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Variation 17 a 2 Clav. Variation 18, Canone alla Sesta a 1 Clav. Variation 19 a 1 Clav. Variation 20 a 2 Clav. Variation 21, Canone alla Settima. Variation 22, Alla breve a 1 Clav. Variation 23 a 2 Clav. Variation 24, Canone all' Ottava a 1 Clav.
Variation 25 a 2 Clav. Variation 26 a 2 Clav. Variation 27, Canone alla Nona. Variation 28 a 2 Clav. Variation 29 a 1 ovvero 2 Clav. Variation 30 a 1 Clav. Aria da capo. Variation 1 a Clav. In addition to playing the work on a piano instead of on the 18th-century era-appropriate harpsichord, Gould rushed tempos and varied his attack with aggression.
His body flailed up and down his creaky chair, displaying melodramatic physical gestures—the very cliche of a young genius at work. And at a time when the future members of the Beatles were still obsessing over British skiffle bands, Gould was pioneering the use of the studio as an instrument by splicing together different takes: finding startling collisions of mood that could help drive his conception of a work.
The critics, however, did notice. And Gould proved a forceful advocate for his own ideas about the piece. However such is not the case, for the thematic substance, a docile but richly embellished soprano line, possesses an intrinsic homogeneity which bequeaths nothing to posterity and which, so far as motivic representation is concerned, is totally forgotten during the 30 variations. If you want to make that Aria really floor people at the end, why not blow out the contrasts between the variations as you play them?
Gould makes an argument for his own radical vision of how the piece should be played. Even listeners who put the Goldbergs on as background music are likely to sit up and pay attention when Gould pours it on during Variation No. May 31, — Glenn Gould - the ultimate download Now, thanks to reader Walt Santner, you can hear the whole documentary via an MP3 download..
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