Johann Sebastian BACH (1685-1759)
Keyboard Concerto No.1 in D minor BWV 1052* [24:16]
Partita No.5 in G major BWV 829 [10:03]
Partita No.6 in E minor BWV 830 [23:06]
From: The Well Tempered Clavier Book II:-
Fugue in F sharp minor BWV 883 [3:21]
Fugue in E major BWV 878 [4:23]
Glenn Gould (piano)
Columbia Symphony Orchestra/Leonard Bernstein*
rec. Columbia 30th Street Studios, New York City, 11, 30 April
1957* and 29-31 July and 1 August 1957.
NAXOS 8.112049 [65:09]
Recorded in glorious mono, there has to be a certain amount of interest in
Glenn Gould the Bach performer when considering recordings like this, especially
when it comes to something like the Concerto No.1 in D minor BWV 1052 with
its rather scratchy string sound. Ideally, we’d have a whole sequence of reissues
for these recordings all lined up, and an expert reviewer able to reveal all
when it comes to the discs which present the best balance and least offence
to our modern digital-hungry ears. I used to listen to this and other Gould
concerto recordings on CBS cassettes, and the re-mastering and restoration
on this Naxos disc seems to give a brighter, more etched sound. There are
advantages and trade-offs with even subtle treatments of the sound in these
recordings, and a comparison with the fugue recordings on this disc when compared
to their appearance on the Sony 1955 Goldberg Variations disc SMK 5
594 shows the 1992 engineers favouring a rounder tone and less tape hiss.
Mark Obert-Thorn’s Naxos rendition is also marginally higher in pitch, though
we’re talking about fractions here. Normally there is a certain amount of
discussion about the source material for these re-masterings, but there is
no comment on the actual tapes used or what actions were taken.
Comparing different versions does make one realise how much difference certain
types of approach make. Assuming the Sony re-issues use a similar balance
for the other recordings, the advantages to this new version become apparent
quite quickly. The ear has to forgive a greater hardness in the sound in the
search for greater detail and a more direct communication of nuance and expression.
It’s only when returning to the duller mix that you realise what is missing
and find your ears longing for the more lively Naxos colouration.
As one might expect, Bach’s Concerto No.1 in D minor BWV 1052 does
sound rather measured and dated in this 1957 recording, although the final
Allegro is lively enough. The real joy is in Gould’s playing, which
holds and drives the rhythms so effectively. Bernstein proves to be a sympathetic
accompanist, and the so-called Columbia Symphony Orchestra, reckoned to be
members of the New York Philharmonic Orchestra ducking contractual restrictions
by using an assumed name, are decent enough. There is no denying that the
combination creates its own atmosphere, and once you have forgiven the scrawny
sound it is easy to become deeply involved in a very sincere performance of
this great music, which in his short performing career was a staple of Gould’s
repertoire.
After his renowned 1955 Goldberg Variations recording, Glenn Gould
began recording Bach’s Partitas in February 1956 as a follow-up. Dissatisfied
with these takes, Gould returned to the Columbia studios three months after
the concerto recording to create the versions which were eventually released.
These are remarkable performances which, controversial in their own time and
respected rather than loved in some quarters these days, have as did so many
of Gould’s recordings become an influential reference for pianists ever since.
Indeed, even today they are seen as a benchmark reference for exciting
Bach interpretation. Sometimes startling in their clarity, Gould’s Partitas
showed how this music could be spectacular and stimulating, making full
use of his remarkable digital dexterity in fast movements, phrasing sensitively
in the gentle Sarabandes and dancing with a rhythmic joie de vivre
elsewhere. One pleasant aspect of these solo recordings is that Gould’s
incidental but constant singing is kept well in the background, and is not
very distracting even when it does come through.
Being something of a Glenn Gould fan I would have to say that these and the
rest of his Partita recordings are a must for any self-respecting piano
collection. Those of you who have the impression that his is a rather dry
and brittle approach to Bach should have a listen to his playing in the Toccata
opening of the Partitia No.6. This is full of fantasy, and to my
mind gives an almost operatic sense of narrative over its almost 10 minutes
of duration. Follow this with the eloquent and restrained spread of chords
and conversational counterpoint in the subsequent Allemande and I defy
your heart not to melt – there, another convert. There is no doubt that the
Partitas are the core of the programme on this disc, but don’t dismiss
the concerto, and have a listen to the wide vista which Gould makes from the
Fugue in E major in an entirely different approach to the version you
will hear in his later complete Well Tempered Clavier. Glenn Gould
defies fashion and will never lose his appeal with discs like these in the
bargain section of your local shop. With these fresh sounding re-masterings
this has to be the version to have.
Dominy Clements