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663:. For the 1981 version, Gould sought to unify the variations by finding proportional rhythmic relationships between them. While the 1955 recording ignores all repeats, Gould now played 13 of the first repeats, while still declining to play the repeats of the B sections, which he felt undermined the sense of closure of each variation as it modulated back to the tonic (G major or minor). He repeated the A section of the nine canons, and the four strict four-part variations (4, 10, 22, and 30).
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artistic freedom. Columbia recognized his talent and tolerated his eccentricities; on June 25 the company issued a good-natured press release describing Gould's unique habits and accoutrements. He brought to the studio a special piano chair, bottles of pills, and unseasonable winter clothing; once there, he would soak his hands and arms in very hot water for twenty minutes before playing. Gould often had trouble finding a piano he liked; the
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988), the 1956 record launched Gould's career as a renowned international pianist, and became one of the most well-known piano recordings. Sales were "astonishing" for a classical album: it was reported to have sold 40,000 copies by 1960, and had sold more than 100,000 by the time of Gould's death in
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or someone of that generation and stature. They thought that possibly some more modest undertaking was advisable." Then aged 22, Gould was confident and assertive about his work, and prevailed in the decision as to what he would record for his debut—having also ensured that his contract granted him
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for his recorded debut. In a 1981 interview, Gould reflected on the studio's situation: "I think the objections had, which were mild and expressed in a most friendly fashion, were quite logical. I was twenty-two years old and proposed doing my recording debut with the
Goldberg Variations, which was
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linger unduly over anything would be to take away from a sort of overall unity of things... In part it was brought about by a reaction against so much piano playing which I had heard and, in fact, part of the way in which I myself was taught, which was in the school of the
Romantic pianists of the
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now involved slowing the piece down: " is about the only musical change that has gone on, but it implies, I think, possibly an approach of slightly greater breadth now than at that time... I was very much in a 'let's get the show on the road and get through with it' sort of mood . I felt that to
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The opportunity to perfect one's work in the studio—what Gould called "take-twoness"—attracted him to the recording studio from the beginning, and separated him from a classical-music tradition which emphasized continuous live performance, even on record. He recorded at least 21 versions of the
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lovers, 'rests lightly on the wings of the unchecked wind.' It has, then, unity through intuitive perception, unity born of craft and scrutiny, mellowed by mastery achieved, and revealed to us here, as so rarely in art, in the vision of subconscious design exulting upon a pinnacle of potency."
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nocturne"—to Gould, an undesirable quality, given his aversion to much of the
Romantic repertoire. He continued, "I can no longer recognize the person who did that. To me today that piece has intensity without any sort of false glamour. Not a pianistic or instrumental intensity, a spiritual
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within the contemporary classical repertoire and made him an internationally famous pianist nearly "overnight". First played in concert by Gould in 1954, the composition was a staple of Gould's performances in the years following the recording.
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in New York City; it was the last album to be recorded in that studio before it closed. He largely abandoned the showmanship of the 1955 performance, choosing instead a more introspective interpretation with more calculated
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in about 1950, around the age of 17. It was one of the first works that he had learned "entirely without teacher", and which he had "made up mind about relatively ". He noted that his performance view of the
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Gould later became more critical of his 1955 interpretation, expressing reservations about its fast tempi and pianistic affectation. He found much of it "just too fast for comfort", and lamented the
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can therefore vary drastically: Gould's 1955 recording is 38 minutes 34 seconds long, while his reconsidered, slower 1981 version (see below) is 51:18. By way of contrast, fellow
Canadian
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in 2017, comprising seven discs of outtakes and related material from the 1955 recording session. In 2022, a ten-disc set of the 1981 album's recording sessions was released.
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Arriving within a year of his death, the 1981 recording is popularly recognized as "autumnal", a symbolic testament to Gould's career. The album won two awards in 1983: the
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Both albums have been repackaged on numerous occasions since their original releases. For example, in 2002, Sony
Classical issued a three-CD collection titled
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introductory aria before being satisfied. Over the course of his career, Gould became more and more interested in the creative possibilities of the studio.
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The album gained attention for Gould's unique pianistic method, which incorporated a finger technique involving great clarity of articulation (a "detached
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suggests that Gould wanted to "set apart consistently and audibly those variations in which formal counterpoint is of primary importance".
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Fleming, Colin (November 28, 2003). "Reissues: Glenn Gould – 'A State of Wonder: The
Complete Goldberg Variations 1955 & 1981' ".
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became
Columbia's bestselling classical album and earned Gould an international reputation. The record is now in the catalog of
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The extreme tempi of the 1955 performance made for a short record, as did Gould's decision not to play many of the
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tapes), and a third disc with 1955 studio outtakes and an interview with Gould documentarian and music critic
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1185:"Sony Classical Releases The Goldberg Variations: The Complete 1981 Studio Sessions – Glenn Gould Foundation"
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major ("St. Anne"), BWV 552, Chorale preludes, BWV 669–689, Duets, BWV 802–805
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At least one record-company executive questioned Gould's choice of the then-obscure
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over four days between June 10 and 16, a few weeks after Gould signed his contract.
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album cover shows 30 photos of Gould in the studio, analogous to the 30 variations.
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Siepmann, Jeremy (January 1990). "Glenn Gould and the
Interpreter's Prerogative".
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CD 19 piano, a model similar to the piano that Gould himself owned, a CD 174.
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1982. In 1981, a year before his death, Gould made a new recording of the
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Glenn Gould: The
Performer in the Work: A Study in Performance Practice
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Canonic
Variations on "Vom Himmel hoch da komm' ich her", BWV 769
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29:"A State of Wonder" redirects here. For the Ann Patchett novel, see
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The Goldberg Variations: The Complete Unreleased Recording Sessions
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A State of Wonder: The Complete Goldberg Variations 1955 & 1981
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Stegemann, Michael, "Bach for the 21st century", introduction to
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to the recording. Concluding his back-cover essay on the
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Shortly before his death in 1982, Gould re-recorded the
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The Art of Glenn Gould: Reflections of a Musical Genius
912:(1763). The Musical Times, Vol. 131, No. 1763: 25–27.
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Grammy Award for Best Instrumental Soloist Performance
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on a harpsichord). Gould's album both established the
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Bach: The Goldberg Variations (Glenn Gould recording)
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United States National Recording Registry recordings
1286:. Extraordinary Canadians. Toronto: Penguin Canada.
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256:supposed to be the private preserve, of, perhaps,
1639:Eight Short Preludes and Fugues, BWV 553–560
1219:Wondrous Strange: The Life and Art of Glenn Gould
196:At the time of the first album's release, Bach's
171:is the debut album of Canadian classical pianist
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2197:Concerto transcriptions, BWV 592–596 and 972–987
1614:Fantasia and Fugue in G minor ("Great"), BWV 542
1604:Toccata and Fugue in D minor ("Dorian"), BWV 538
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2097:Capriccio on the departure of a beloved brother
1667:Prelude (Toccata) and Fugue in E major, BWV 566
1634:Prelude and Fugue in E minor ("Wedge"), BWV 548
1000:Kingwell, book jacket. See chapter 21, "Takes".
1672:Fantasia ("Pièce d'Orgue") in G major, BWV 572
1412:New York Philharmonic concert of April 6, 1962
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2234:List of compositions by Johann Sebastian Bach
1653:Toccata, Adagio and Fugue in C major, BWV 564
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2239:List of fugal works by Johann Sebastian Bach
1102:"Glenn Gould: Bach: The Goldberg Variations"
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1076:"Glenn Gould Bach: The Goldberg Variations"
2244:List of concertos by Johann Sebastian Bach
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1682:Passacaglia and Fugue in C minor, BWV 582
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1468:Gould Estate v Stoddart Publishing Co Ltd
877:Glenn Gould, The Complete Bach Collection
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393:Gould commented in a 1959 interview with
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1248:(1999). Roberts, John Peter Lee (ed.).
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1802:Overture in the French style, BWV 831
1763:English Suites, BWV 806–811
1758:Inventions and Sinfonias, BWV 772–801
1658:Toccata and Fugue in D minor, BWV 565
1629:Prelude and Fugue in C minor, BWV 546
1624:Prelude and Fugue in B minor, BWV 544
1619:Prelude and Fugue in A minor, BWV 543
1609:Toccata and Fugue in F major, BWV 540
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1589:Prelude and Fugue in C major, BWV 531
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1222:. Toronto: McClelland & Stewart.
1100:Colter Walls, Seth (March 26, 2017).
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1768:French Suites, BWV 812–817
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840:This article may be found online as
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2285:Recordings of Johann Sebastian Bach
1740:Wo Gott der Herr nicht bei uns hält
764:List of compositions by Glenn Gould
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230:Columbia Records 30th Street studio
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2090:Aria variata alla maniera italiana
1811:Well-Tempered Clavier, BWV 846–893
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1254:. Toronto: Malcolm Lester Books.
805:Goldberg Discography by Performer
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769:List of recordings by Glenn Gould
1381:The Mozart Piano Sonatas, Vol. 4
842:Fleming, Colin (July 12, 2004).
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2141:Prelude, Fugue and Allegro in E
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1773:Partitas, BWV 825–830
1709:Great Eighteen Chorale Preludes
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1419:So You Want to Write a Fugue?
1317:Liner notes to 1955 recording
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207:beginning and ending with an
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41:Bach: The Goldberg Variations
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1064:, p. 332) "Interview 7"
1040:, p. 135) "Interview 3"
941:, p. 342) "Interview 8"
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238:Columbia Masterworks Records
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2154:Prelude in C minor, BWV 999
1687:Concertos, BWV 592–597
1389:Haydn: The Six Last Sonatas
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652:Columbia 30th Street Studio
383:National Recording Registry
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2061:Harpsichord solo concertos
706:. The same label released
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2114:Suite in G minor, BWV 995
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952:"Glenn Gould From A to Z"
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2184:: Prelude and Fugue in E
1718:Sei gegrüßet, Jesu gütig
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2049:, BWV 933–938
1373:The Goldberg Variations
1126:Bazzana, Kevin (1997).
694:recordings (the latter
435:All tracks composed by
177:Johann Sebastian Bach's
175:. An interpretation of
93:June 10 – June 16, 1955
2310:1980s classical albums
2305:1950s classical albums
2219:Twelve Little Preludes
1454:The Glenn Gould School
1444:Glenn Gould Foundation
879:, p. 5, Sony Classical
756:Classical music portal
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246:Sony Classical Records
1560:Johann Sebastian Bach
1011:"Goldberg Variations"
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650:and in stereo in the
509:1981: a new recording
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2290:Baroque music albums
1733:, BWV 1090–1120
1584:Sonatas, BWV 525–530
1407:List of compositions
958:on February 19, 2015
576:Professional ratings
54:Columbia Masterworks
2211:Notebook A. M. Bach
2067:Goldberg Variations
2047:Six Little Preludes
1731:Neumeister chorales
690:. It includes both
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154:Goldberg Variations
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1711:, BWV 651–668
1703:, BWV 645–650
1695:, BWV 599–644
1549:Compositions for
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1449:Glenn Gould Prize
1376:(1956 & 1982)
1293:978-0-670-06850-0
1261:978-1-894121-28-6
1229:978-0-7710-1101-6
1189:www.glenngould.ca
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258:Wanda Landowska
226:
158:
148:
118:
114:
113:
81:
79:
70:
57:
34:
31:State of Wonder
23:
22:
15:
12:
11:
5:
2323:
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2297:
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2287:
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2277:
2272:
2267:
2250:
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2214:
2207:
2200:
2193:
2176:
2174:
2168:
2167:
2165:
2164:
2157:
2150:
2147:major, BWV 998
2137:
2130:
2129:
2128:
2116:
2110:
2108:
2104:
2103:
2101:
2100:
2093:
2086:
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2084:
2077:
2063:
2058:
2051:
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2025:
2024:
2023:
2022:
2015:
2002:
1989:
1976:
1969:
1962:
1955:
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1929:
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1911:
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1523:
1514:
1513:
1511:
1510:
1505:
1500:
1495:
1490:
1488:Otto Friedrich
1484:
1482:
1481:documentarians
1476:
1475:
1473:
1472:
1464:
1456:
1451:
1446:
1440:
1438:
1434:
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1431:
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1422:
1415:
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1349:
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1341:
1334:
1326:
1320:
1319:
1312:
1311:External links
1309:
1307:
1306:
1292:
1278:Kingwell, Mark
1274:
1260:
1242:
1228:
1214:Bazzana, Kevin
1209:
1207:
1204:
1202:
1201:
1176:
1155:
1153:, p. 455)
1143:
1136:
1118:
1092:
1066:
1054:
1052:, p. 453)
1042:
1030:
1002:
993:
981:
969:
943:
931:
918:10.2307/965621
896:
881:
868:
866:, p. 153)
856:
849:All About Jazz
818:
816:
813:
810:
809:
797:Rosalyn Tureck
779:
778:
776:
773:
772:
771:
766:
760:
759:
745:
731:
715:
712:
683:
680:
639:
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635:
627:
626:
597:
591:
590:
587:
583:
582:
571:
570:
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559:
558:
553:
547:
546:
543:
539:
538:
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531:
530:
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510:
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488:
485:
474:
470:
469:
466:
463:
459:
458:
455:
452:
441:
432:
429:
420:25th variation
390:
387:
341:finger tapping
313:
308:at the Unison.
299:
289:
284:
283:
282:
273:
272:
271:
225:
222:
162:
161:
159:on Archive.org
144:
143:
142:External audio
135:
134:
129:
123:
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111:
107:
106:
101:
95:
94:
91:
87:
86:
76:
72:
71:
66:
59:
58:
51:
43:
42:
9:
6:
4:
3:
2:
2322:
2311:
2308:
2306:
2303:
2301:
2298:
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2260:
2245:
2242:
2240:
2237:
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2228:
2221:
2220:
2215:
2212:
2208:
2205:
2201:
2198:
2194:
2191:
2183:
2178:
2177:
2175:
2169:
2162:
2158:
2155:
2151:
2148:
2138:
2135:
2131:
2126:
2122:
2121:
2120:
2117:
2115:
2112:
2111:
2109:
2105:
2099:
2098:
2094:
2092:
2091:
2087:
2082:
2078:
2075:
2071:
2070:
2069:
2068:
2064:
2062:
2059:
2057:
2056:
2052:
2050:
2048:
2044:
2042:
2039:
2037:
2034:
2032:
2031:
2027:
2026:
2020:
2016:
2013:
2003:
2000:
1990:
1987:
1977:
1974:
1970:
1967:
1963:
1960:
1956:
1953:
1943:
1940:
1930:
1927:
1923:
1920:
1916:
1915:
1913:
1908:
1898:
1895:
1885:
1882:
1878:
1875:
1871:
1868:
1858:
1855:
1845:
1842:
1832:
1829:
1825:
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1818:
1817:
1815:
1813:
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1808:
1807:
1804:
1803:
1799:
1794:
1790:
1787:
1783:
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1776:
1775:
1774:
1771:
1769:
1766:
1764:
1761:
1759:
1756:
1755:
1753:
1749:
1743:
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1736:
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1721:
1719:
1714:
1712:
1710:
1706:
1704:
1702:
1698:
1696:
1694:
1693:Orgelbüchlein
1690:
1688:
1685:
1683:
1680:
1678:
1675:
1673:
1670:
1668:
1665:
1659:
1656:
1654:
1651:
1649:
1646:
1640:
1637:
1635:
1632:
1630:
1627:
1625:
1622:
1620:
1617:
1615:
1612:
1610:
1607:
1605:
1602:
1600:
1597:
1595:
1592:
1590:
1587:
1585:
1582:
1576:
1573:
1572:
1570:
1566:
1561:
1556:
1552:
1544:
1539:
1537:
1532:
1530:
1525:
1524:
1521:
1509:
1508:Kevin Bazzana
1506:
1504:
1501:
1499:
1496:
1494:
1493:Jonathan Cott
1491:
1489:
1486:
1485:
1483:
1477:
1470:
1469:
1465:
1462:
1461:
1457:
1455:
1452:
1450:
1447:
1445:
1442:
1441:
1439:
1435:
1428:
1427:
1423:
1420:
1416:
1413:
1410:
1408:
1405:
1404:
1402:
1398:
1391:
1390:
1386:
1383:
1382:
1378:
1375:
1374:
1370:
1368:
1365:
1364:
1362:
1358:
1354:
1347:
1342:
1340:
1335:
1333:
1328:
1327:
1324:
1318:
1315:
1314:
1303:
1299:
1295:
1289:
1285:
1284:
1279:
1275:
1271:
1267:
1263:
1257:
1253:
1252:
1247:
1243:
1239:
1235:
1231:
1225:
1221:
1220:
1215:
1211:
1210:
1190:
1186:
1180:
1165:
1159:
1152:
1151:Bazzana (2003
1147:
1139:
1133:
1129:
1122:
1107:
1103:
1096:
1081:
1077:
1070:
1063:
1058:
1051:
1050:Bazzana (2003
1046:
1039:
1034:
1019:
1012:
1006:
997:
990:
989:Kingwell 2009
985:
979:, p. 73)
978:
977:Bazzana (2003
973:
957:
953:
947:
940:
935:
927:
923:
919:
915:
911:
907:
900:
893:
892:Bazzana (2003
888:
886:
878:
872:
865:
864:Bazzana (2003
860:
852:
851:: Beyond Jazz
850:
845:
837:
833:
826:
824:
819:
806:
802:
798:
794:
793:Eunice Norton
790:
789:Claudio Arrau
784:
780:
770:
767:
765:
762:
761:
757:
746:
743:
742:Canada portal
732:
729:
718:
711:
709:
705:
701:
697:
693:
689:
679:
677:
673:
668:
666:
665:Kevin Bazzana
662:
661:ornamentation
658:
653:
649:
646:
636:
634:
633:
629:
628:
598:
596:
593:
592:
584:
581:Review scores
579:
569:
566:
564:
560:
557:
554:
552:
548:
544:
540:
536:
532:
528:
523:
519:
514:
500:
497:
493:
480:
467:
464:
460:
447:
440:
438:
431:Track listing
428:
425:
421:
416:
414:
410:
405:
400:
396:
386:
384:
379:
376:
372:
368:
363:
359:
357:
356:Angela Hewitt
353:
349:
344:
342:
338:
334:
330:
329:
328:staccatissimo
321:
319:
307:
303:
287:
270:
268:
264:
259:
254:
249:
247:
243:
239:
235:
231:
221:
218:
214:
210:
206:
203:
200:—a set of 30
199:
194:
192:
187:
183:
182:
178:
174:
170:
169:
160:
155:
145:
140:
133:
130:
128:
124:
112:
108:
105:
102:
100:
96:
92:
88:
77:
73:
69:
64:
60:
55:
52:The original
49:
44:
39:
36:
32:
27:
19:
2217:
2181:
2095:
2088:
2080:
2065:
2053:
2046:
2028:
1809:
1800:
1739:
1730:
1717:
1708:
1700:
1692:
1466:
1458:
1424:
1387:
1379:
1372:
1371:
1282:
1250:
1246:Gould, Glenn
1218:
1206:Bibliography
1192:. Retrieved
1188:
1179:
1167:. Retrieved
1158:
1146:
1127:
1121:
1109:. Retrieved
1105:
1095:
1083:. Retrieved
1079:
1069:
1057:
1045:
1033:
1021:. Retrieved
1005:
996:
984:
972:
960:. Retrieved
956:the original
946:
934:
909:
905:
899:
876:
871:
859:
847:
835:
831:
783:
728:Music portal
707:
691:
687:
685:
669:
644:
642:
630:
522:Studio album
434:
427:intensity."
417:
415:tradition".
403:
398:
392:
380:
375:Baudelaire's
370:
364:
360:
351:
345:
326:
324:
315:
262:
252:
250:
241:
227:
216:
202:contrapuntal
197:
195:
190:
179:
167:
166:
165:
153:
63:Studio album
35:
26:
2295:1982 albums
2173:collections
2074:discography
2006:No. 22 in B
1993:No. 18 in G
1980:No. 13 in F
1901:No. 22 in B
1888:No. 21 in B
1429:(1967–1977)
1400:Other works
1367:Discography
1353:Glenn Gould
1283:Glenn Gould
1062:Gould (1999
1038:Gould (1999
939:Gould (1999
682:Re-releases
527:Glenn Gould
389:Reappraisal
367:liner notes
286:Variation 3
173:Glenn Gould
68:Glenn Gould
2259:Categories
1946:No. 4 in C
1933:No. 3 in C
1861:No. 7 in E
1848:No. 4 in C
1835:No. 3 in C
1742:, BWV 1128
1662:(doubtful)
1643:(doubtful)
1579:(doubtful)
1194:August 14,
1137:0198166567
962:October 3,
801:Jörg Demus
696:remastered
404:Variations
318:media help
263:Variations
205:variations
1720:, BWV 768
1302:460273223
1111:March 26,
1106:Pitchfork
1085:March 26,
838:(24): 63.
815:Citations
787:First by
648:digitally
632:Pitchfork
556:Classical
395:Alan Rich
385:in 2003.
234:Manhattan
104:Classical
2187:♭
2144:♭
2009:♭
1996:♯
1983:♯
1949:♯
1936:♯
1904:♭
1891:♭
1864:♭
1851:♯
1838:♯
1751:Keyboard
1503:Tim Page
1421:" (1963)
1280:(2009).
1270:45283402
1238:52286240
1216:(2003).
1169:April 4,
1080:AllMusic
1023:April 8,
832:Goldmine
714:See also
704:Tim Page
700:analogue
692:Goldberg
657:phrasing
595:AllMusic
542:Recorded
534:Released
524: by
477:Side two
444:Side one
413:Schnabel
267:Steinway
132:Columbia
90:Recorded
75:Released
65: by
2125:Bourrée
1914:Book 2
1816:Book 1
1437:Related
348:repeats
213:manuals
80: (
1660:
1641:
1577:
1471:(1998)
1463:(1993)
1392:(1982)
1384:(1973)
1360:Albums
1300:
1290:
1268:
1258:
1236:
1226:
1134:
926:965621
924:
589:Rating
586:Source
490:Length
457:Length
424:Chopin
409:Cortot
110:Length
2171:Mixed
2012:minor
1999:minor
1986:major
1952:minor
1939:major
1907:minor
1894:major
1867:major
1854:minor
1841:major
1793:No. 6
1786:No. 4
1779:No. 2
1568:Organ
1551:organ
1014:(PDF)
922:JSTOR
775:Notes
698:from
637:10/10
563:Label
551:Genre
501:22:05
487:Title
468:16:25
454:Title
306:canon
127:Label
99:Genre
2107:Lute
1298:OCLC
1288:ISBN
1266:OCLC
1256:ISBN
1234:OCLC
1224:ISBN
1196:2023
1171:2018
1132:ISBN
1113:2017
1087:2017
1025:2021
964:2014
799:and
791:and
659:and
545:1981
537:1982
300:The
209:aria
82:1956
78:1956
1557:by
914:doi
910:131
483:No.
450:No.
232:in
186:BWV
2261::
1553:,
1296:.
1264:.
1232:.
1187:.
1104:.
1078:.
1016:.
920:.
908:.
884:^
846:.
836:29
834:.
822:^
807:).
678:.
495:1.
462:1.
248:.
119:34
115:38
1542:e
1535:t
1528:v
1417:"
1345:e
1338:t
1331:v
1304:.
1272:.
1240:.
1198:.
1173:.
1140:.
1115:.
1089:.
1027:.
966:.
928:.
916::
853:.
439:.
411:/
320:.
184:(
117::
84:)
33:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
