Glenn Gould Edition - Bach: Partitas, Preludes & Fugues

Editorial Reviews
Amazon.com
Although all of Glenn Gould's Bach recordings are icons, this may be the most valuable of them. Unlike some of his Bach performances, Gould takes the marked repeats in the Partitas and adds imaginative Embellishments, as any competent player of Bach's day would have done. This practice adds a further element of interest to Gould's sparkling, alert playing, because it means we hear each section from different perspectives with meaningful performer contributions that go beyond "interpretation." The various collected short works that fill out the second CD are a worthwhile bonus, but the real meat here is the opportunity to hear the keyboard Partitas played with such Gouldian excitement. Compare these with Igor Kipnis's superlative harpsichord performances (the first volume has the first, second, and fourth, and the second volume has the third, fifth, and sixth) and you'll have an excellent perspective on Bach's magnificent music. --Leslie Gerber

Tracks:

Partita #1 In Bb Major, BWV 825: I.Praeludium
Partita #1 In Bb Major, BWV 825: II. Allemande
Partita #1 In Bb Major, BWV 825: III. Corrente
Partita #1 In Bb Major, BWV 825: IV. Sarabande
Partita #1 In Bb Major, BWV 825: V. Menuet I -- VI. Menuet II
Partita #1 In Bb Major, BWV 825: VII. Giga
Partita #2 In C Minor, BWV 826: I. Sinfonia.
Partita #2 In C Minor, BWV 826: II. Allemande
Partita #2 In C Minor, BWV 826: III. Courante
Partita #2 In C Minor, BWV 826: IV. Sarabande
Partita #2 In C Minor, BWV 826: V. Rondeaux
Partita #2 In C Minor, BWV 826: VI. Capriccio
Partita #3 In A Minor, BWV 827: I. Fantasia
Partita #3 In A Minor, BWV 827: II. Allemande
Partita #3 In A Minor, BWV 827: III. Corrente
Partita #3 In A Minor, BWV 827: IV. Sarabande
Partita #3 In A Minor, BWV 827: V. Burlesca
Partita #3 In A Minor, BWV 827: VI. Scherzo
Partita #3 In A Minor, BWV 827: VII. Gigue
Partita #4 In D Major, BWV 828: I. Ouverture
Partita #4 In D Major, BWV 828: II. Allemande
Partita #4 In D Major, BWV 828: III. Courante
Partita #4 In D Major, BWV 828: IV. Aria
Partita #4 In D Major, BWV 828: V. Sarabande
Partita #4 In D Major, BWV 828: VI. Menuet
Partita #4 In D Major, BWV 828: VII. Gigue
Partita #5 In G Major, BWV 829: I.Praeambulum
Partita #5 In G Major, BWV 829: II. Allemande
Partita #5 In G Major, BWV 829: III. Corrente
Partita #5 In G Major, BWV 829: IV. Sarabande
Partita #5 In G Major, BWV 829: V. Tempo di Minuetta
Partita #5 In G Major, BWV 829: VI. Passepied
Partita #5 In G Major, BWV 829: VII. Gigue

Tracks:

Partita #6 In E Minor, BWV 830: I. Toccata
Partita #6 In E Minor, BWV 830: II. Allemanda
Partita #6 In E Minor, BWV 830: III. Corrente
Partita #6 In E Minor, BWV 830: IV. Air
Partita #6 In E Minor, BWV 830: V. Sarabande
Partita #6 In E Minor, BWV 830: VI. Tempo di Gavotta
Partita #6 In E Minor, BWV 830: VII. Gigue
6 Little Preludes: Praeludium In C major
6 Little Preludes: Praeludium In C minor, BWV 934
6 Little Preludes: Praeludium In D Minor, BWV 935
6 Little Preludes: Praeludium In D Minor, BWV 935
6 Little Preludes: Praeludium In E Major, BWV 937
6 Little Preludes: Praeludium In E Major, BWV 937
Prelude And Fughetta In D Minor, BWV 899: Praeludium
Prelude And Fughetta In D Minor, BWV 899: Fughetta
Prelude In G Major, BWV 902
Prelude In G Major, BWV 902- a: Prelude In G Major, BWV 902
Fughetta In G Major, BWV 902
9 Little Preludes, BWV 924-932: Praeambulum In C major, BWV 924
9 Little Preludes, BWV 924-932: Praeambulum In F Major, BWV 927
9 Little Preludes, BWV 924-932: Praeludium In D Minor, BWV 926
9 Little Preludes, BWV 924-932: Praeludium In D Major, BWV 925
9 Little Preludes, BWV 924-932: Praeludium In F Major, BWV 928
9 Little Preludes, BWV 924-932: Praeambulum In G Minor, BWV 930
Fugue In C Major, BWV 952
Fughetta In C Minor, BWV 961
Fugue In C Major, BWV 953
Prelude And Fugue In A Minor, BWV 895: Praeludium
Prelude And Fugue In A Minor, BWV 895: Fuga
Prelude And Fughetta In E Minor, BWV 900: Praeludium
Prelude And Fughetta In E Minor, BWV 900: Fughetta

Amazon.com

Although all of Glenn Gould's Bach recordings are icons, this may be the most valuable of them. Unlike some of his Bach performances, Gould takes the marked repeats in the Partitas and adds imaginative Embellishments, as any competent player of Bach's day would have done. This practice adds a further element of interest to Gould's sparkling, alert playing, because it means we hear each section from different perspectives with meaningful performer contributions that go beyond "interpretation." The various collected short works that fill out the second CD are a worthwhile bonus, but the real meat here is the opportunity to hear the keyboard Partitas played with such Gouldian excitement. Compare these with Igor Kipnis's superlative harpsichord performances (the first volume has the first, second, and fourth, and the second volume has the third, fifth, and sixth) and you'll have an excellent perspective on Bach's magnificent music. --Leslie Gerber

Customer Reviews:

A milestone in the craft playing keyboard.......2004-05-21

The glorious sound generated by the hands of Gould made these collection a must in this age and still are.
The originality of the musical reading of these pieces is the consequence of a long and exhaustive hours and hours of study. Mr. Gould knew how to mix technique, accuracy, interpretative fierce, with enchantment and lyrics.
Many players have tried this style but fail and my point is that they as Mr. Gould did it, go to the middle of the soul of the piece. The delicate balance between counterpoint and fresh harmony is so difficult to achieve because you need as performer that Apolo and Dyonisus remains in your soul without one of them domains on the other. If Apolo wins or Dyonisius does you'll get a dissapointed view and sound of Bach. Dry in the first case and overhearted result in the second.
Gould was an artist with high and lows. His personal choice about not making more public recitals since 1964, is an issue in which I don't agree.
Besides that I feel his greatness as performer and thinker. In his books and interviews he was a convinced of his musical conceptions and all the reasons exposed convince us he was a genius of his time and perhaps for a long time. Remember, the genius is always contemporean.

excellent.......2004-04-27

These are (after Art of Fugue) by far the finest, most profound, least repetitive works for solo keyboard (piano, harpsichord, organ) ever written. Even if all of Bach's other works were lost, he would still clearly classify as world's greatest composer. Those who question my superlative accounts on these works should listen to the concluding movement (Gigue) in BWV 830 partita. Such beauty is indescribable...

Gould's interpretation is one among the very few where the piano doesn't muddle the counterpoint. His tempi are thoughtfully chosen, although (compared to Leonhardt landmark harpsichord performance) they tend to be somewhat fast. The clarity of counterpoint is crisp and the love for performing properly is unquestionable. There simply is no comparison with his "pianistic" contemporaries (who quite litterally were careless on how Bach should OBJECTIVELY sound like).

Bach + Gould = The Best.......2001-12-11

Glenn Gould was the best interpreter of Bach's keyboard works ever. Gould was able to bring out both the logical and the romantic elements of Bach's compositions. This CD has, what I think, is the best example of Glenn Gould's take on Bach ... Gould's soaring rendition of JS Bach's Partita No.1 in B-Flat, BWV 825: III. Corrente (you can hear a sample on Amazon). I've heard that hundreds of times, but it is still breathtaking for me to hear it every time I hear it again.

Simply The Best.......2001-08-06

I'm not a hardcore Glenn Gould fan, but when it comes to Bach's keyboard works, it is my opinion that nobody comes close to this level of playing or understanding of the great master of composers. These six partitas are the best dance suites that Bach ever wrote. In fact, Bach himself knew that they were special, thus he payed to have them published in his lifetime(sadly most of Bach's works were never published in his lifetime). I must say that of all the recordings of them that I've heard, none can compare to these. The next best would probably be Rosalyn Turek's, who had a deep insight into the pieces, but failed to play them without romanticizing them. Gould's amazing ability lays in the fact that he is able to interepret baroque music in a baroque style yet still add emotion, character, and personality to the pieces. Very few are able to do this without having the pieces end up being a romanticized debacle. This two disc set however, not only includes the complete keyboard partitas, but it also includes many preludes and fugues, which are also masterfully played by Gould. The only flaw I can find with this disc is Gould's famous humming, which I'm not too fond of, but you get used to it after a while. Get this disk, because it is essential Bach.

Gould - another view of his interpretations.......2001-03-28

Nobody can argue that Glenn Gould is not one of the foremost pianists of recent history. His interpretations are memorable and always carry his distinctive tone. However, some of his playing is rather radical, I suppose perhaps based on his eccentric nature. I e.g. don't agree with the WTK renditions, while the Goldberg Variations are his best. The thing to remember here is that Gould's playing is not mainstream Bach. It is something different, and not always - in my opinion - strictly 'correct' in a classical sense. The same applies for this volume.

Track Listings:

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