Gould Bash

Am 14. Januar 1966 befand sich New York, unter einer Schneedecke, fest im Griff von Minus-Temperaturen. Doch als Elisabeth Schwarzkopf die Columbia-Studios betrat, um mit Glenn Gould Lieder von Richard Strauss aufzunehmen, war es nicht etwa nur mollig warm, es muss eine Bullenhitze geherrscht haben. Der dauerfröstelnde Kanadier Gould hatte die Thermostate aufdrehen lassen – und daran sollte sich zum Leidwesen der Stimmbänder der Schwarzkopf nichts ändern. So hört man die Sopranistin immer wieder mal kräftig durchkeuchen, mit den Worten „I´m full of Schleim!“

Gould was a great admirer of the conductor Joseph Krips, and hearing them in the Emperor together you can sense the partnership is a strong one with Gould giving his most convincing performance of the fifth we have on record. He's quicker and leaner than with on the later Studio recording with Stokowski, and Krips is fiery and alert with the excellent Buffalo Symphony.

Sir Donald Tovey (1875–1940), long hailed as one of the finest writers on music in English, saw himself primarily as a composer. His occasionally turbulent friendship with Pau Casals was the spur for a monumental concerto and one of his three cello sonatas: for solo cello, two cellos and cello with piano. The cello was the ideal instrument for Tovey’s Brahmsian musical language, with its long, singing lines unfolding in effortless counterpoint – though the huge passacaglia that ends the solo sonata also demands a virtuoso technique. The brief Bach arrangement recorded here for the first time arose when the twelve-year-old Tovey added a cello line to one of Bach’s best-known preludes, originally for lute.

Glenn Gould remains an enigmatic, fascinating figure more than two decades after his death. This new film, directed by Gould's friend Bruno Monsaingeon, who has already written four books and made a 23-part TV series about him, is something very special. Taken from Gould's own words, the pianist himself seems to act as narrator in a retrospective on his life and art. A great deal of archival footage of both interviews and performances exemplify the pianist's genius and eccentricities.