Post 5 of Posts: 2, Post 6 of Joined: Jun 21, Mar 9, at AM. Post 7 of Joined: Feb 20, I have this cd and the amazing laserdisc. However, Glenn Gould's humming is very annoying. How does everyone else tolerate this? Post 8 of Joined: Aug 12, Posts: 10, Mar 9, at PM. Post 9 of Hmm, finally something in discussion that I might be able to get a hand on I think my mom owns these ones.
She prefers strings over piano though, so these don't get played much. Mar 10, at PM. Post 10 of At first, Gould's humming, foot tapping, rocking on his chair and other extraneous noises bothered me, but now his idiosyncrasies somehow draw me into the experience Post 11 of Gould's humming is like you said Like having him play in my living room Keith Jarrett on "The Koln Concert" was also "very personal".
But now after several of his records, I started to see why people are complaining. Espeacially, standard series So Gould Well, may be I have have more of his records Gould's before I made this comment but.. I can hardly think anyone can exceed what Keith have done. Or maybe they intentional record Keith voice. Mar 11, at AM. Post 12 of Joined: Jul 12, Post 13 of Joined: Sep 13, I much prefer Andras Schiff over Gould. As a classically trained pianist, I can appreciate Gould for his fantastic technique, but that's about it.
Although there are no doubt some recordings where he just absolutely shines, his playing is very idiosyncratic and often times his interpretations are obviously way off of the composer's intentions playing things much faster or much slower than they are intended to be played, etc. One might argue that for some of Bach's music particularly the Goldberg variations this could be a good thing as it adds more differing character, but Gould's "uniqueness" never fails to shine through and often gets in the way of the music - at least for me.
It seems like we end up listening to Glenn Gould playing the music, rather than just listening to the music , if that makes sense. Try listening to some recordings of Gould playing Mozart sonatas and you should understand my frustrations - great technique, extremely questionable interpretations.
Mar 12, at AM. Post 14 of I realized that I like Gould play Goldberg variations. Not about the music itself. Nevertheless, I think it won't change the fact that I like Gould Goldberg variations Post 15 of Dusty Chalk.
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Posts: 6, But the sound, though not bad for its time, has its defects -- tape hiss is the big one -- amplified by CD reproduction. So, can an automatic performance be gleeful?
The software does what it claims to do -- the notes are close enough to what you hear on the recording to make you wonder whether the differences you do perceive are due to external factors, discussed below -- and whether psychological unease with robots which are really more of a threat because they're boring than because they might take over the world plays a role.
The sound is cleared up to a point where some of the counterpoint that disappears into the murk on the original re-emerges, and this is certainly cause for celebration, and for purchase. Gould , one suspects, would have at least been intrigued with this disc; the performance had a sort of brave-new-world quality, and it was the desire for control over the musical product that led him to withdraw from performing live in the s. Would Zenph's process have offered him additional control, or would it have represented a loss of control?
That's a tough nut to crack. But, as so often with high-tech innovations it's often plain old graphic design that makes them feasible or not , user satisfaction in this case will depend on human, low-tech factors. This disc does not contain anything even close to a reproduction of Gould 's performance, and the distance is not due to any defects in the Zenph software.
The company president has stated that Zenph did not remove any of the small mistakes that are part of any performance, but there are, of course, some big changes. The biggest is the removal of Gould 's humming, less prominent in than on some of his later recordings but still plenty distinctive.
Bach: Goldberg Variations, BWV 988; Piano Concerto, BWV 1052; Partita No. 5, BWV 829
Could there have been a more solid assertion of the human factor in music-making, a more rampant bit of individualism in an age when individualism was at its insane height? Take it out, and you have something that's fundamentally altered, fundamentally less than the original. On the other hand, it must be noted that if you have ever wanted to hear Gould without the humming, now you can. The other major change has to do with the sound quality of the Yamaha piano in the guts of the Disklavier -- it's an animal entirely different from Gould 's Steinway: rounder, quieter, and in every way less extreme.
The smoothing-out of the dynamics you may perceive in the Zenph version is likely due to the differences between the two instruments. The Zenph process is fascinating, and the success of some collector-oriented companies in realizing old piano rolls anew suggests that the primary benefit of the new technology may well come in performances even older than Gould 's -- they are planning to issue discs featuring Art Tatum which should yield a wealth of technical insights and Alfred Cortot.
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Johann Sebastian Bach. Glenn Gould. Variaton 1. Variaton 2. Variaton 3. Canon on the unison. Variaton 4. Variaton 5. Variaton 6. Canon on the second. Variaton 7. Variaton 8.
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