Piano Ctos 1 4 & 5 - 70th Anniversary Edition
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CD Details
Composer: Johann Sebastian BachConductor: Leonard Bernstein
Orchestra: Columbia Symphony Orchestra
Performer: Glenn Gould
Edition: Music CD
Format: Limited Edition, Original recording remastered
CD Release Date: 2002-09-03
Music Label: Sony
Soundtracks:
- Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052: 1. Allegro
- Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052: 2. Adagio
- Concerto for harpsichord, strings & continuo No. 1 in D minor, BWV 1052: 3. Allegro
- Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055: 1. Allegro
- Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055: 2. Larghetto
- Concerto for harpsichord, strings & continuo No. 4 in A major, BWV 1055: 3. Allegro ma non tanto
- Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056: 1. [Allegro]
- Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056: 2. Largo
- Concerto for harpsichord, strings & continuo No. 5 in F minor, BWV 1056: 3. Presto
Music reviews of Piano Ctos 1 4 & 5 - 70th Anniversary Edition
Music Review: These historic recordings are excellent even by today's sound standards.
Rating: 5 Stars
Glenn Gould recorded the first of three concertos in 1957 with the Columbia Symphony Orchestra with Leonard Bernstein conducting. Then in 1959 he recorded the 4th and 5th concertos, again with the Columbia Symphony Orchestra but with Vladimir Golschmann conducting.
The CD starts with the Concerto Number 1 for Piano and Orchestra in D Minor and even though it was recorded in 1957 it will emerge from your speakers like an overpowering invasion of harmony and complexity.
The first movement is extremely dramatic, building tension from the first notes, not as a tension between the piano and orchestra as some piano concertos are based, but rather on an internal searching tension expressed through the keyboard. The piece offers initial simplicity in early passages, but these quickly build to amazing complexity as canon after canon of variations layer one upon each other, never seeking a resolution, so that the listener's tension and expectation builds. He offers simple scales that quickly become any thing but simple and flow like wave after wave of pattern. It is in the middle of the first movement however that an amazing thing happens - Bach slows the tempo and reduces the piece to single notes of the piano that begin to verge on the atonal, stripping for only a few seconds the Baroque and revealing the minimal. Even in the first of a series of concertos he does not play safe, he pushes the limits. The first movement is wonderfully complimented and resolved in the second and third movements. In the third movement he returns to the atonal passage of the first movement and resolves it completely for the ear of the listener.
The Concerto Number 4 for piano and orchestra in A Major as well as the Concerto Number 5 for piano and orchestra in F Minor are both beautiful, less dramatic and more light than the Concerto Number 1.
Concerto Number 4 for piano and orchestra is very courtly with less dominance by the piano over the violins that you hear in Concerto Number 1. In the Concerto Number 1 the piano plays with the orchestra continually, completely integrated with it. The other two concertos also appear to be composed so that the keyboard is not isolated but integrated fully into all passages. In Concerto Number 4, the Larghetto middle movement, softens with the complimentary strings but the keyboard retains its independence and range.
Concerto Number 5 for piano and orchestra has a second passage, the Largo, that appears on many "Best of Bach" type CDs. Here it is rewarding to hear the Largo integrated between the first movement "Allegro" and the third movement "Presto".
These piano recordings require precise articulation on the keyboard and Glenn Gould certainly delivers that in these recordings.
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