วีดีโอ

Gould was in love with the overtones… He let the Tempe be directed by the overtones. Horowitz fantastic as he was ran right over them like roadkill!

One of the best talks about Gould was given by Nicholas Spice, a British writer. I recorded it on the 10th. anniversary of Gould's death in 1992 from the CBC. If you can find it you will enjoy it, but I have failed to myself. I am so glad I recorded it.

these assertions are ridiculous in the extreme, What a !st world problem, the rarefied air you breath as a hot house flower, is of little import to those who work with music, in the gloved hands of custodians nothing can change, change is survival, not to merely interpret but develop

Someone please get that person a cough drop

Pletnev's transcription of Tchaikovksy's Pas De Deux is so beautiful that I had to start learning it.

Musicians can justify or validate their worth by making music that people enjoy. Music critics don't have that luxury. They have to manufacture the illusion of contributing something of value by explaining to people why they "actually shouldn't have enjoyed" what the musician did because "it was actually bad".

I do believe Horowitz and Shostakovich had a favorite pianist...Art Tatum. They would go to Harlem, drink whiskey and listen to Art. And they'd say to each other that if Art changed his repertoire they'd be looking for a new profession.

Gould is praised for his Bach but his Beethoven is often overlooked, it's so good I can't enjoy most other interpretations after his. I love his unemotional perfection.

Well done Ben! Koji is a cool guy. Invite him back again!

Glenn Gould’s transcription of Ravel’s La Valse is my personal favourite.

Why would I want you to play Bach like Schiff? Or Gould? Or Sokolov? If I want to hear those interpretations, they're a TH-cam search away. Give me something fresh.

I think Glenn Gould liked the music so much that he just savored it while playing. Depending on his mood, he played fast or slow, because that's how he wanted to hear it! If he showed off his virtuosity, it was for himself alone as the audience. This fits with the fact that he mostly hated doing live concerts. I really don't think he did what he did just "for attention".

Gould didn't have much of a reverence for the musical community of established biases. He took a piece of music and adored making it into something new. He was a rock star.

Please don't use big words for you don't really fully understand the subject.

You should check out Prokofiev piano toccata but performed on the pipe organ- performed by one of the resident organists of notre dame Vincent Dubois (it’s on TH-cam) 👍🏻🥃

ok... as far as cliche music references go... the riot at the Rite of Spring is up there at the top... What about what happened after the showing of La muette de Portici? Anyway, before they rioted at the Rite, didn't they like keel over from laughter first when the public heard the bassoon solo at the beginning? This video endeared Gould significantly to me. This perspective of interpretation is fascinating. I play violin but this is a welcome tool for choosing my own interpretation and style.

I was suspicious about myself that if I would ever find time to lrarn something serious about music history. Thank you!

4:50 Bernard Haitink probably also did the slowest ever Mahler's 5th slow movement!😂

As I recall, GG wasn't very keen on live performances compared to being in the studio.

Can you make a video on Sorabji’s opus Clavicembalisticum?

Thanks for this overview ! I'm however surprised you didn't include the Agosti transcription of Stravinsky's firebird, it's absolutely mindblowing.

The piano does not have its own voice??? Come on...

His was a new approach. He searched and searched; we are the beneficiaries. I love Gould.

Alexis Weissenberg's transcriptions of Charles Trenet's songs. Listen, for example, to "En Avril, à Paris", here played by Marc-André Hamelin th-cam.com/video/7k2vQgC_hbc/w-d-xo.html

Do you only cover classical concert pianists, or do you also do jazz pianists? If so, I'd love to see your take on Estbjörn Svensson or Marian McPartland.

I studied tonal theory when I first entered college in 1979. Gould became my hero; I marveled at all the lines he could maintain perfectly. And he died right on cue in 1982 to cement the drama for me over the rest of my life. Which, of course, is the ultimate irony regarding Gould.

I dunno man. To me, Gould is unlistenable and annoying.

Sherman does Ricordanza well, but IMHO is totally eclipsed by Lim.

Thank you for the Cziffra section. I didn't know of him, embarrassingly, and will probably love his French Baroque recordings. Actually, I gotta thank this channel for intelligently approaching things like transcriptions, or top ten lists, that I'm inclined to approach dismissively but suddenly find myself slapped back the humble, mortal know-nothing I always was (until I mastered "Dr. Gradus ad Parnassum," of course,and was apotheosized by the ghost of Rameau).

Overrated

Ben - Thank you for helping me to connect with music on a deeper level - you can articulate the experience intellectually, emotionally, spiritually... you have such an amazing talent. Question for you: Can you recommend best biography on Bach?

Volodos Rachmaninoff cello sonata 3rd movement

Liszt Isoldes Liebestod

Liszt Tannheuser

Liszt/Horowitz Dance Macabre

Stars and Stripes

Ben, thanks to your explanation ... I realized what I never knew how to express. That musical notes were never intended to be a terror script for orthodox fans. No, music was there to be some guidance, not a doctrine! Thank to you, I know! I wish I knew you personally, therefore I subscribe. Hope I could help you tooooo!

This is why I have the same recording by different pianists- notes are the same, but the music is entirely different. Yunchan Lim is a revelation

I've always thought of Mr Gold as a literalist, as in someone who makes a literal translation of a paragraph in a foreign language. Literal translations tend to be stiff but very informative. His attitude of reworking the conception of a composer's work is really no different then conductors of the late 19th and early 20th century who took great liberties with a score based on their own druthers. But now with your video I'm beginning to see that maybe Mr Gould wasn't trying to be faithful to the composer or unfaithful to the composer but rather just faithful to himself. He also strikes me as a music theorists who is trying to show that theory can be made manifest in a performance.

Stravinsky's Three Scenes from Petrushka is a must

For me... Gould's slow octaves work! The life of the moment is different, yes, but beguilingly convincing.

Truth in a performance means samadhi or flow, to be "one with the force". Gould knew the phenomenon but avoided it. Schubert he recognised as a poison to make him addicted to the force. Ligeti poisened Kubrick with Schubert.

Whether one likes or dislikes Glenn Gould's approach on the keyboard, he was a genius of the keyboard, not a simpleton who thinks he broke classical music.

I'm mostly ignorant of classical music. I listened to about 10 minutes. I don't know how it's "supposed" to sound, so I don't know what the issue was. (At least, at this point.) His behavioral antics, though, are unnecessary. I can't stand "artists" getting away with bizarre behavior, just because they're artists. Just act like a normal person.

Nice👌🏼 What about Liszt's transcriptions of Beethoven simphonies?