Gould/Schumann Piano Quartet op.47 w/Juilliard String Quartet 

TOTALLY disagree. Gould does not know Schumann's music and it is blazingly apparent. Technical prowess is shared by all the players, but this interpretation is Gould's bug-a-boo - and is not Schumann in spirit in any way/shape/form.

@@brianhammer5107 You are welcome to your opinion as I am to mine. Yes, Gould is well-known for taking pieces apart and re-assembling them in new and unconventional ways. Admittedly, the results are not always to everyone's taste which is fine and to be expected.

@@galeritaelenora I think Gould himself thought some of his earlier interpretations excessive (not to say, in my mind, just plain contrary!) but he also thought that if he could not bring something new to a piece there was no point in doing it. And so he was willing to take chances, experiment, offend, and often thrill. Myself, I'm naive enough to like it all - sometimes a bit of ignorance can be blissful, and I can enjoy my ignorance.

@@markhull9156 I think your "ignorance" in enjoyment can also be re-framed as an appreciation for the new, different and avant guard.

I wish he played more legato, but then, that would be more Schumann, and less Gould 😅

According to a radio clip from the CBC, Gould revealed by the time of completion he wasn't even on speaking terms with the Julliard group.

Которую я любил 50 лет!

"as creatures" ????

Listen to his *quintet* too!

Perhaps because he was a brilliant pianist?

😅

Because Glenn had the star power to sell records. They also had Leonard Bernstein do the other Schumann quintet.

@@ravingircey The Julliard Quartet wasn't just some pick-up group. They made recordings for probably half a century and were considered one of the finest quartets around at the time this recording was made.

@@jeremyberman7808 Indeed they weren't, everyone is aware of the Julliard but add a name like Glenn Gould, doing Schumann no less, and it will draw interest. I'm still amazed that Gould even recorded a chamber work of a composer he didn't even like. Julliard didn't even want to go through with it but Columbia prevailed and it probably sold relatively well for them.

@@ravingircey I don't know if the reason Lenny is the pianist for the other piece on the original recording is because of this "rift" or it was planned. Very unusual at the time the recording was made for there to be different pianists on a record featuring two pieces of chamber music featuring the piano. At any rate, as I wrote, Columbia had several other name pianists on their roster who would've "drawn interest," Rudolf Serkin first and foremost. He had made Schumann chamber music recordings since before WW II. Not long before this particular disk, he had made a very famous and popular recording of the piano quintet. Columbia had previously put Bernstein in an awkward spot by having Gould record the Brahms First with him. Gould would not budge off his idea of the piece, and Bernstein was forced to play it his way. Even though Szell had a somewhat backwards compliment for Gould, not surprisingly, they never made a recording together (as did Ormandy, Columbia's other major conductor). I don't think it's a coincidence that a wide majority of Gould's recordings are of solo keyboard music. He'll always be remembered for his Bach (most of which doesn't appeal to me). His Mozart and Beethoven has too much Gould, and not enough Mozart and Beethoven.

​@@jeremyberman7808 Interestingly Von Karajan was so eager to record with him that he even proposed taking the Berlin Philharmonic to Toronto to record, Gould wouldn't fly, probably would never have happened but it demonstrates that he wasn't shunned entirely.