sorrow that, as mere mortals, we are as yet in no condition to banquet upon those supernal ecstasies of which music affords us merely a suggestive and indefinite glimpse’
--E.A. Poe, ‘Of Music’ (1844).

As for technical facility, Gould was a consummate master of musicianship whose seemingly effortless fluency of keyboard address was as accomplished and natural as has ever been witnessed in humankind vis-à-vis precision, clarity, control, dexterity, speed, and strength.

This technical facility was of course the sum of every fibre of his physicality--which also included perfect pitch; but what moreover makes Gould’s musical realizations uniquely distinctive--in tandem with the acoustical impact of the phenomena of his music-making, is his idealistic philosophy of poststructuralist aesthetics whereby he exercised in real space-time the production of musical sound.

In his art, Gould began with the premise that the musical artwork consists of the Idea conveyed via the intelligible data semiologically constructed within the system of orthography and illustrated upon the printed page.

In other words, the musical artwork is in fact the mental image conveyed within the immanent text itself, regardless of whether the textual data are ever acoustically realized in performance via the use of a mechanical instrument, or not--(an image possibly construed by the term ‘Augenmusik’, abetted by the ‘inner ear of the imagination’).

From this starting premise of idealist Form, the next most significant issue is that of musical intention--i.e.
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