Glenn Gould - Moscow Recital: 12 May 1957

Record and Artist Details

Composer or Director: Alban Berg, Anton Webern, Ernst Krenek, Johann Sebastian Bach

Label: Le Chant du Monde

Media Format: CD or Download

Mastering:

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Catalogue Number: LDC278 799

Tracks:

Composition Artist Credit
Sonata for Piano Glenn Gould
Alban Berg Composer
Variations Anton Webern Composer
Glenn Gould
Piano Sonata No. 3 Ernst Krenek Composer
(Die) Kunst der Fuge, '(The) Art of Fugue' Johann Sebastian Bach Composer
Goldberg Variations Johann Sebastian Bach Composer

Composer or Director: Anton Webern, Ernst Krenek, Johann Sebastian Bach, Alban Berg

Label: Le Chant du Monde

Media Format: Vinyl

Mastering:

ADD

Catalogue Number: LDX78799

Tracks:

Composition Artist Credit
Variations Glenn Gould
Anton Webern Composer
Piano Sonata No. 3 Ernst Krenek Composer
Goldberg Variations Johann Sebastian Bach Composer
Sonata for Piano Glenn Gould
Alban Berg Composer
(Die) Kunst der Fuge, '(The) Art of Fugue' Johann Sebastian Bach Composer

Composer or Director: Anton Webern, Johann Sebastian Bach, Alban Berg, Ernst Krenek

Label: Le Chant du Monde

Media Format: Cassette

Mastering:

ADD

Catalogue Number: K478799

Tracks:

Composition Artist Credit
Variations Anton Webern Composer
Glenn Gould
Goldberg Variations Johann Sebastian Bach Composer
(Die) Kunst der Fuge, '(The) Art of Fugue' Johann Sebastian Bach Composer
Sonata for Piano Glenn Gould
Alban Berg Composer
Piano Sonata No. 3 Ernst Krenek Composer
This is not so much a recital as the illustrations Glenn Gould provided for a lecture to Moscow students in 1957 on the Second Viennese School, followed by an encore-like Bach selection. The quality of the recording shows this and so does the material: it is odd even by Gould-eccentricity standards to have just two non-consecutive movements of the Krenek Third Piano Sonata (1943), and tantalizing too when Gould calls this ''one of the best piano compositions of this century...I really wanted to play it for you''. Incidentally, the opus number given in the information supplied with the disc should be Op. 92 No. 4 according to Grove. Beyond the playing itself, there are the pianist's spoken comments, evidently unprepared, translated neatly into Russian by an interpreter closer to the microphone (Gould mispronounces both the German word 'von' and 'passacaglia'). This disc also includes the theme (arr. Gould?) of Webern's orchestral Passacaglia.
The Berg Sonata makes a good beginning, even though a harshness of tone here as elsewhere will not be to all tastes. My copy of the Webern Variations resolutely defies location after a recent house move and so I cannot vouch for the accuracy of the purposeful playing here—the pianist apologizes ''because I haven't practised it in two years''! The Bach excerpts of Contrapuncti (IV becoming a toccata here) and non-sequential Goldberg Variations are always interesting. But Gould really does batter the keyboard in forte. The student audience is friendly but noisy.'

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