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One thing that is distinctive of Glenn Gould, is the way he manages to play very fast, yet we can still clearly hear every single note. This is apparent in some of the variations here that are played very (too?) fast. But what I thought was extermely good in this recording, is the way Glenn Gould can be soft and touching at times, and hard and fast at other times. We are given the impression that Glenn Gould is telling us a story. The result is very satisfying.

But be warned. This is not Bach as it was intented to be. Lets forget that this is played on a piano for a minute. Glenn Gould's interpretation of the Goldberg Variations can shock some purists. First, like I said before, it is played extremely fast at times. I doubt this is what Bach had in mind. Also, Glenn Gould has this bad habit of putting stacattos everywhere. This is not as annoying as it can be in his interpretation of Bach's Well Tempered Clavier, but still.

Also, another warning for those who do not know of this pianist. Glenn Gould used to sing when he was playing. Not to loud. Just a little hum. But you can hear him on his recordings. If I recall well, he insisted his voice was left on the recordings, because he thought that removing his voice would hurt the quality of the recording.

So anyway, this is still my favourite interpretation of Bach's Goldberg Variations on piano. And it must be the most popular interpretation out there. I still prefer Kenneth Gilbert on the harpsicord, but it is definitely a must-buy if you ask me.

21 of 22 found the following review helpful:

Slower, But NicerAug 27, 2000

My discovery of Glenn Gould was a bit later, and much more irregular, than most classical music listeners. I was curious as to what could motivate Dr. Lechter, and his creator Thomas Harris, to such devotion.

The first purchased was the Sony 1955 edition, and I listened to it constantly while reading, working on the computer, or even taking a nap.

A few months later I ordered the 1982 recording and was astonished at the difference. The later recording had a much slower pace and seemed much more reflective to my un-tutored ear. I was so surprised I went out and purchased two other recordings: one by Chen Pi-hsien, on piano; and Anthony Newman, on harpsichord. There is a strange difference in the Pi-hsien recording to my un-educated ear; as if she doesn't strike the keys with the same power, and sharpness as Gould. The Newman quickly becomes boring due to the inflexability of that instument, though I presume it is closer to the original clavier for which the Variations were written.

Over the last year or so, I have given both Gould versions to friends, as well as bullying others to purchase it.

Try to listen to both variations of Gould's Goldberg Variations, and see which you prefer. While first impressions may remain strongest, and I still prefer Gould to others, I found a slightly more pleasant shift in timing in the later version.

15 of 16 found the following review helpful:

A Beautiful MindNov 22, 2001
By douglas barton "emotions in motion"
Obviously I'm in unchartered waters here. For anyone who perused my reviews will no doubt have noticed I tend to critic only jazz and discs associated with singers,i.e.Sinatra, Streisand, etc. That being the case my foray into the field of reviewing classical music more than likely be short...but hopefully "sweet" as well.

I had very recently purchased Glenn Gould's "Goldberg Variations" not because of some new found revelation on my part. Or ,for that matter, because of any sort of "musical stimulation" that I felt was needed. I suspect it was simply because I'd always had a certain fascination for Mr. Gould (his eccentricities aside)and felt a strange obligation to find out more about the man through his music. As stated Glenn Gould was an eccentric, a perfectionist and a man who lived , not just through his music, but also through the technical aspect of recording that enhanced the very music that he so dearly loved. I suspect Mr. Gould's fascination with music was viewed not just emotionally but that he also had an intellectual fascination as well. And with the "Goldberg Variation" he faced his greatest challenge . And there, my friends, lies my curiosity!

Again, I'm only a "layman" when it comes to judging classical pieces so what I say from here on out is simply an opinion from one who has no formal training or even any real insights into this difficult, and challenging, field of music. That being said....I find this recording to be not only stunning in the sense of Mr. Gould's incredible abilities of understanding and playing his instrument but I also found this to be,at least for me, "intellectually stimulating" as well. They say that listening to Mozart, after a period of time, can actually make you smarter...and while that may be true, listening to Glenn Gould play these Variations tends to trigger a intellectual stimulus in me that I find in no other piece of music.The playing is so concise, clear and obviously so well thought out and mastered that I was simply in awe of Glenn Gould's performance. I can almost sense his mind working non-stop,always thinking, reviewing each note singularly, attempting to perfect each section.I've no doubt he probably drove the engineer's in the studio with him "slighly mad" with his constant craving for perfectionism! Glenn Gould was on such a different intellectual plane than most of his peers that I can see why, when this was released, it was initially scoffed at.And, while some have complained of his constant 'humming" throughout these pieces to be distracting, I tend to find that not an annoyance, but it gives the recording a certain emotional investment that, for me, is lacking in many classical recordings!

I'm aware the term "genius" is vastly over used these days but any other adjectives seem to fall strangely short when describing Glenn Gould. My view of this recording is that he simply reached a spiritual, intellectual (there's that word again) and emotion zenith when recording "Goldberg Variation's" and we will forever be in his debt. He truly payed a price for his immense talent's but his listening audience is all the richer for it. In some small way I miss Glenn Gould....but he's never really far away. He's simply exists in every note, in every recording that he so dearly created. Thank-You.

14 of 15 found the following review helpful:

The 2nd RecordingApr 09, 2002
By Adam M Bruss
Despite what everyone who I respect as my elders, betters and peers say, ANYTHING by Gould is fine by me! Now... Of the two recordings, 1955 & 1981, my preference is with the latter. I have indeed heard both, and while I respect the vivacity of the earlier recording and the sort of relentless tenacity that I love so much about Gould, I still prefer the more musically tame and mature later recording. As I am very close to studying them myself, I garuntee they will very closely reflect this recording's conception, though not completely. I simply cannot argue with any part of this recording. It has a tame, yet youthful feel throughout. Some variations are reckless, though I see no problem with that. One thing pianists shy away from greatly is having a good conception of what the piece would sound like if it was sung. Gould certainly takes it to the extreme and sings while he plays, but I find this very charming and refreshing. Which is a good way to describe my overall thoughts on the recording. It is a charming and refreshing take on one of my favorite pieces in the piano repetoire.

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