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Glenn Gould

    25 september 1932 – 4 oktober 1982

    Glenn Gould was een Canadese pianist, die vooral bekend werd door zijn interpretaties van het klavierrepertoire van Johann Sebastian Bach. Zijn spel werd gekenmerkt door een opmerkelijke technische vaardigheid en een uniek vermogen om de polyfone structuren in Bachs muziek te articuleren. Hoewel Bach zijn opnames domineerde, was Goulds repertoire divers en omvatte het werken van componisten als Beethoven, Mozart en figuren uit de 20e eeuw. Na zijn 31e verjaardag stopte Gould met live concerten om zich volledig te richten op studio-opnamen en andere projecten, waaronder schrijven, componeren en uitzenden.

    Von Bach bis Boulez. Hrsg. u. eingel. v. Tim Page
    Schriften zur Musik 2. Vom Konzertsaal zum Tonstudio.
    Briefe
    Von Bach bis Boulez
    Schriften zur Musik 1. Von Bach bis Boulez.
    Conversations with Glenn Gould
    • 2002
    • 2002
    • 1997
    • 1992

      Glenn Goulds Spielweise spiegelt sich in seinem Schreiben wider: unberechenbar und provokant. Er hinterfragt und kritisiert nahezu jede musikalische "heilige Kuh", von Bach bis Boulez.

      Von Bach bis Boulez. Hrsg. u. eingel. v. Tim Page
    • 1984

      Conversations with Glenn Gould

      • 159bladzijden
      • 6 uur lezen
      4,2(133)Tarief

      Pianist Glenn Gould (1932–82) was one of the most unique and charismatic musicians of the twentieth century, known for his interpretations of Bach, Beethoven, and Mozart at brisk tempos with remarkable clarity. A true eccentric, Gould was famous not only for his musical talent but also for his peculiar habits, such as humming during performances and wearing unconventional attire, including fingerless gloves and fur coats. In 1964, at the peak of his controversial career, he withdrew from live performances to concentrate on recording and writing. Jonathan Cott, a noted author and poet, was among the few who interviewed Gould, capturing their conversation in 1974 for Rolling Stone. After Gould's passing, Cott compiled these interviews into a collection, enhancing it with an introduction, photographs, and lists of Gould's recorded works and media appearances. In this engaging dialogue, Gould shares his opinions on various subjects, including his aversion to Mozart's piano sonatas, his preference for composers like Orlando Gibbons and Richard Strauss, and his admiration for Petula Clark, while expressing his distaste for the Beatles. This collection is widely regarded as one of Gould's finest interviews and a remarkable showcase of his personality.

      Conversations with Glenn Gould