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Review by Cellophile May 31, 2005 (14 of 15 found this review helpful)
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Performance: Sonics: |
I have both Glenn Gould versions (1955 and 1981) on CD, the SACD version of the 1981 listed here, as well as an SACD with Perahia's version. I have listened to them all many times recently, compared them extensively, and read a biography of Gould. There is also an interesting movie...32 Short Films about Glenn Gould....this is what sparked my interest in Gould...highly reccommended.
Gould was eccentric to say the least. His forte was contrapuntal music. The 1955 recording was an instant hit, and catapulted him to international fame. He re-recorded very few things, but the Goldbergs were redone because he had a new unified vision of the entire piece, bound together by a constant pulse. The opening aria, and the closing one are 1/2 the speed of the 1955 version, but the remainder of the variations are not too different in overall timing, except he did perform the repeats in the 1981 version, so that the overall length is about 38 min (1955) and 53 minutes (1981) BTW, Perahia's is 71 minutes.The "constant pulse was not the same metronome marking for each variation, but an oftentimes complex relationship, like a dotted quarter noe in one variation might equal2 eith notes in another variation. He discusses this in an interview with Tim Paige that you can hear if you buy the new 3 CD set "Glenn Gould, a State if Wonder", Sony S3K 87703, which has both versions and the interview.
First of all, although the Perahia's are a fine reading, Gould is incredible. The rock steady beat, the stacatto, the balance of voices bring out the structure of Bach's masterpiece like no other. His articulation of every note is so perfect it is scary. the evenness of difficult runs and trills is breathtaking. He was probably technically the greatest pianist of his time, IMHO. I do prefer the second version, and after many listenings, one can feel the unity he spoke of, even though I cannot analyse it like Gould does. You can just sense it. The SACD is superior to the CD taken from the same analog masters. Its the old thing about the high register of the piano on CD, so much smoother on SACD, less nail scratching. But I must say, the new version CD I mention above was well mastered too. I think 2 channel is perfect for a solo piano recording. The acoustics were perfect for the Gould SACD, unlike the Perahia, where the environment was too reverberant.
If you like Bach, you simply must have this SACD. I know the 1955 version is an all time classic but the 1981 is musically superior. But get both versions and you will love them both.
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Review by qualia8 August 28, 2006 (5 of 7 found this review helpful)
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Performance: Sonics: |
This is my favorite musical recording. I won't rehash the usual take on Gould -- eccentric, eerily precise, egomanical. I will say only that Gould, especially in this performance, stands quite apart from other classical musicians, even the great ones. He hears multiple voices as if hearing each one separately, then phrases them each independently and forces his listeners to hear what he hears. This demands not only freakish control of the fingers, but the ability to hear polyphony for what it is: simultaneously arcing but fundamentally discrete lines. Gould's "dry" recording conditions, his treble-friendly balance, his ubiquitous staccato are all tools for communicating the polyphonic truth as clearly and directly as possible. What is amazing is that this unromantic style of playing, this unearthly precision and mathematical exactness will flood you with emotion. When the underlying structure of Bach's little gem of is truly revealed -- and if you haven't heard this recordning, you haven't seen it yet -- you feel yourself exalted. You are in the presence of the transcendent, the divine. You are in a state of wonder.
The recording quality is good and perfectly suited to Gould's aim, but it's not the most realistic piano recording I've heard. No surprise here, as it was recorded over two decades ago. No matter, it is far better than the 1955 and the live performances, and it is better than redbook. For instance, the dynamic range is superb. The first bass note of the first variation is a stinging stacatto that once blew up my amp. (I always listen to this note on rival recordings. None has the character or guts of this one, which is pure controlled aggression.) Also, the SACD has lots of headroom for Gould's celestial, ringing tone.
If you only buy one SACD, this should be the one.
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