Glenn Gould

About

Glenn Gould (1932–1982) was a Canadian pianist widely regarded as one of the most original musicians of the 20th century, celebrated above all for his radical reinterpretation of Bach’s keyboard works. He rose to international fame in 1955 with his recording of the Goldberg Variations, a fast, crisp interpretation that broke sharply with Romantic tradition and became a bestselling classical album. In 1964, at just 31, Gould abandoned live performance entirely, arguing that studio recording offered greater precision and control than the concert stage. He devoted the rest of his career to recordings, broadcasts, and writing, extending his repertoire to Beethoven, Brahms, and Schoenberg while famously dismissing much of the standard Romantic canon. Known for his eccentric habits, low seated posture, and audible humming while playing, Gould remains one of classical music’s most singular and influential interpreters.

Concerts

14
octobre
2034

Gerstein plays Busoni’s Piano Concerto

Date: octobre 14, 2034Heure: 7:30 pmLieu: Barbican CentreEmplacement: Silk Street EC2Y 8DS London
Grazyna Bacewicz Symphony No 2

Ferrucio Busoni Piano Concerto

Sviatoslav Richter

« Glenn Gould, ‘the greatest interpreter of Bach’. Glenn Gould has found his own approach to Bach and, from this point of view, he deserves his reputation. It seems to me that his principal merit lies on the level of sonority, a sonority that is exactly what suits Bach best. But, in my own view, Bach’s music demands more depth and austerity, whereas with Gould everything is just a little too brilliant and superficial. Above all, however, he doesn’t play all the repeat, and that’s something for which I really can’t forgive him. It suggests that he doesn’t actually love Bach sufficiently. »

Leon Fleisher

« Glenn brought an extraordinary awareness and imagination – he had a very plastic mind – and he was capable of growing, of changing too. Bach offers a very rich field for differentiation of approaches because he was so unspecific about what he did, in terms of performance. But every time one plays a piece, it’s an opportunity not so much to go where the composer didn’t, but to come closer to what one conceives of as being the experience of the composer or the intention of the composer. »