Stewart Goodyear - For Glenn Gould (2018) [DSD]
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BAND/ARTIST: Stewart Goodyear
- Title: For Glenn Gould
- Year Of Release: 2018
- Label: Sono Luminus
- Genre: Classical Piano
- Quality: flac lossless / DSD64 +booklet
- Total Time: 01:06:07
- Total Size: 257 mb / 2.61 gb
- WebSite: Album Preview
Tracklist
01. Pavan & Galliard "Lord Salisbury"
02. Fantasia in D Major
03. 3-Part Inventions: No. 7 in E Minor, BWV 793
04. 3-Part Inventions: No. 8 in F Major, BWV 794
05. 3-Part Inventions: No. 14 in B-Flat Major, BWV 800
06. 3-Part Inventions: No. 11 in G Minor, BWV 797
07. 3-Part Inventions: No. 4 in D Minor, BWV 790
08. Keyboard Partita No. 5 in G Major, BWV 829: I. Praeambulum
09. Keyboard Partita No. 5 in G Major, BWV 829: II. Allemande
10. Keyboard Partita No. 5 in G Major, BWV 829: III. Corrente
11. Keyboard Partita No. 5 in G Major, BWV 829: IV. Sarabande
12. Keyboard Partita No. 5 in G Major, BWV 829: V. Tempo di minuetto
13. Keyboard Partita No. 5 in G Major, BWV 829: VI. Passepied
14. Keyboard Partita No. 5 in G Major, BWV 829: VII. Gigue
15. 6 Klavierstücke, Op. 118: No. 2, Intermezzo in A Major
16. 3 Intermezzi, Op. 117: No. 3 in C-Sharp Minor
17. Piano Sonata, Op. 1
18. Goldberg Variations, BWV 988: Aria
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It was the year Glenn Gould died when I first heard his legendary name. It was his Bach that introduced me to his playing. His sound struck me immediately...a sound that was compelling and uncompromising. It was not designed to speak words of mere prettiness, but of an individual truth.
Was Gould cerebral or emotional? One heard in his interpretations a mind passionately fierce in its convictions. His concert programs were striking. To the concertgoer used to seeing a program of Beethoven, Chopin and Liszt, Gould’s programs of Gibbons, Sweelinck, Bach, Webern, and Berg must have seemed daunting on paper.
I had the great honour of performing that exact program, the same program with which Gould presented his US debut at the Phillips Collection, and his debut at the Ladies Morning Music Club in Montreal. Never before had a concert program made so much sense to me. I hope the audience would say the same...I know my spirits were lifted playing this program.
Orlando Gibbons and Jan Sweelinck were composers I knew from singing their motets at a choir school I attended in downtown Toronto. I had no idea until I started learning Gould’s program that these two composers had works for solo keyboard! Their harmonies, melodic structure, and ornamentation were just how I remembered them back in the choir school days.
Bach’s Sinfonias also brought me back to my childhood, when I would sing the middle line in each three-part invention, while playing the other two voices on the piano. The 5th Partita took me back to a dance class I took in school, learning the steps to an Allemande, Courante, and Sarabande.
Alban Berg was introduced to me by way of Wozzeck, and ever since, I have always felt the composer as operatic. Berg’s Piano Sonata, to me, was as potent as Isolde’s Liebestod.
My favourite recording of Glenn Gould is his album of Brahms’ Intermezzi. I felt, through that recording, that I got closer to understanding who Gould was as an artist. In the composers discussed before, I heard Gould the passionate theorist, dancer, and singer. In Brahms, I finally heard Gould, the salon artist, the homebody cozying up in his summer home in Lake Simcoe.
My decision to record Glenn Gould’s program came right after performing it in Montreal. While paying homage to one of the great Canadian legends, I was being transported to childhood memories of growing up in Toronto, Gould’s home town, studying at the Royal Conservatory, Gould’s home alma mater, and being an artist from Canada, Gould’s country.
01. Pavan & Galliard "Lord Salisbury"
02. Fantasia in D Major
03. 3-Part Inventions: No. 7 in E Minor, BWV 793
04. 3-Part Inventions: No. 8 in F Major, BWV 794
05. 3-Part Inventions: No. 14 in B-Flat Major, BWV 800
06. 3-Part Inventions: No. 11 in G Minor, BWV 797
07. 3-Part Inventions: No. 4 in D Minor, BWV 790
08. Keyboard Partita No. 5 in G Major, BWV 829: I. Praeambulum
09. Keyboard Partita No. 5 in G Major, BWV 829: II. Allemande
10. Keyboard Partita No. 5 in G Major, BWV 829: III. Corrente
11. Keyboard Partita No. 5 in G Major, BWV 829: IV. Sarabande
12. Keyboard Partita No. 5 in G Major, BWV 829: V. Tempo di minuetto
13. Keyboard Partita No. 5 in G Major, BWV 829: VI. Passepied
14. Keyboard Partita No. 5 in G Major, BWV 829: VII. Gigue
15. 6 Klavierstücke, Op. 118: No. 2, Intermezzo in A Major
16. 3 Intermezzi, Op. 117: No. 3 in C-Sharp Minor
17. Piano Sonata, Op. 1
18. Goldberg Variations, BWV 988: Aria
It was the year Glenn Gould died when I first heard his legendary name. It was his Bach that introduced me to his playing. His sound struck me immediately...a sound that was compelling and uncompromising. It was not designed to speak words of mere prettiness, but of an individual truth.
Was Gould cerebral or emotional? One heard in his interpretations a mind passionately fierce in its convictions. His concert programs were striking. To the concertgoer used to seeing a program of Beethoven, Chopin and Liszt, Gould’s programs of Gibbons, Sweelinck, Bach, Webern, and Berg must have seemed daunting on paper.
I had the great honour of performing that exact program, the same program with which Gould presented his US debut at the Phillips Collection, and his debut at the Ladies Morning Music Club in Montreal. Never before had a concert program made so much sense to me. I hope the audience would say the same...I know my spirits were lifted playing this program.
Orlando Gibbons and Jan Sweelinck were composers I knew from singing their motets at a choir school I attended in downtown Toronto. I had no idea until I started learning Gould’s program that these two composers had works for solo keyboard! Their harmonies, melodic structure, and ornamentation were just how I remembered them back in the choir school days.
Bach’s Sinfonias also brought me back to my childhood, when I would sing the middle line in each three-part invention, while playing the other two voices on the piano. The 5th Partita took me back to a dance class I took in school, learning the steps to an Allemande, Courante, and Sarabande.
Alban Berg was introduced to me by way of Wozzeck, and ever since, I have always felt the composer as operatic. Berg’s Piano Sonata, to me, was as potent as Isolde’s Liebestod.
My favourite recording of Glenn Gould is his album of Brahms’ Intermezzi. I felt, through that recording, that I got closer to understanding who Gould was as an artist. In the composers discussed before, I heard Gould the passionate theorist, dancer, and singer. In Brahms, I finally heard Gould, the salon artist, the homebody cozying up in his summer home in Lake Simcoe.
My decision to record Glenn Gould’s program came right after performing it in Montreal. While paying homage to one of the great Canadian legends, I was being transported to childhood memories of growing up in Toronto, Gould’s home town, studying at the Royal Conservatory, Gould’s home alma mater, and being an artist from Canada, Gould’s country.
Year 2018 | Classical | Instrumental | FLAC / APE | HD & Vinyl
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