GLENN GOULD

'Glenn Herbert Gould' (birth name "Glenn Herbert Gold"^[1]; September 25, 1932 – October 4, 1982) was a Canadian pianist, noted especially for his recordings of the music of Johann Sebastian Bach. He gave up concert performances in 1964, dedicating himself to the recording studio for the rest of his career, and performances for television and radio.

Contents

Life

Gould as a pianist

Recordings

Radio documentaries

Lost footage of a live performance

Gould as a composer

Eccentricities

Philosophical and aesthetic views

Health

Love Life

Awards and recognitions

Media

Works by and about Gould

Books

Film

Films using Gould's music

Music publications

Notes

References

External links

Life

Glenn Gould was born in Toronto, Ontario, Canada on September 25, 1932, to Russell Herbert ("Bert") Gould and Florence ("Flora") Emma Greig Gould, Presbyterians of Scottish extraction. (Greig is the original Scottish spelling of this name, unlike the Norwegian variant Grieg.) His mother's grandfather was a cousin of Norwegian composer Edvard Grieg.
Gould's first piano teacher was his mother. From the age of ten he began attending the Royal Conservatory of Music in Toronto, where he studied piano with Alberto Guerrero, organ with Frederick C. Silvester and theory with Leo Smith.
In 1945, he gave his first public performance (on the organ), and the following year he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of Beethoven's 4th piano concerto. His first public recital followed in 1947, and his first recital on radio came with the CBC in 1950. This was the beginning of his long association with radio and recording.
In 1957, Gould toured the Soviet Union, becoming the first North American to play there since World War II. His concerts featured Bach, Beethoven, and the serial music of Arnold Schoenberg and Alban Berg, which previously had been suppressed in the Soviet Union during the era of Socialist Realism.
On April 10, 1964, Gould gave his last public performance in Los Angeles, California, at the Wilshire Ebell Theater. Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's ''Art of Fugue'' (BWV 1080), and the Piano Sonata No.3, Op.92 No.4 by Ernst Krenek. For the rest of his life he eschewed live performance, focusing instead on recording, writing, and broadcasting. Towards the end of his life he began conducting; he had earlier directed Bach's ''Brandenburg concerto no.5'' and cantata BWV 54, ''Widerstehe doch der Sünde'' from the harpsipiano [a piano with metal hammers to simulate harpsichord sound] in the 1960s. His last recording was as a conductor, Wagner's ''Siegfried Idyll'' in its original chamber music scoring. He had intended to give up the piano at the age of 50, spending later years conducting, writing on music and perhaps composing. He died in Toronto in 1982 after suffering a stroke, and is buried in Toronto's Mount Pleasant Cemetery.

Gould as a pianist

Gould was known for his vivid musical imagination, and listeners regarded his interpretations as ranging from brilliantly creative to, on occasion, outright eccentric. His piano playing had great clarity, particularly in contrapuntal passages. Gould was not only a child prodigy, but also in adulthood was viewed by some as a musical phenomenon. He often swayed his torso, always in a clockwise motion, as he played.^[2]
In 1949 Gould injured his tailbone on a paved boatlaunch near his Ontario home. This incident appears to be associated with injury to Gould's back that affected his playing posture. But it is not clear whether this occasioned the need for the chair that Gould's father subsequently modified with screws to adjust its height, and which Gould sat in to play for the rest of his life. The 1945 photo at the above right, however, shows Gould as a teenager seated at the piano with his back against the back of a chair. This posture is unorthodox, but characteristic of Gould's later posture at the piano, hence suggesting that he developed it very early in life.
Gould disliked and rebelled against what he believed to be a hedonistic approach to music which had become popular in the 19th and 20th centuries. He was rarely virtuosic for the sake of being virtuosic, but rather, often had a refreshingly thoughtful and withdrawn interpretation of the music he played.
Gould had a formidable technique that enabled him to choose very fast tempos while retaining the separateness and clarity of each note. He took an extremely low position at the instrument, which allowed him more control over the keyboard. Charles Rosen's view is that a low position at the piano is unsuitable for playing the technically demanding music of the 19th century. However, this did not seem to impede Gould, as he showed considerable technical skill in both his recordings of Bach, and in virtuosic and romantic works like his own arrangement of Ravel's ''La Valse'' and his playing of Liszt's transcriptions of Beethoven's 5th and 6th symphonies. Gould worked from a young age with his teacher Alberto Guerrero on a technique known as finger-tapping, a method of training the fingers to act more independently from the arm.
Gould claimed he practiced little on the piano, preferring to study music by reading it rather than playing it, a technique he had also learnt from Guerrero. His voluminous repertoire, however, would also seem to betray a natural mnemonic gift. He stated that he didn't understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day.^[3] It seems that Gould was able to practice mentally without access to an instrument, and even took this so far as to prepare for a recording of Brahms piano works without ever playing them until a few weeks before the recording sessions. This is all the more staggering considering the absolute accuracy and phenomenal dexterity exhibited in his playing.
Regarding the performance of Bach on the piano, Gould said, "the piano is not an instrument for which I have any great love as such... [But] I have played it all my life and it is the best vehicle I have to express my ideas." In the case of Bach, Gould admitted, "[I] fixed the action in some of the instruments I play on — and the piano I use for all recordings is now so fixed — so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."^[4]

Recordings

In creating music, Gould much preferred the control and intimacy provided by the recording studio, and he disliked the concert hall, which he compared to a competitive sporting arena. After his final public performance in 1964, he devoted his career solely to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although his producer at CBS, Andrew Kazdin, has stated that he was the classical artist least in need of splices or dubs, Gould used the process to give him total artistic control over a recording. He recounted his recording of the A minor fugue from Book 2 of ''The Well-Tempered Clavier'', and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.^[5]
Gould's first major recording came in 1955, at Columbia Masterworks' 30th Street Studios in New York City. He performed the ''Goldberg Variations'' by Johann Sebastian Bach. Although there was initially some controversy at CBS as to whether this was the most appropriate piece to record, the finished product received phenomenal praise, and was among the best-selling classical music albums of its time. Gould became closely associated with the piece, playing it in full or in part at many of his recitals. Another version of the ''Goldberg Variations'', recorded in 1981, would be among his last recordings, and one of only a few pieces he recorded twice in the studio. The 1981 recording was one of CBS Masterworks' first digital recordings. The two recordings are very different, the first highly energetic and often frenetic, the second slower and more introspective. In his second recording of the ''Goldberg Variations'', Gould treats the Aria and its thirty variations as one cohesive piece.
Gould recorded most of Bach's other keyboard works, including the complete ''Well-Tempered Clavier'', ''Partitas'', ''French Suites'', ''English Suites'' and keyboard concertos. For his only recording at the organ, he recorded about half of ''The Art of Fugue''. He also recorded all five of Beethoven's piano concertos and 23 of the 32 piano sonatas.
Gould also recorded works by many other prominent piano composers, though he was outspoken in his criticism of some of them, apparently not caring for Frédéric Chopin, for example. In a radio interview, when asked if he didn't find himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment — maybe once a year or twice a year for myself. But it doesn't convince me." Although Gould recorded all of Mozart's sonatas, he was a harsh critic of Mozart's music. He was fond of many lesser-known composers, such as the early keyboard music of Orlando Gibbons, who he claimed was his favourite composer in terms of Gibbons' spiritual quest in music, alongside his favouritism of Bach in general for his technical mastery.^[6] He made recordings of little-known piano music by Jean Sibelius (the sonatines, ''Kyllikki''), Georges Bizet (the ''Variations Chromatiques de Concert'' and the ''Premier nocturne''), Richard Strauss (the piano sonata, the five pieces, ''Enoch Arden''), and Paul Hindemith (the three sonatas, the sonatas for brass and piano). He made recordings of the complete piano works and lieder of Arnold Schoenberg.
One of Gould's performances of the Prelude and Fugue in C Major from Book Two of The ''Well-Tempered Clavier'' was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The disc was placed on the spacecraft Voyager 1, which is now approaching interstellar space and is the most distant human-made object from Earth.

Radio documentaries

Less well-known is Gould's work in radio documentary. This work was, in part, the result of Gould's long association with the Canadian Broadcasting Corporation, for which he produced numerous television and radio programs. Notable recordings include his ''Solitude Trilogy'', consisting of ''The Idea of North'', a meditation on Northern Canada and its people; ''The Latecomers'', about Newfoundland; and ''The Quiet in the Land'', on Mennonites in Manitoba. All three use a technique which Gould called "contrapuntal radio," in which several people are heard speaking at once, much like the voices in a fugue.

Lost footage of a live performance

In 2002, during preparations for Queen Elizabeth II's Jubilee Tour of Canada, lost footage of a Glenn Gould performance was discovered; part of a CBC programme, with various musical performances, which had followed the Queen's 1957 television address to Canadians from Rideau Hall. Within this footage was a seven minute live performance of Glenn Gould, unseen for the previous 45 years, where he plays the second and third movements of Bach's ''Piano Concerto in F Minor''.^[7]

Gould as a composer

As a teenager, Gould wrote chamber music and piano works in the style of the Second Viennese school of composition. His only significant work was the String Quartet, Op.1, which he finished when he was in his 20s, and perhaps his cadenzas to Beethoven Piano Concerto No. 1, which can be heard on his recording of the piece and have recently been recorded by the pianist Lars Vogt. As well as composing, Gould was a prolific arranger of orchestral repertoire for piano; not only his Wagner and Ravel transcriptions which he recorded, but also the operas of Richard Strauss and the symphonies of Schubert and Bruckner, which he played privately for his own pleasure.^[8]
Early works:

★ 5 little pieces (Piano)

★ 2 pieces (Piano)

★ Sonata for Piano (unfinished)

★ Sonata for Bassoon and Piano
Slightly later works:

★ Lieberson Madrigal (SATB and Piano)

★ String Quartet Op.1

★ ''So You Want To Write A Fugue?'' (SATB with piano or string quartet accompaniment)

★ Cadenzas to Beethoven's 1st piano concerto.
The majority of his work is published by Schott Music. The recording ''Glenn Gould: The Composer'' contains his original works excepting the cadenzas.

Eccentricities

Glenn Gould usually hummed while he played, and his recording engineers varied in how successfully they were able to exclude his voice from recordings. Gould claimed that his singing was subconscious and increased proportionately with the inability of the piano in question to realize the music as he intended.
Gould was known for his peculiar body movements while playing, (circular swaying, conducting, or grasping at the air as if to reach for notes as he did in the taping of Beethoven's Tempest Sonata) and for his insistence on sameness. He would only play concerts while sitting on the old chair his father had made. He continued to use this chair even when the seat was completely worn through.^[9] His chair is so closely identified with him that it is shown in a place of honor in a glass case at the National Library of Canada. Conductors responded diversely to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius."^[10] Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him."^[10]
Gould was averse to cold and wore heavy clothing, including gloves, even in warm places. He also disliked social functions. He had an aversion to being touched, and in later life he limited personal contact, relying on the telephone and letters for communication. Upon one visit to historic Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould by giving him a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue due to the incident; he even went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent.^[12]
In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, or didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best known are "Karlheinz Klopweisser", the English conductor "Sir Nigel Twitt-Thornwaite", and the American pianist "Theodore Slutz".^[13]
Fran's Restaurant was a constant haunt of Gould's. A CBC profile noted, "sometime between two and three every morning Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth and order the same meal of scrambled eggs."^[14]

Philosophical and aesthetic views

Gould stated that had he not been a musician, he would have been a writer. He wrote music criticism and espoused his philosophy of music and art, in which he rejected what he deemed banal in music composition and its consumption by the public. In seeming contrast to his geniality, open-mindedness and modernism, Gould's remarks on jazz and other popular music were mostly disdainful, though rare. He believed that the keyboard is fulfilled as an instrument primarily through counterpoint. Much of the homophony that followed that period, he felt, belongs to a less serious and less spiritual period of art.
Gould was convinced that the institution of the public concert with audience ''en masse'' and the tradition of applause was a force of evil, and that these practices should be abandoned. This doctrine he set forth, half in jest and half seriously, in "GPAADAK," the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds.^[15]
Gould enjoyed solitude, and expressed that theme in his radio documentaries, the ''Solitude Trilogy''.

Health

Early in his life Gould suffered a spine injury which prompted his physicians to prescribe him an assortment of painkillers and other drugs. His continued use of prescribed medications throughout his career is speculated to have had a deleterious effect on his health. He was highly concerned about his health throughout his life, such as his high blood pressure, and was worried about the safety of his hands. It is often claimed that Gould never shook hands with anyone and always wore gloves.^[16] However, there are documented cases of Gould shaking hands.^[17]
Gould's experience with psychoanalytic treatment and medication is documented. Dr. Timothy Maloney, the director of the Music Division of the National Library of Canada, has written about and discussed the possibility that Gould also had Asperger syndrome, an autism spectrum disorder. This idea was first tentatively proposed by Gould's biographer, Dr. Peter Ostwald, though Ostwald died before he could develop this theory. (The diagnosis of Asperger syndrome did not exist in Gould's lifetime.) Gould's eccentricities, such as rocking and humming, isolation and difficulty with social interaction, and the uncanny focus and technical ability he displayed in music-making, can be related to the symptoms displayed by persons with Asperger's, according to Maloney. Others, such as Dr. Helen Mesaros, a Toronto psychiatrist and author, dismiss this theory as post-mortem diagnosis based on circumstantial evidence. Mesaros wrote a rebuttal to Maloney's paper, suggesting that there are ample psychological and emotional explanations for Gould's eccentricities, and that it is not necessary to resort to neurological explanations.

Love Life

In 1956, Gould met Cornelia Foss and Lukas Foss in Los Angeles. Cornelia was an art instructor and had studied sculpture at the American Academy in Rome. Lukas was a pianist composer and conducted both the Buffalo Philharmonic Orchestra and Brooklyn Philharmonic. Over the years, Glenn and Cornelia became lovers.
Cornelia left Lukas in 1967 for Toronto, taking her two children with her. She purchased a house near Gould's apartment at 110 St. Clair Avenue West (near Avenue Road). Their affair lasted until 1972 when she returned to Lukas, citing that Glenn's phobias were getting worse.
In a newspaper article (Toronto Star, August 25, 2007), Cornelia is quoted as saying "There were a lot of misconceptions about Glenn and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual."

Awards and recognitions

Glenn Gould received many honors during his lifetime and posthumously, however ironically, as he despised competition in all its forms. In 1983, he was inducted into the Canadian Music Hall of Fame.

★ The Glenn Gould School of the Royal Conservatory of Music, Toronto was founded and named after him in 1997.^[18]

★ The Glenn Gould Studio at the Canadian Broadcasting Centre in Toronto was named after him.

★ The Glenn Gould Foundation was established in Toronto in 1983 to honour Gould and preserve his memory. Among other activities, the foundation awards the Glenn Gould Prize every three years to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies." The prize consists of CAD$50,000 and an original work by a Canadian artist.
He won four Grammy Awards:

★ 1974 — Grammy Award for Best Album Notes - Classical: Glenn Gould (notes writer) for ''Hindemith: Sonatas for Piano (Complete)'' performed by Glenn Gould;

★ 1983 — Grammy Award for Best Classical Album: Samuel H. Carter (producer) & Glenn Gould for ''Bach: The Goldberg Variations'';

★ 1983 — Grammy Award for Best Instrumental Soloist Performance (without orchestra) for ''Bach: The Goldberg Variations'';

★ 1984 — Grammy Award for Best Instrumental Soloist Performance (without orchestra) for ''Beethoven: Piano Sonatas Nos. 12 & 13''.

Media

Works by and about Gould

Books

★ Bazzana, Kevin (1997) ''Glenn Gould: the performer in the work''. Clarendon, ISBN 0-19-816656-7

★ Bazzana, Kevin (2003) ''Wondrous Strange: The Life and Art of Glenn Gould''. Oxford University Press, ISBN 0-19-517440-2

★ Bernhard, Thomas (1991) ''The Loser''. A fictional account of a relationship with Glenn Gould and Vladimir Horowitz. University of Chicago Press, ISBN 0-226-04388-6

★ Canning, Nancy (1992) ''A Glenn Gould Catalog''. Greenwood Press, ISBN 0-313-27412-6

★ Carroll, Jock (1995) ''Glenn Gould: some portraits of the artist as a young man''. Stoddart, ISBN 0-7737-2904-6

★ Cott, Jonathan (2005) ''Conversations with Glenn Gould''. University of Chicago Press, ISBN 0-226-11623-9. Interview in two parts from 1974. Originally published in Rolling Stone magazine.

★ Friedrich, Otto (1989) ''Glenn Gould: A Life and Variations''. Random House, ISBN 0-679-73207-1

★ National Library of Canada (1992) ''Descriptive Catalogue of the Glenn Gould Papers''. ISBN 0-660-57327-X

★ Ostwald, Peter (1997) ''Glenn Gould: the ecstasy and tragedy of genius''. Norton, ISBN 0-393-04077-1

★ Page, Tim (1990) ''Glenn Gould Reader''. Contains a select collection of Gould's essays, articles and liner notes. Vintage, ISBN 0-679-73135-0

★ Payzant, Geoffrey (1992) ''Glenn Gould Music and Mind''. Key Porter, ISBN 1-55013-439-6

★ Robert, John PL and Ghyslaine Guertin (1992) ''Glenn Gould : selected letters''. Oxford University Press, ISBN 0-19-540799-7

★ Rosen, Charles (2002) ''Piano Notes: The World of the Pianist''. The Free Press, ISBN 0-7432-4312-9.

Film

★ ''Glenn Gould On the Record'' and ''Glenn Gould Off the Record'' (both 1959). Documentaries. National Film Board of Canada.

★ ''Conversations with Glenn Gould'' (1966). Filmed conversations between Glenn Gould and Humphrey Burton on classical composers. BBC.

★ '' The Idea of North (film)(1970)'' Produced and directed by Judith Pearlman; based on Gould's original audio version.

★ ''Music and Terminology, Chemins de la Musique'' (1973-76). Glenn Gould talking about and performing music by Bach, Schoenberg, Scriabin, Gibbons, Byrd, Berg, and Wagner. Series of four films directed by Bruno Monsaingeon.

★ ''Radio as Music'' (1975). Film adaptation of an article by John Jessop (in collaboration with Gould) on Glenn Gould's contrapuntal radio documentary techniques.

★ ''Bach Series'' (1979-91). Series of three films of Glenn Gould talking about and performing the music of Bach: Goldberg Variations, Variations: Chromatic Fantasy, Partita No 4, and excerpts from The Well-Tempered Clavier and Art of the Fugue. Clasart.

★ ''The Goldberg Variations: Glenn Gould Plays Bach'' (1981). The Bach Series directed by Bruno Monsaingeon.

★ ''Variations on Glenn Gould''. Documentary on Glenn Gould at a recording session, making a radio documentary and in the Ontario northland.

★ ''Solitude, Exile and Ecstasy'' was a BBC Radio 3 drama broadcast in 1991. It features Gould as a character, and is structured by sequential selections from his 1981 performance of JS Bach's ''Goldberg Variations''.^[19]

★ ''Les Variacions Gould'' (1992). Directed by Manuel Huerga, documentary coproduced by Ovideo TV about Glenn Gould in the 10th anniversary of his death. This film has received several awards and has been finalist in the International Visual Music Awards of Cannes '93.

★ ''Thirty-Two Short Films About Glenn Gould'' (1993). Directed by François Girard.

★ ''Glenn Gould : The Russian Journey'' (2002). The 1957 trip in the USSR and Gould's performances in Moscow and Leningrad.

★ ''Extasis'' (2003). Documentary featuring Glenn Gould in concert; also, interviews with acquaintances.

★ ''Glenn Gould : Life & Times'' (2003). DVD documentary. Contains performances, sessions and interviews. Also a look at his [still-playable] grand piano and chair.

★ ''Glenn Gould : The Alchemist'' (2003). DVD documentary footage of Gould's performances and interviews with Gould about his music and life.

★ ''Glenn Gould : au-delà du temps'' (2005). A French/Canadian documentary by Bruno Monsaingeon, 107 minutes, first aired on arte, May 13, 2006, Winner of Fipa d’or 2006, catégorie musique et spectacles.

★ Gould contributed to the screenplay of the experimental PBS TV movie The Idea of North, produced and directed by Judith Pearlman.

Films using Gould's music

Gould's recorded music has been featured in many other films, both during his life and after his death.

★ ''Spheres'' (1969). Animated film directed by René Jodoin and Norman McLaren, with music by Bach played by Glenn Gould. National Film Board of Canada.

★ ''''Slaughterhouse-Five'''' (1972). Directed by George Roy Hill; based on the Kurt Vonnegut novel. Musical soundtrack arranged and performed by Glenn Gould. Universal Pictures.

★ ''The Terminal Man'' (1974). Directed by Mike Hodges; based on a Michael Crichton novel. Soundtrack features Glenn Gould playing the Goldberg Variations. Warner Bros.

★ ''The Wars'' (1983) features Gould playing music of Richard Strauss and Johannes Brahms. Directed by Robin Philips; based on the novel by Timothy Findley.

★ ''The Silence of the Lambs'' (1991) contains the Aria from his 1981 recording, and indeed the original novel of the same name has Dr. Hannibal Lecter, an aficionado of ''The Goldberg Variations'', requesting a recording while he dines in prison.

★ ''The Triplets of Belleville'' (2003) includes a segment in which an animated Glenn Gould with greatly exaggerated mannerisms plays Prelude No. 2 in C minor from Bach's ''Well-Tempered Clavier'', Book One.

★ Gould's prowess was referenced (and his recordings used) in the motion picture ''When Will I Be Loved'', written and directed by James Toback.

★ ''''Hannibal Rising'''' (2007) includes the 1955 recording of the Aria from the Goldberg Variations, played while the character of Hannibal Lecter injects himself with sodium thiopental. Using the 1981 recording would have been anachronistic, as the timeline of the film takes place well before that recording was made. The 1955 Aria recording is characterized by a faster tempo.

Music publications

★ Cadenza to Beethoven Concerto No.1, Op.15 (Barger and Barclay)

★ Piano Pieces ISMN: M-001-08466-6 (Schott)

★ String Quartet Op.1 (Barger and Barclay ed., 1956)

★ String Quartet Op.1 ISMN: M-001-12171-2 (Schott ed.)

★ Lieberson Madrigal (SATB and Piano) ISMN: M-001-11577-3 (Schott)

★ So You Want To Write A Fugue? (G. Schirmer)

★ Sonata for Piano ISMN: M-001-13363-0 (Schott)

★ Sonata for Bassoon and Piano ISMN: M-001-09317-0 (Schott)

Notes

1. Encyclopedia of Music in Canada: Gould, Glenn
2. He did this in music of medium to very slow tempo. The clockwise motion is associated with left-handedness.
3. Interview with Gould by David Dubal in "The World of the Concert Pianist", p180-83. There are recordings of Gould practicing, but to what extent he did is difficult to determine.
4. From the liner notes to ''Bach Partitas, Preludes and Fugues'', page 15: Sony CD SM2K-52597.
5. http://www.collectionscanada.ca/glenngould/028010-502.1-e.html#d
6. He discusses this on the Bruno Monsaingeon film 'Chemins de la Musique'.
7. CBC's Dan Bjarnason reports on newly discovered film of Glenn Gould's live television performance for the Queen's 1957 visit to Canada (Runs 3:24)
8. The Schubert can be seen briefly on ''Hereafter'', the transcription of Bruckner's 8th symphony Gould alludes to in an article in ''The Glenn Gould Reader'' where he deprecates its "sheer leger-line unplayability"; the Strauss opera playing can be seen in one of the Humphrey Burton conversations and is referred to by almost everyone who saw him play in private.
9. Gould's chair
10. Bazzana, p. 158.
11. Bazzana, p. 158.
12. Musicians' Musical Maladies
13. From the liner notes to ''Bach Partitas, Preludes and Fugues'', page 14: Sony CD SM2K-52597.
14. Glenn Gould's eating habits
15. The Glenn Gould Reader, , Glenn, Gould, , ,
16. This is discussed and can be seen on the film ''On And Off The Record.''
17. . Page 267, interview of Timothy Findley: "[...]Everybody said you never touched his hands, you never try to shake hands with him, but the first thing he did to me was to offer to shake hands. He offered me his hand in a very definite way, none of this tentative, 'don't-touch-me' stuff."
18. The Glenn Gould School
19. http://www.hedweb.com/bgcharlton/solitude.html complete text

References

★ Wondrous Strange: The Life and Art of Glenn Gould, , Kevin, Bazzana, Oxford University Press, USA, 2004,

External links

★ Canadian Encyclopedia: Glenn Gould - the most detailed encyclopaedic article on him

★ The Glenn Gould Archive at the National Library of Canada - Contains sound clips, articles and pictures.

★ F-Minor - The Glenn Gould Mailing List

★ Glenn Gould Website (Sony Music Entertainment of Canada)

★ Bach-cantatas.com: Glenn Gould

★ GlennGould Magazine

★ CBC Digital Archives: Glenn Gould: Variations on an Artist

★ "Northern Soliloquy" Glenn Gould's perception of North.

★ Glenn Gould Broadcasts from UbuWeb.

★ Glenn Gould: a Lone Star by The New York Review of Books

★ The Idea of North, the PBS film produced and directed by Judith Pearlman, based on Gould's original audio version.

★ Report about newly discovered film of a Glenn Gould television performance for the Queen's 1957 visit to Canada