4.3M views · Nov 8, 2016 · 14:14 · 2 HN recommenders · 3 mentions · discussed 2018–2024
A 1960 CBS clip in which Leonard Bernstein introduces and conducts Bach's Keyboard Concerto No. 1 in D minor with a 28-year-old Glenn Gould at the piano. Gould's performance starts around 5:08.
Why Hacker News points people here: Recommended as a definitive Gould interpretation whose playing makes Bach's counterpoint clear.
“Have a look/listen at Glenn Gould's version, which makes the counterpoint really clear [1].”HN comment, 2019
“it's hard to top the interpretations of Glenn Gould”
Seminal Gould performance of the D minor concerto under Bernstein
If anyone is interested in Bach's keyboard literature, it's hard to top the interpretations of Glenn Gould, a fascinating musician in his own right. Here, for example, is a seminal performance of the D minor concerto, conducted by Leonard Bernstein: this video
“Have a look/listen at Glenn Gould's version, which makes the counterpoint really clear [1].”
Gould's interpretation makes the counterpoint clear
I find Osetinskaya plays so fast that it's difficult to make out the counterpoint. Have a look/listen at Glenn Gould's version, which makes the counterpoint really clear [1]. As you might know, this interpretation was controversial at the time. [1] this video
“The profound Harpsichord Concerto in D minor BWV 1052,”
Keyboard concerto reworked from earlier cantatas
I felt that way at first, but after getting around to listening to a few of them you start to realize he repurposed a lot his favorite material from these cantatas into his instrumental works. For example, one of Bach's innovations was the keyboard concerto - where the keyboard played the central solo role. The profound Harpsichord Concerto in D minor BWV 1052, this video , is actually reworked from the cantatas BWV 146 & 148. While there's obviously plenty to enjoy w/o dipping into the cantatas, you might miss out on making these kinds of connections which I think really enriches our understanding of the instrumental works.
