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Glenn Gould

Later Career

Recordings

After 1963, Gould set about organizing his life according to his ideals. Long before he stopped appearing on the concert stage he had enjoyed the cloistered atmosphere of the recording studio and the frenetic activity of the studio workers. Now the "womb-like" studio became his favourite abode, "an aural and physical cocoon encouraging maximum receptiveness without distraction…"10 In a studio a performer can repeat a passage as many times as desired, and can record individual sections or passages out of sequence. Above all, the recording studio, Gould wrote, is "a place where the most horrendously constricting force of nature – the inexorable linearity of time – has been, to a remarkable extent, circumvented."11 After he stopped giving concert performances, he made some 80 recordings, most of them in Toronto.

"If there is any excuse to make a recording, it is to do it differently – as it has never been done before."12

CBS job sheets for BEETHOVEN'S PIANO SONATA IN C MAJOR, OP. 2, NO. 3

Source

CBS job sheets, August 13, 1976, for Beethoven's Piano Sonata in C Major, Op. 2, No. 3

CBS job sheets for BEETHOVEN'S PIANO SONATA IN A MAJOR, OP. 2, NO. 2

Source

CBS job sheets, July 10-11, 1976, for Beethoven's Piano Sonata in A Major Op. 2, No. 2

Cover of HIGH FIDELITY, April 1966, featuring Glenn Gould's article, THE PROSPECTS OF RECORDING

View the article in HTML format
Source

Gould, Glenn. "The Prospects of Recording". High Fidelity. Vol. 16, no. 4 (April 1966) P. 46-63.

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