Glenn Gould - The Art of J.S. Bach 2009

(!) Glenn Gould - The Art of J.S. Bach (Ryuichi Sakamoto Selections)

Жанр: Classical
Страна-производитель диска: Япония
Год издания диска: 2009
Издатель (лейбл): Sony Music Entertainment (Japan)
Номер по каталогу: SICC-1268~9
Аудиокодек: FLAC
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:56:22
Источник: скачано с : нет

CD1 {01:06:26}

01. Goldberg Variations, BWV988: Aria (1:57)

02. Sinfonia No.9 in F minor, BWV795 (5:13)

03. Piano Concerto No.1 in D minor, BWV1052: III. Allegro (8:23)
Partita No.6 in E minor, BWV830

04. II. Allemande (2:09)

05. VII. Gigue (3:30)

06. Piano Concerto No.5 in F minor, BWV1056: II. Largo (3:01)

07. Italian Concerto in F major BWV971: II. Andante (5:59)
The Well-Tempered Clavier Book I: Prelude & Fugue No.14 in F-sharp minor, BWV859

08. Prelude (1:02)

09. Fugue (3:53)

10. Sinfonia No.5 in E-flat major, BWV791 (3:10)
The Well-Tempered Clavier Book II: Prelude & Fugue No.4 in C-sharp minor, BWV873

11. Prelude (3:10)

12. Fugue (1:57)

13. Piano Concerto No.3 in D major, BWV1054: II. Adagio e piano sempre (5:54)

14. Piano Concerto No.7 in G minor, BWV1058: I. Allegro (3:52)

15. Piano Concerto No.4 in A major, BWV1055: II. Larghetto (5:44)
The Well-Tempered Clavier Book II
Prelude & Fugue No.20 in A minor, BWV889

16. Prelude (2:18)

17. Fugue (1:32)
Prelude & Fugue No.23 in B major, BWV892

18. Prelude (1:41)

19. Fugue (2:01)

CD2 {00:49:57}

01. Aria variata alla maniera italiana in A minor, BWV989: Aria (1:04)

02. French Suite No.2 in C minor, BWV813: V. Menuet (0:54)

03. French Suite No.3 in B minor, BWV814: IV. Menuet (2:06)

04. Overture in the French Style, BWV831: VII. Sarabande (1:51)
English Suite No.3 in G minor, BWV808

05. I. Prelude (2:53)

06. II. Allemande (1:49)

07. V. Gavotte I (0:51)

08. VI. Gavotte II (with da capo I) (1:14)

09. Violin Sonata No.6 in G major, BWV1019: II. Largo (2:10)

10. English Suite No.5 in E minor, BWV810: VII. Gigue (2:08)
English Suite No.6 in D minor, BWV811

11. VI. Gavotte I (1:34)

12. VII. Gavotte II (with da capo I) (2:23)

13. Prelude in C minor, BWV934 (3:35)

14. Prelude in D major, BWV925 (0:56)

15. Prelude in F major, BWV928 (1:11)
The Art of Fugue, BWV1080

16. Contrapunctus I (4:52)

17. Contrapunctus XIV (Fuga a 3 Soggetti) (12:22)

18. Goldberg Variations, BWV988: Variation 25 a 2 Clav. (6:04)

Исполнители
Glenn Gould - piano
Columbia Symphony Orchestra (CD1#3,6,13-15)
Leonard Bernstein (CD1#3), Vladimir Golschmann (CD1#6,13-15) - conductor
Jaime Laredo - violin (CD2#9)

Об альбоме (сборнике)
On Gould
Ryuichi SakamotoWhen I was an elementary school student in Setagaya, my neighbor was a French scholar named Mr. Takashi Ninomiya. I often went to his house and talked about the incredible talent of Glenn Gould. I must have been a cheeky kid, passionately lecturing Ninomiya-sensei about how Gould was different than the other pianists; how he could illuminate the structure of Bach's compositions. I was clearly infatuated with Gould at a young age.
I got to know Gould in the first place because my family owned the Goldberg Variations (BWV 988) by J.S. Bach. I immediately became obsessed, much like how I did when listening to The Beatles for the first time a few years later.
When I become obsessed, I imitate. So, all of a sudden, I hunched over the piano and played with my face near my fingers. I remember my piano teacher hit me and with great furor huffed, “straighten your back, Sakamoto-kun!”
Even at the time in Japan, Gould was already infamous. The average lover of classical music would scoff, “that is no real performance!” and mocked the punk impression Gould gave off. Because of this, I couldn’t reveal to my piano teacher my burning desire to imitate Gould for fear of being scolded.
In fact, listening to Gould’s playing as an elementary school student must have been the first time I came in contact with a sort of, punk attitude. There was a kind of violence to it which allured me. The Rolling Stones would give me a similar kind of sensation thereafter.
Back then, information wasn’t as readily available, so I stared at the record sleeve and perused the liner notes. In it I read that Gould’s chair made squeaking sounds during his performance, so naturally, I moved around to try and produce such sounds on my own chair.
Still today, I tend to hunch over the piano like Gould…though it’s not really good for your back so I try to avoid doing so.
It is actually difficult to play notes loudly while hunched over like that. When your back and arms are straight, it is easier to make a loud bang, but when hunched over, you are, in effect, shrugging during the performance, so the muscles tense up through your shoulders to your arms. Shoulders become stiff and your back begins to hurt.
On the other hand, you can see your fingertips close-up. Perhaps the brain and fingers become more directly linked this way. One certainly increases the distance between the eyes and the fingers when sitting up straight, so I suppose it would be possible to fall into an observational mindset, since one would see his or her own performance more objectively, from afar. Who knows if one is better than the other, but the difference is certainly felt.
2017 is the 150th anniversary of the founding of Canada as a nation-state, along with the 85th anniversary of Glenn Gould’s birth. To commemorate this, the Glenn Gould Foundation in Toronto offered us an opportunity to host an event celebrating Gould in Japan. I think they asked me because I have previously curated one of Glenn Gould’s compilation albums. I also used the Glenn Gould Studio in Canada to record the soundtrack for Silk in 2007. In fact, I have a photo of myself sitting next to the statue of Gould on a nearby bench.
I always loved Gould since youth and have continued to listen to his music. He influenced me greatly, which is why I would like to use this occasion to give something back.
However, I ran into some problems when brainstorming for the event: there are already so many excellent recordings and documentaries on Gould, as well as a multitude of published scholarly texts on him. It would be difficult to introduce a new angle to such a thoroughly researched and discussed man. I thought to myself: I would have to illuminate Gould’s music and performances from my own unique perspective. So, I have decided to deconstruct, remodel, and rework Gould. This is, so to speak, a remix but since there’s no way to change a mix, I have been opting for the terms “remodel” or “rework” instead.
I hope to introduce Gould as never before. What I want to do, in other words, is to have fun with Gould. So, I put a call out to my friends and artists to remodel/rework Gould’s music with me.
First, I reached out to Carsten Nicola (aka. Alva Noto) from Germany and Christian Fennesz from Austria. These two musicians are old friends of mine who I have collaborated with on various occasions. I asked them if they liked Gould, and of course, they both knew and loved him. I assumed as much since Gould is famous amongst those in the field of contemporary art and music, but my friends’ love and respect for Gould exceeded my expectations.
I also reached out to Francesco Tristano, who I have never met, but whose work I have been quite interested in for some time. I especially liked his album, Long Walk (2012), which he based on a story of J.S. Bach walking 400 km to meet a famous musician named Buxtehude. Needless to say, Tristano is a skilled classical pianist, but his artistic vision extends beyond his technical proficiency-he is able to capture music from a fascinating perspective, beyond the classical world, collaborating with artists in the Detroit techno scene for example. Therefore, I have always seen him as a fresh voice in the world of classical music. He even released a remodel/rework of a piece of my own, “Merry Christmas Mr. Lawrence.” So, while the average classical pianist would shrug at the suggestion of remodeling/reworking Gould’s work, I thought Tristano would be up to the challenge. Of course, he replied with a yes when I offered.
I’m thrilled to hear how he and the others plan to remodel