글렌굴드 - 베토벤 소나타 17번 <템페스트>

                             ●★ Beethoven:Piano Sonata in d No.17「Tempest」★●

 

                                            Largo Allegro 

                                            Adagio

                                            Allegeretto

 

                             ((Plays the Piano by Glenn Gould ))

 

 

                     ■ Canadian Pianist Glenn Gould(1932-1982) ■

 

 

Glenn Herbert Gould^[a][b] (September 25, 1932 – October 4, 1982) was a Canadian pianist who became one of the best-known and most celebrated classical pianists of the twentieth century. He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. His playing was distinguished by a remarkable technical proficiency and a capacity to articulate the polyphonic texture of Bach’s music.

 

Gould rejected most of the standard Romantic piano literature and shunned the performance of several of its composers such as Franz Liszt, Robert Schumann, and Frédéric Chopin. Although his recordings were dominated by Bach, Gould's oeuvre was diverse, including works by Beethoven, Mozart, Haydn, Brahms, pre-Baroque composers, and twentieth-century atonal composers such as Arnold Schoenberg. Gould was also well-known for various eccentricities, ranging from his unorthodox musical interpretations and mannerisms at the keyboard, to aspects of his lifestyle and personal behavior. He abandoned the concert platform at the age of 31 to concentrate on studio recording and other projects.

 

Gould was also known as a writer, composer, conductor, and broadcaster. He was a prolific contributor to musical journals, in which he discussed musical theory and outlined his musical philosophy. His career as a composer was less distinguished; his output was minimal and many projects were left unfinished. There is evidence that, if he had lived beyond the age of fifty, he intended to abandon the piano, and devote the remainder of his career to conducting and other projects. As a broadcaster, Gould was prolific. His output ranged from television and radio broadcasts of studio performances to non-musical radio documentaries about life in the Canadian wilderness.

 

 

 

Gould in February 1946 with his dog, Nick

 

 

 

Glenn Herbert Gould^[a][b] was born at home in Toronto on September 25, 1932, to Russell Herbert ("Bert") Gold and Florence ("Flora") Emma Gold (née Greig),^[1] Presbyterians of Scottish and English ancestry. His maternal grandfather was a cousin of Norwegian composer Edvard Grieg.^[2] The family's surname was changed to Gould informally around 1939 in order to avoid being mistaken as Jewish, due to a series of reasons centering on the prevailing anti-Semitism of prewar Toronto and the Gold surname's Jewish association.^[c] Gould had no Jewish ancestry,^[d] though he sometimes made jokes on the subject, e.g., "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war."^[3]

 

Gould's interest in music and his talent as a pianist became evident very early on. He had perfect pitch and could read music before he could read words.^[4] His father, Bert Gould, reported that at a young age, Glenn behaved differently from typical children at the piano: he would strike single notes and listen to their long decay.^[4] Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. His interest in the piano proceeded side by side with an interest in composition; he would play his own little pieces for family, friends, and sometimes large gatherings. For example, in 1938, in the company of his mother, Gould attended the Emmanuel Presbyterian Church (a few blocks from the Gould house) and performed one of his own compositions.^[5] When he was six, Glenn was taken for the first time to hear a live musical performance by a celebrated soloist; this had a tremendous impact on him. He later described the experience:

 

It was Hofmann. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all orchestral sounds, but I was playing them all, and suddenly I was Hofmann. I was enchanted.^[6]

 

Gould's first piano teacher was his mother until he reached the age of ten. Then, he began attending the The Royal Conservatory of Music in Toronto, where he studied piano with Alberto Guerrero, organ with Frederick C. Silvester, and music theory with Leo Smith. Gould passed his final Conservatory examination in piano at the age of twelve (achieving the 'highest marks of any candidate'), thus attaining 'professional standing as a pianist' at that age.^[7] one year later he passed the written theory exams, qualifying for the ATCM diploma (Associate, Toronto Conservatory of Music).^[7]

 

In 1945, he gave his first public performance, playing the organ,^[8] and the following year, he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of the first movement of Beethoven's 4th piano concerto.^[9] His first solo recital followed in 1947,^[10] and his first recital on radio was with the CBC in 1950.^[11] This was the beginning of his long association with radio and recording.

 

In 1957, Gould toured the Soviet Union, becoming the first North American to play there since World War II.^[12] His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism.

 

On April 10, 1964, Gould gave his last public performance, playing in Los Angeles, at the Wilshire Ebell Theater.^[13] Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's The Art of Fugue, and the Piano Sonata No. 3, by Paul Hindemith.^[e] Gould performed fewer than two hundred concerts over the course of his career, of which fewer than forty were overseas. For pianists such as Van Cliburn, two hundred concerts would have amounted to about two year's touring.^[14] For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting. Towards the end of his life, he began conducting; he had earlier directed Bach's Brandenburg Concerto No. 5 and cantata BWV 54, Widerstehe doch der Sünde from the harpsipiano (a piano with metal hammers to simulate a harpsichord's sound) in the 1960s. His last recording was as a conductor, doing Wagner's Siegfried Idyll in its original chamber music scoring. He had intended to give up the piano at the age of 50, spending later years conducting, writing about music, and composing.^[15]

 

Gould suffered many pains and ailments, though he was something of a hypochondriac,^[f] and his autopsy revealed few underlying problems in areas that often troubled him.^[g]

 

He suffered a stroke on 27 September 1982, which paralyzed the left side of his body. He was admitted to the hospital, and his condition rapidly deteriorated. He was taken off life support on October 4.^[16] He is buried in Toronto's Mount Pleasant Cemetery.

 

 

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