― Ashley Andel, Tuesday, 29 March 2005 18:50 (9 years ago) Permalink
― Waking Up Onstage at Jumbo's (Bent Over at the Arclight), Tuesday, 29 March 2005 19:00 (9 years ago) Permalink
― Ashley Andel, Tuesday, 29 March 2005 19:01 (9 years ago) Permalink
― milton parker (Jon L), Tuesday, 29 March 2005 19:09 (9 years ago) Permalink
― Ashley Andel, Tuesday, 29 March 2005 19:12 (9 years ago) Permalink
I'd love to get this. I just dig how, on the Goldebrg Variations, you can hear him humming along to the piano. Normally I'd hate this but somehow with him I find it charming.
― M. White (Miguelito), Tuesday, 29 March 2005 19:32 (9 years ago) Permalink
― Ashley Andel, Tuesday, 29 March 2005 20:08 (9 years ago) Permalink
People rarely describe it that way when Keith Jarrett does the same.
I find it interesting that the guy used tape-splicing to the extent he did.
― Naive Teen Idol (Naive Teen Idol), Tuesday, 29 March 2005 20:57 (9 years ago) Permalink
― Austin S (Austin, Still), Tuesday, 29 March 2005 21:18 (9 years ago) Permalink
― shookout (shookout), Tuesday, 29 March 2005 21:33 (9 years ago) Permalink
* Audio CD (September 25, 2007)
* Number of Discs: 80
* Format: Box set, Limited Edition, Import
* Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
* Label: SONY CLASSICS
* ASIN: B000TJQ75E
* Amazon.com Sales Rank: #7,344 in Music (See Bestsellers in Music)
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#21 in Music > New Age > Solo Instrumental
#31 in Music > Imports > Classical
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The Glenn Gould Complete Jacket Collection" is presented to mark the brilliant pianist's 75th birthday and the 25th anniversary of his death. It is a fascinating, limited edition: all the artist's LP recordings in the "look and feel" of the original vinyl discs on 80 CDs.
The Canadian Glenn Gould (born in Toronto 25 September 1932 - died there 4 October 1982) was without doubt one of the most important pianists of all time. Even today, the idiosyncratic interpretations and the eccentric personality of the "James Dean of the piano" exert a continuing fascination.
In good time to commemorate the artist's birth 75 years ago on 25 September and his death 25 years ago on 4 October 2007, the Sony Classical label is launching a special project in honour of the double anniversary: "The Glenn Gould Complete Jacket Collection" transfers all the artist's recordings for LP on to 78 CDs, from Glenn Gould's legendary 1955 recording of the Goldberg Variations to piano works by Richard Strauss released posthumously on 4 April 1984, and of course, not one of the brilliant artist's legendary Bach recordings is missed out.
Each of the 60 single and 9 double CDs consists of the exact recordings as first issued on vinyl and looks like a miniaturised form of the original disc: the CDs are in cardboard slipcases in the original design, and the CD itself is designed to look like a LP.
Supplemented by two bonus CDs, the limited "Glenn Gould Complete Jacket Collection" comprises 80 CDs mounted in a high-quality display case with a booklet of more than 240 pages. This booklet contains a new, detailed essay by the German Gould specialist Michael Stegemann on Glenn Gould and the LP recording era along with texts and repertoire details to all recordings in the edition, plus a listing and depiction of the records with reissue dates for repertoire that has appeared before.
The bonus CDs include the last great interview that Glenn Gould gave the American journalist Tim Page in 1981 and an essay on Johann Sebastian Bach and the fugue that Gould recorded in 1972 for a bonus LP. They also feature a number of late recordings that never appeared on vinyl: fragments of the "Italian Album" and Wagner's Siegfried Idyll in its orchestral version -- Gould's recording debut as conductor and his last recording of all, made on 8 September 1982 with members of the Toronto Symphony Orchestra. Another rarity is Gould's own film music to George Roy Hill's Slaughterhouse Five from 1972.
― sleeve, Saturday, 22 September 2007 22:40 (7 years ago) Permalink
I also note with sadness that the "32 Short Films" DVD appears to be out of print, 3 copies on Amazon starting at $200.
I wonder if this box has the Canadian Trilogy on it...
― sleeve, Saturday, 22 September 2007 22:41 (7 years ago) Permalink
Completely influential to my life. His output may be a bit inconsistent but he radically changed not only how I perform but approaching recording from a producer mindset rather than as a performer.
― Mr. Goodman, Monday, 24 September 2007 16:15 (7 years ago) Permalink
a steal at $221.98! hey, you could spend your money in much worse ways ...
― tylerw, Monday, 24 September 2007 16:26 (7 years ago) Permalink
There are a sizeable number of misses in GG's discography. I'd wait to get it used or on a special deal.
And I'll bet you Idea Of North et al are not in this. Also one of my very favorite GG recordings, his aircheck of the LvB "Hammerklavier" Sonata, won't be there bcuz it never was released in the LP era (I'm assuming).
Also, xposts way above, tons of the "great pianists" were/are noticeable hummers, Gould's humming was just louder than anyone's.
― Jon Lewis, Monday, 24 September 2007 16:32 (7 years ago) Permalink
Completely influential to my life.
Yeah, I love 32 Short Films and there is a really inspiring biography of him that I forget the title of. I think he could hear things other people couldn't. One of the things I learned from his writings and work was how to listen better.
― sleeve, Monday, 24 September 2007 17:55 (7 years ago) Permalink
sort of a "fake" of him biography in "the loser",thomas bernahrd's masterpiece.(one of many)
― Zeno, Monday, 24 September 2007 18:41 (7 years ago) Permalink
Complete Original Jacket collection is now $110
― abanana, Sunday, 4 November 2007 01:56 (7 years ago) Permalink
― Dominique, Sunday, 4 November 2007 03:11 (7 years ago) Permalink
man, this complete songs for piano/songs for voice+piano of schoenberg is great. i really like schoenberg pre 12-tone stuff, and these songs go from totally tonal -> debussy-like quasi chromatic -> just about atonal
― Dominique, Friday, 1 February 2008 15:59 (6 years ago) Permalink
anyone heard this yet? i'm not a gould expert, but it looks like quite a deal ...
― tylerw, Friday, 1 February 2008 16:37 (6 years ago) Permalink
I've got that -- set of very early radio recordings taped by the CBC before his record deal with Columbia, 1952-1954. Sound quality is not as good as the later studio records, but they are live recordings. The 1954 recording of the Goldbergs are even more loose & over the top, he plays some of the sections even faster than the album version which is something I wasn't sure would be possible. There are these microsecond pauses on the 1955 studio version that always catch my breath, everything hangs on those silent pivot points, and those aren't there on the 1954 CBC version, which is more of a ten-cups-of-coffee speed metal kind of thing. He misses one note in the whole piece, it's kind of fun to hear him without the tape edits (not like I can tell the difference really)
I haven't even gone through the 3 discs of Beethoven yet, but 6 CDs for $20 is definitely a deal, especially seeing as it includes the Schoenberg / Webern / Berg CD that's now going for collector prices. The Schoenberg op. 25 on that disc is like industrial music. Anyone who says twelve tone music isn't catchy, gripping or emotional has not heard Gould play him, he plays him the same way he plays Bach (which would have made Schoenberg very happy)
there's also this 5 CD set that has most of his radio specials, all 3 of the Solitude Trilogy including 'The Idea of North', plus the Pablo Casals special, plus the Stokowski special. the latter is especially plunderphonic, with things like that on Canadian radio, John Oswald makes a lot more sense
it's too bad more people aren't reviewing these records
― Milton Parker, Friday, 1 February 2008 19:28 (6 years ago) Permalink
I mean hey someone's got to review that new 80 CD box set
how hard could it be
― Milton Parker, Friday, 1 February 2008 19:47 (6 years ago) Permalink
Milton Parker, where during his span of recordings from CBC did he begin doing edits? I’ve read about it but I’m unaware if I’ve heard any of these recordings.
― Mr. Goodman, Friday, 1 February 2008 20:06 (6 years ago) Permalink
the CBC recordings are all live documents, he got into tape editing after signing with Columbia
here's an online copy of 'the prospects of recording' from 1966, his article on recorded media's impact on concerts & composition
there's shots of him splicing & engineering at his own studio in the 70's documentary The Alchemist, in which he also plays a lot of Schoenberg: http://www.youtube.com/watch?v=gkgVExBXXEI
the accelleration at 1:30 and the part where he gets up from the piano for about 5 seconds, and the positive twitching at the end: http://www.youtube.com/watch?v=qB76jxBq_gQ
― Milton Parker, Friday, 1 February 2008 20:35 (6 years ago) Permalink
― Mr. Goodman, Friday, 1 February 2008 20:39 (6 years ago) Permalink
http://www.thestar.com/News/article/249787 Aug 25, 2007 04:30 AM
― Milton Parker, Friday, 1 February 2008 20:43 (6 years ago) Permalink
― Squash weather (Eazy), Monday, 5 October 2009 05:52 (5 years ago) Permalink
I saw "Genius Within: The Inner Life of Glenn Gould" todayand it was super good!But I wish they explained to a dumbo like me why his piano playing was different. Though that would have driven everyone who knows stuff about music nuts, I know. The movie made me really like him as a person. I want to hear some of his radio documentaries.
― Stop Non-Erotic Cabaret (Abbbottt), Monday, 20 December 2010 00:59 (4 years ago) Permalink
I think his playing was different because his hearing was different... reading the biography there was this one detail that really stuck out for me... he could tell the difference between two different brands of high-end digital recording machines that had the same specs!
― sleeve, Monday, 20 December 2010 01:15 (4 years ago) Permalink
Thought the doc was sort of dull and a missed opportunity. Too much biographical information on what was sort of a dull-seeming life. I guess I too would've appreciated more info on his style; less about the married woman he was shacking up with.
― benanas foster (Eric H.), Monday, 20 December 2010 01:19 (4 years ago) Permalink
most of the films focusing more on the music have already been made with the participation of glenn himself, and they are all great -- this one I loved precisely because it focused more on him as a person. all that stuff about cornelia foss only came out a few years ago and this is the first documentary to feature it. gould is one of the most painfully self-conscious people that's ever had a camera turned on him, watching him tell obscure jokes & pretending to engage in impromptu banter that he's obviously spent hours going over in his head is just agonizing -- so a full length film that goes into any detail about his actual love life is actually unprecedented for long time fans. it humanizes the genius, and it doesn't flinch when it comes time to portray the control freak.
the main thing missing from the documentary was some of the better excerpts of his playing, which is all you need to understand why it was different. I think it's basically assuming you've seen all the films he made with Bruno Monsaingeon. there's one scene that shows him at his cottage, the one where he breaks off in mid-phrase, walks to the window humming the part a few times until he's got it, then walks back to the piano and y'know that totally posed for-the-camera scene is so unbelievably brilliant I was kind of stunned when they didn't let it play through, it's not like you ever get sick of seeing that level of skill -- and when they cut away from it to talk to his piano teacher, I realized 'ok they're not even trying to show you the actual music in this film'.
http://www.amazon.com/Glenn-Gould-Off-Record/dp/B0001BKAVW/ref=pd_cp_d_2 -- early and latehttp://www.amazon.com/Glenn-Gould-Alchemist/dp/B000089QEE -- this is the one for people more interested in his later control-freak studio techniques, has the insane scene where he 'conducts' the ambient-mic mixdown five feet away from the guy with his hands on the four faders
― Milton Parker, Monday, 20 December 2010 02:21 (4 years ago) Permalink
& they actually did spend -some- time in the new film about how his playing was different -- at around that time a lot of Bach was still being played in the Romantic style, hyper-ornamented & expressive tempo & dynamic shifts, and Gould just played that stuff blindingly Fast and Precise so you can really hear the interrelated lines. his left hand was just as strong as his right. it was one of the first times you could really hear the counterpoint like pure information, no smearing, all clarity -- but as sharp as his playing is, it's all passion driven, the music's the only thing he loves
it's why I prefer his Schoenberg playing to anyone else's, he's one of the few performers who actually cuts through the gloop & brings out the math in the lines but still sounds like he's just on fire with it
― Milton Parker, Monday, 20 December 2010 02:40 (4 years ago) Permalink
> the insane scene where he 'conducts' the ambient-mic mixdown five feet away from the guy with his hands on the four faders
Wow - is that on the YouTube?
― Webern conducts Berg (Call the Cops), Thursday, 30 December 2010 08:05 (3 years ago) Permalink
part 1 has the engineers setting up four pairs of microphones at various parts of the hall, first pair inside the lidm, last pair at the very back of the hall only catching distant reverb.
this is for fans only, it's simultaneously amazing and almost too uncomfortable to watch
― Milton Parker, Thursday, 30 December 2010 08:43 (3 years ago) Permalink
yep, that's a guy with a vision.
― historyyy (prettylikealaindelon), Thursday, 30 December 2010 13:42 (3 years ago) Permalink
Incredible - I'm going to be listening to his recordings in a different way from now on.
― Webern conducts Berg (Call the Cops), Monday, 3 January 2011 15:47 (3 years ago) Permalink
Incredible is right.You can really see why automated mixing boards had to eventually be invented!
― Sanford, Monday, 3 January 2011 17:30 (3 years ago) Permalink
yeah, he's conducting microphone levels there, it's kind of painfully imtimate to watch the control freak side running wild but it also confirms what the payoff of the control freak thing was
― the tune is space, Monday, 3 January 2011 17:42 (3 years ago) Permalink
― The term “hipster racism” from Carmen Van Kerckhove at Racialicious (nakhchivan), Sunday, 22 April 2012 12:14 (2 years ago) Permalink
my downstairs neighbour told me this week that he used to live downstairs from him in toronto in the 60s/70s and could hear him practice all the time
― A Little Princess btw (s1ocki), Sunday, 22 April 2012 12:53 (2 years ago) Permalink
been binging on him on and off for the past six months or so
― i've a cozy little flat in what is known as old man hat (Hurting 2), Wednesday, 27 March 2013 16:34 (1 year ago) Permalink
― zero dark (s1ocki), Wednesday, 27 March 2013 16:55 (1 year ago) Permalink
― i've a cozy little flat in what is known as old man hat (Hurting 2), Wednesday, 27 March 2013 17:04 (1 year ago) Permalink
for fans of that youtube of Gould conducting at the mixing board upthread, Sony put out an interesting two disc set last year -- first disc is all of his 'acoustic orchestrations' compiled on one disc, and the second disc is a CD-ROM containing all four mic rank recordings of a single Scriabin piece, allowing you to mix it yourself
it's total fun. there's a youtube up of someone doing an odd mix
― Milton Parker, Wednesday, 27 March 2013 17:44 (1 year ago) Permalink
something addictive about his approach to bach for me -- makes it hard to listen to anyone else (on piano at least. I dig Landowska on harpsichord)
― --808 542137 (Hurting 2), Monday, 15 April 2013 16:11 (1 year ago) Permalink
Are some of his recordings known to have weird pitch issues? I've been listening to his English Suites and I feel like there's this very slight speed-up/slow-down thing going on a lot of the time. The thing is I actually kind of like it, but I want to know if I'm crazy that I'm hearing it.
― my jaw left (Hurting 2), Friday, 17 October 2014 15:19 (2 months ago) Permalink
Also just noticed a weird piano warble on Two and Three Part Inventions which sounds like maybe it's coming from the piano itself?
― my jaw left (Hurting 2), Tuesday, 4 November 2014 20:25 (1 month ago) Permalink
Re the 2 and 3 part inventions, that was explained in the liners to the Sony Glenn Gould Edition version (from the series with the butt ugly white covers). That particular piano had taken a hit of some sort and after being repaired had a weird double-strike problem on certain of its hammers. Gould recorded that album with it anyway, professing to sort of like the effect (I can't say I agree)
― a drug by the name of WORLD WITHOUT END (Jon Lewis), Tuesday, 4 November 2014 23:48 (1 month ago) Permalink
Idk about pitch stability on the English suites, I'll try to have a listen. Seems weird for tapes of that vintage to have that problem!
― a drug by the name of WORLD WITHOUT END (Jon Lewis), Tuesday, 4 November 2014 23:49 (1 month ago) Permalink