Tempo Issues
Neven Mrgan made this really nice chart to show the differences between the two recordings.
This isn’t a “Go Buy This” kind of blog, but seriously, GO BUY THIS! Just do it. If you listen to music, you need to own these two recordings. I’ve posted about them before, and I probably will again because they are so valuable for a listener. Think of it as you text book.
What you will immediately hear is the development of Glen’s interpretation over the 26 years. I doubt the change happened all at once. It’s more likely that Glen slowly discovered new sounds within the piece that warranted slower tempos and more repeats. Although none of us are Glen Gould, we can learn to think like he did, or more importantly, learn to listen like he did through this invaluable double-CD set.
Plan of attack:
- Tear off the shrink-wrap and enjoy the liner notes. They are extremely well written and deserving of a few readings.
- Take the 1981 CD out of the package, put it in a different case, and hide it from yourself for one month.
- For the entire first month, just listen to the 1955 recording. Really get into it and know it. Know it so well you can join in the sing-along.
- After one month, like a fine wine, break out the 1981 recording. You will notice the differences right away. Try to get over the shock of the slower tempos and really listen into the sounds.
To me, Glen’s piano sounds absolutely majestic in the latter recording. The 1955 recording has a more wooden, earthy, but smaller sound, whereas the 1981 recording sparkles with brilliance. Also, Glen’s reputation clearly preceded him in 1981 and the engineers were ready to deal with his squeaky chair and the dulcimer tones of Glen’s imaginary, extraneous obbligato.
I love them both for so many different reasons but mostly because the fantastic listening challenge the two recordings offer. It’s such a rarity to have two recordings by the same person that are so different, yet each so good in their own ways. Really, just get it.