วีดีโอ

14:05 and meanwhile here we are on the cusp of the year 2025

I can't listen. Was this edited to jam his sentences together? I've heard other talks of Gould's, and he was never like this!

There is a splendid broadcast of this by GG, from his January 1957 appearances with Bernstein and the NY Phil, which I hope makes it to youtube.

Amazing fact - all three of the children of Gertrude and Arnold have lived to celebrate their father's 150th anniversary!

3:03 nachschlagen (Gould's German is a bit rough here, I assume he meant to say "Nachschläge", plural of "Nachschlag", a type of ornament.) 15:16 rêverie, a French term for daydream, musing, flight of fancy.

40:06 Now for instance Lasker in Berlin, this chess man, etc. (Emanuel Lasker, the famous chess champion)

45:30 [From Schönberg's lecture "My evolution"] New characters had emerged, new moods and more rapid changes of expression had been created, and new types of beginning, continuing, contrasting, repeating, and ending had come into usage. Forty years have since proved that the psychological basis of all these changes was correct. Music without a constant reference to a tonic was comprehensible, could produce characters and moods, could provoke emotions and was not bare of being gay or humorous. 54:48 [From Schönberg's lecture "Who am I?"] [Besides,] this reminds me of an event which occurred about 50 years ago, in Vienna. Our emperor, Francis Joseph the First, usually honored openings of important industrial or artistic expositions by his presence. On such occasions the chairman of the committees were allowed to present prominent industrialists and artists to the emperor. In this special case, the chairman did it as it was customary with ordinary citizens: "Your Majesty, may I present Mr. so-and-so, a great industrialist." Thereafter, turning to the gentleman, he added: "His Majesty, the emperor." After he had done that several times, the emperor said softly: "By now, I hope, the gentlemen will know who I am!" [audience laughter] May I hope, in another 50 years they will also know who I am.

It's odd how Getrude refers to her own husband as "Schönberg".

3:51 [From Schönberg's lecture "Who am I?"] I wonder sometimes who I am. When the Committee on Lectures and Drama announced my lecture in the newspapers, someone was afraid the readers might not know who I am. So they informed them as follows: "famous theoretician and controversial musical figure, known for the influence he has brought to bear on modern music." Up to now, I thought I compose for different reasons. 18:15 [From Schönberg's lecture "My evolution"] [This is why] in my Verklärte Nacht (Transfigured Night) the thematic construction is based on Wagnerian "model and sequence" above a roving harmony on the one hand, and on Brahms' technique of, as I call it, of "developing variation," on the other hand. [...] [True,] at this time I had already become an admirer of Richard Strauss, but not yet of Gustav Mahler, whom I started to understand only much later, at a time when his symphonic style could no more exert its influence on me. But it is still possible that his strongly tonal structure and his more sustained harmony influenced me considerably. There were not many unusual melodic progressions requesting clarification through the harmony. 25:29 [Ibd.] The climax of my first period is definitely reached in the Kammersymphonie, opus 9. [...] I was at this time able to write a theme which I thought not to be related to the main theme, but nevertheless it seemed so logical to me that I didn't cross it out. And, as I said, years later I found the solution in that I saw the relation. [...] And I say, if there is a composer capable of inventing themes on the basis of such a remote relationship, I am not one of them. 36:13 [Ibd.] This first step occurred in the Songs, opus 14, and thereafter in the Fifteen Songs of the Hanging Gardens [op. 15], and in the Three Piano Pieces, opus 11. Most critics of this new style failed to investigate up to which degree the ancient "eternal" laws of musical aesthetic were observed, spurned, or merely adjusted to changed circumstances. Such superficiality brought about these accusations of anarchy and revolution, while it was distinctly evolution, no more exorbitant than that which always has occurred in the history of music. 46:38 [Ibd.] In 1915 I had sketched a symphony, the Scherzo of which accidentally consisted of twelve tones. Only two years later, a further step in this direction occurred. I had planned to build all the main themes of my unfinished oratorio Die Jakobsleiter out of the six tones [of this row]. [...] I called this "working with tones," not yet "twelve-tones." [...] I had at this time not yet discovered all the technical tools which furnish such abundance of variety as is necessary for expansive forms.

I can hear his voice 😮😊

Why did the producer of this documentary not elaborate upon the negative effects the unnecessay psychiatric medication had on life? This can not be ruled out as a negative influence artistically and in terns of health as well.

There is no mention of how the unnecessary psychiatric medications negatively affected his life.

❤

Gould Is the only piano interpreter that gives sense to the music he is playing. Some other do, but for limited well known repertoires. Gould for all, from Gibbons to Webern.

grazie

I suppose he's trying to say "modern" at 5:21. At 11:17 he says "Wandervogel" instead of "wonderful". 25:57 Thereafter I think everywhere it lacks etc. 30:46 the regime, which I'm sure he hated. 39:43 First World War 41:05 ihm nach [lit. "after him" in the sense of following him into death] 46:12 He says "anxiety", but pronounces it incorrectly.

WOW...the weber concert stucke in F at 31:00...thats amazing

what is the piece in Db hes playing at 6:00??

10:04 I can only answer you with the words of his wife, his wife Pauline. I must say it in German, auf Bairisch [in Bavarian dialect], ich kann nicht so gut Bairisch [I don't speak the bavarian dialect very well]. She said: "I woass ja dass mei Richardl a Depp is, aber in da Musi do tobt er si halt aus." [I know that my Richy is a dork/bozo/blockhead/dolt, but in music he lets of steam/runs riot.]

L❤VE Glenn G😍💓🥰💕🤗💖

Around 8:49 the left hand short note is supposed to be a 32nd. But Glenn thinks "Allegretto vivace" is the same as "Vivace", so he doesn't have time to play it correctly and it decays into a 16th. You'd think he'd catch on and realize his tempo is too fast, but of course, as usual, he's oblivious.

Я услышал Гленна Гульда впервые 45 лет назад и до сих пор не могу остановиться

I don't share his musical options, but this is so wonderful living .... !

this is wonderful

24:04 "We should have rehearsed this before". A prophetic statement!

You don’t have to be a pianist to appreciate Gould both as a musician and lecturer. He was stimulating on both counts. And I notice that no one else has commented that Gould greatly admired Schoenberg for his compositional skill notwithstanding the fact that the piano was not featured.

You don’t have to be a pianist to appreciate Gould both as a musician and lecturer. He was stimulating on both counts. And I notice that no one else has commented that Gould greatly admired Schoenberg for his compositional skill notwithstanding the fact that the piano was not featured.

❤❤❤❤❤❤❤❤❤

Canada is proud to have Gould as a wonderful musician

Hi Bruce, not sure if you still look at these comments or whatever but love this archive so so much, so grateful to you. Would you know anything about Gould's private home tapes and recordings? Or where they are? Anything? lol Anyways lots of love, thanks so much. Also - are the dubbed in better versions of the music selections the same recordings as Gould's original selections, just better quality sound? Very interested to know what recordings he enjoyed listening to.

bruce your channel is such a gem i hope it exists forever on youtube kind greetings and love from vienna

Very very interesting. Thanks

Truly a great video. Thank you

Amazing control of voices like there is a piano duo and sometimes trio playing

O, but what Fun he was having…

This helps me sleep better

He plays everything like Bach.

I love GG. But. He is butchering Mozart here. Why do that?

🙏🙏🙏

When they opened this up with an advert, for some reason I still got mad at TH-cam

A lovely tribute to Beethoven fifth symphony

Great intellectual discourse

A fascinating man, one of God’s finest creations! I would have loved to know him!

Actually very epic playing, all the comments are wrong

epic

It was always obvious that he was a powerful mystic. His deep mysticism shines forth in his music, if possible even more today than when he was alive on this planet. He and all of his abilities and innate kindness are a lasting gift to this world and to the universe itself.

grazie di nuovo

The Hummel cadenza does not fit the Mozart, but it's so exciting that I don't mind in the least

In my opinion, one of Gould’s best recordings and an all time great piano recording in general (of which Gould has several)… Gould’s vision, construction, and execution here are impeccable. From the first measure, Gould sets out with a clear artistic goal, and that Goal is more than surpassed as the coda rings out! Just fantastic stuff and thank you for the upload with the score!!!

He could have played the fugue at a slower tempo. It's his choice to play it at a breathtaking pace and still didn't skip a beat with the trill passages. Yes he's playing his vision of Beethoven rather than what the score dictates. But it makes it even more convincing.