WEBVTT

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[music]

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[background noise]

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Say, I don\'t want to roast you out,

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but do you think we could have

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the window up a little bit,
the left one there?

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Would you mind?

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Why? Don\'t you feel well?

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I\'m from Canada.

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Up there we\'re used
to having windows up the same.

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Oh, Canada?

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What kind of a place is Canada?

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Where are you from Canada?

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Well, I don\'t think
you\'d have heard of it.

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I\'m from a little village.

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It\'s called Uptergrove.

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Hopperville?

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Uptergrove.

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Uptergrove.

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Uptergrove.

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Oh, that must be something like we have

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in the backwoods in the United States
called Oshkosh.

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[car honking]

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The only real part about us
in what they call--

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Let me see.

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Oh, yes, St. Catherine\'s Street.
St. Catherine\'s.

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That\'s the shopping area, right?

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Oh, yes, but you can see the same thing

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by going down 5th Avenue, only more so.

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What do you do at Columbia Records?

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I\'m a pianist, I play the piano.
You\'re a what?

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A Pianist. Musician.

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Oh, I see.

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What do you play?

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The long hair,
or do you play jazz, bebop, or what?

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I\'m the long hair variety.

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You\'re long hair variety.

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You must have a beautiful audience.

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They must be falling asleep with you.

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Now a frequent visitor to New York,

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Glenn Gould first came from Canada

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to make his debut at Town Hall in 1955.

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It was a concert so successful

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that he was immediately put
under contract by Columbia Records.

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Hello, Glenn.

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Good morning, Fredrick.

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How are you?

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Tired.

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We don\'t shake hands around here.

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The first recording he made for Columbia

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was the enormously difficult
Goldberg Variations of Bach,

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a now-famous recording
which became an immediate bestseller.

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Four years and many recordings later,

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Gould is ready to put on tape and disc
Bach\'s Italian Concerto.

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What\'s the matter?

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Nothing wrong with the piano,
you haven\'t played it yet.

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You don\'t have to be here.

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It\'s all right.

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It looks fine.

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It must have something to do
with the humidity right now.

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In that case,
it shouldn\'t work this morning but it does.

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Well, maybe it\'s been stretched or shrunk.

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How do you feel this morning,
any various aches and pains?

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No specifically localized
aches and pains,

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just general lethargy.

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We aren\'t going to get a good recording?

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It\'s a terrible thing to say,
but you look well today.

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[chuckles]

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Killjoy.

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Gould\'s habit of humming while playing

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causes a good deal of trouble
to the sound engineers

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and it demands great care

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to get a clean recording
without extraneous noises.

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Now, how do you want to do this?

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From the top?

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Fine. See what happens.

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Let\'s just go from the top.
See what happens.

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What\'ll happen is
you\'ll play it beautifully.

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Bach Italian Concerto,

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take one.

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[music]

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Boy, every kid in the world
played this thing.

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[music]

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New Yorkers a century ago

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had the chance to listen
to the world\'s great musicians.

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Enthusiasts made journeys to this city

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to be able to say
they had heard Jenny Lind sing.

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A stone\'s throw
from the commercial heart of America,

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Tchaikovsky, Dvořák used to conduct.

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Now as the recording center
of this continent,

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the city sends the sounds
of the artists of our time

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to the four corners of the world.

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[music]

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That has some good things on it.

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Not bad.

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A couple of little ditty things maybe.

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What you mean, \"Not bad\"?

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Just what I said, not bad.

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[background noise]

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Here comes our barefoot boy with Bach.

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Yes.

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[tape rewinding]

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Twinnings, sir.

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My Twinnings. Thank you.

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Boy, that\'s strong.

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Did you put sugar and milk?

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Can we hear that?

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Some pianists are at their best

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when they have the stimulus
of an audience in a concert hall.

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Others, like Gould,
prefer the recording studio.

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In one bar, it changes tempo,
if you notice.

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Here, with recording director,
Howard Scott,

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he can listen to himself through playback,

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and can repeat and repeat

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until he is satisfied
he\'s produced a performance

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as nearly perfect as he can make it.

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[music]

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[tape rewinding]

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What if you call him
and tell him to send it to him?

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Yes.

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It\'s the last check.

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They can send it--

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as long as he\'s in New York,
they can send it right over to the hotel.

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Where are you staying?
At the Westbury?

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Send it to the Westbury.

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[music]

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Mostly I\'m thinking of this.
It always starts late.

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Always.

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[music]

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It\'s such a shock, that da da da da.

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[music]

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Well, the second movement.

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Okay, let\'s go.

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Want to do the whole thing again?

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Yes.

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It\'s all right, I guess.

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Piano all right?

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Yes.

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Standby, please.

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Second movement, take--
Are you superstitious?

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Yes.

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Take 14.

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Thank you.

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Cut it. Start again.

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15.

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I love the conducting
he\'s going through.

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[chuckles] It\'s marvelous.

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[music]

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Time for your back rub.

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[laughter]

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Oh, we supply everything
in Columbia Records,

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Almost everything.

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It\'s so strenuous in America,
this whole thing.

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He hasn\'t moved a knob
since he came in here.

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It\'s the same thing-

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Well that\'s the best kind of controlling
on master works.

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The less knob twirling you do,
the better.

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That\'s when the curse of it in the past.

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You would\'ve--

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cranking up every little thing in mono
so you\'d get over the other things.

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But in stereo, you will try-

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I don\'t think I hear enough strings
in this section.

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It\'s completely horrible.

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Thank you, I feel much better.

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Italian Concerto.

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It was bad.

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[music]

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Oh, God, Luis, I was weeding last night.
Your apartment\'s full of weeds,

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now your apartment\'s full
of live flowers because we had to do it.

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The more you cut them
the more you get from them.

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Sure, what flowers do you plant?

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Do as many [crosstalk]

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Yes to realize that.

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What did you plant?

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[laughs] Flowers, I know.

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They have things and smell.
Geraniums, Petunias-

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They are nice, petunias.

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I don\'t like geraniums though.

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Why don\'t you plant poppies
and open up an opium den- [laughs]

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I have some marijuana
going there too, actually.

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Marijuana?

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Marijuana [?]

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It was very funny
when we come over here and we-

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[music]

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I think that\'s it.

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I want to listen to that just to find out.

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That was very good.

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I don\'t know.

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I could play for you
the one we did yesterday too,

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as a comparison,
which I think you\'re very committed to.

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[music]

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A little light, maybe.

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That\'s a bit slow to the last one.

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[music]

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[tape rewinding]

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This is very good.

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Yes, it is very good.

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They both are in their ways.

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I\'m going to try to do a compromise.

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Now you got to compromise
between the two.

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Yes, I think it should
and then we leave it

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because we got plenty to choose from.

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We don\'t really.

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The problem is we don\'t have plenty
because the tempo is different.

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Yes, but it\'s just then
a question of making a--

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both are good in their way.

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This last one was quite good too really.

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Albeit it lacked some of the contrast,
it\'s quite good.

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Because it has certainly a great deal
of spirit and it holds together.

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It\'s quite good but you wouldn\'t okay it?

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I\'d okay it.

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Oh, then let\'s go to the next piece.

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I got that out of you real easy.

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[laughs] It\'s one way of getting an okay.

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Now what you are going to do,
Beethoven, Brahms?

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Very funny.

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Seriously though we do not have
a great deal of choice.

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Obviously, we can fix that one note

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but we don\'t have a great deal of choice.

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We couldn\'t go
from one to the other of this at all.

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Oh, no, you need to

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but there are no clinkers
except for that one note.

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One note in each one.
Each one.

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There are no clinkers.
There\'s no problem in that way.

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In a way, it\'s either-or.

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Oh, all right.

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But I still think
we can find a compromised version.

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In the meantime, I\'m going to do
a last movement now before I get tired.

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Before you get back to this?
All right.

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Fine.

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After you\'re worn out as a control man,

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you get less money,
you become a musical director.

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Because the only thing--

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the compensation you have

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is you can boss
the guy that you were once.

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That\'s what you think,
that you think you are doing?

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That\'s what I think.

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I\'m positive I asked you put in high-end
and he puts it low,

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he does what he wants anyway.

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More than the clarinets, all right.

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And he takes it off.

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How do you feel about pictures?

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Must I?

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You need them.

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Don, I\'m glad you\'re here today.

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I was thinking it would be a good idea

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to get Glenn to please put
a scarf and some gloves on?

00:16:24.243 --> 00:16:24.891
Are you kidding?

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How about the gloves up on the piano?

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Absolutely-

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Glenn, you know I haven\'t kidded you.

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I\'ve had quite enough
of that sort of picture.

00:16:30.297 --> 00:16:31.961
But they do it in England-
No.

00:16:32.045 --> 00:16:34.057
-its good enough for England and AP.

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But English press is English press.

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You get 1425528.27 PHP (£21,000)
whatever it is.

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I don\'t see why you shouldn\'t grab it.

00:16:43.070 --> 00:16:44.937
Of course, that\'s the problem.

00:16:46.453 --> 00:16:48.110
Rhapsody in Blue.

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[music]

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That\'s all I-

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[music]

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How about one of those three?

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This production\'s a problem.

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[music]

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All right.

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Finished?

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Good.

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You are ready to do something, Glenn?

00:17:49.306 --> 00:17:50.739
Oh I\'ll never get back in the mood.

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We have to have tea
for at least five minutes.

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Absolutely.

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[background noise]

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In the four years since I\'ve known Glenn,
he\'s grown from a small-town hick-

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Just one doggone minute.

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After all, he\'s a kid
that came out of Toronto

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and I don\'t think you\'d ever been
out of Toronto really,

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since I met you four years ago.

00:18:21.420 --> 00:18:23.996
No, I\'d assure- I had toured
the Canadian provinces widely.

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That\'s what I mean.
You\'re a provincial hick.

00:18:26.510 --> 00:18:27.542
He\'s gotten fatter also-

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He\'s John Barrymore
now as you can see

00:18:30.449 --> 00:18:31.634
and obviously he can act.

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He used to have sunken cheekbones.

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That\'s right.
[laughter]

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You see the first thing after Glenn--

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was he came to us as a small boy

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with chicken feathers
and straw in his hair.

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He can play the piano
like a whirlwind.

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His first piece that he did,
he recorded for us

00:18:47.321 --> 00:18:49.177
which no one had ever done,
The Goldberg Variations

00:18:49.219 --> 00:18:52.491
which was on the bestseller list,
and here it was a bestseller.

00:18:52.552 --> 00:18:55.249
You\'re an unknown as I say, really,

00:18:55.320 --> 00:18:58.392
he\'s a small-town boy
who came out of Toronto.

00:18:58.457 --> 00:18:59.672
There something slightly exotic

00:18:59.718 --> 00:19:01.779
about coming out
of the Canadian snow, as I admit.

00:19:01.817 --> 00:19:03.356
Something coming out of Canadian woods.

00:19:03.413 --> 00:19:06.285
They expect you have
a mountie uniform or something.

00:19:06.929 --> 00:19:09.127
But you bring the same intensity.

00:19:09.192 --> 00:19:11.786
I attribute this mostly, Glenn,
to something you said before.

00:19:11.836 --> 00:19:13.017
It was very interesting--

00:19:13.093 --> 00:19:15.268
on why you don\'t live in New York City.

00:19:15.318 --> 00:19:18.480
I think that it\'s most important
for an artist

00:19:18.773 --> 00:19:23.573
and you are one of the very few artists--
and I know a great many--

00:19:23.980 --> 00:19:30.826
that realize the tremendous value
of getting out of this rat race

00:19:30.918 --> 00:19:32.567
or whatever you want to call it-09

00:19:32.617 --> 00:19:34.632
It starts off when you get
in the country.

00:19:34.674 --> 00:19:39.257
Your whole relation to music--
mine anyway-- changes.

00:19:39.337 --> 00:19:41.931
I remember when I was a kid,

00:19:42.609 --> 00:19:46.533
I always for some reason associated
the New York Philharmonic broadcast,

00:19:46.586 --> 00:19:48.921
which we used to hear in Canada
on Sunday afternoons at that time,

00:19:49.009 --> 00:19:54.171
is to associate them with
great vast fields of snow, white and gray.

00:19:54.316 --> 00:19:56.441
Because when I was a kid
we used to always go up

00:19:56.860 --> 00:19:59.131
north in the country for weekends

00:19:59.196 --> 00:20:01.481
and usually about
four o\'clock in the afternoon

00:20:01.542 --> 00:20:02.838
when the Philharmonic would be on,

00:20:02.876 --> 00:20:04.807
we\'d be on our way
driving back to Toronto.

00:20:04.906 --> 00:20:07.497
During the wintertime when they were on,

00:20:07.889 --> 00:20:14.030
driving along in a usually gray
and endless vista of snow,

00:20:14.148 --> 00:20:16.148
frozen lake or ice and that sort of thing.

00:20:16.228 --> 00:20:18.224
Beethoven never sounded as good.

00:20:18.270 --> 00:20:21.790
It was as if the original cinema score-
[chuckles]

00:20:24.198 --> 00:20:25.188
I shouldn\'t presume to analyze,

00:20:25.238 --> 00:20:28.567
but I don\'t think you\'ve quite the same

00:20:29.100 --> 00:20:31.904
psychological strain of living here
as I would

00:20:31.961 --> 00:20:33.405
because it always occurs to me that

00:20:33.500 --> 00:20:37.954
the most difficult thing
for a musician, particularly,

00:20:38.179 --> 00:20:41.851
when New York is, to a certain extent,
representing debut town,

00:20:41.908 --> 00:20:46.167
it represents the most dangerous--
the place where one fights for one\'s career.

00:20:46.194 --> 00:20:47.150
That\'s the trap of the word.

00:20:47.226 --> 00:20:50.377
If one has to combine that
with it being home town,

00:20:50.537 --> 00:20:53.222
because for most people,
and certainly for me,

00:20:53.291 --> 00:20:55.961
the most difficult place to play in
is one hometown.

00:20:56.045 --> 00:20:58.441
I go through agonies
when I have to play in Toronto.

00:20:58.491 --> 00:21:00.072
New York almost bothers me
almost not at all,

00:21:00.137 --> 00:21:02.179
but Toronto is sheer hell.

00:21:05.504 --> 00:21:07.988
Is this going to help
your performance, I trust?

00:21:08.575 --> 00:21:10.144
It\'s going to.

00:21:10.670 --> 00:21:12.800
Make a more fluid one I\'m sure.

00:21:12.880 --> 00:21:15.036
It\'s going to liquidate the errors.

00:21:19.420 --> 00:21:20.773
That was pretty bad.

00:21:21.169 --> 00:21:22.312
Pretty awful.

00:21:22.373 --> 00:21:26.194
I know the performance will be
100% Bach.

00:21:26.810 --> 00:21:28.712
Here we go.
Let\'s go.

00:21:30.750 --> 00:21:34.255
Italian Concerto,
first movement, take two.

00:21:34.948 --> 00:21:36.213
Third movement,
what are you talking about?

00:21:36.255 --> 00:21:37.497
We\'re doing a third this time.

00:21:37.565 --> 00:21:38.822
We\'re doing a third movement.

00:21:38.864 --> 00:21:39.702
I\'m sorry.

00:21:39.771 --> 00:21:42.678
I thought you still wanted
to work on the first.

00:21:42.723 --> 00:21:44.110
Now we should--
maybe we have to reload.

00:21:44.160 --> 00:21:46.453
No, we don\'t have to reload.
It\'s only four minutes.

00:21:47.123 --> 00:21:49.066
Third movement, take one.

00:21:50.026 --> 00:22:00.057
[music]

00:22:00.350 --> 00:22:04.830
Even with the highest level of skill
and patient study of a composition,

00:22:05.561 --> 00:22:07.954
it takes days of work in the studio

00:22:08.464 --> 00:22:11.809
before Gould is satisfied
that he has recorded his best.

00:22:12.182 --> 00:22:21.992
[music]

00:22:23.314 --> 00:22:27.078
These four bars by four bars,
it\'s difficult.

00:22:27.211 --> 00:22:29.474
It\'s very difficult.

00:22:29.699 --> 00:22:31.710
But as you know in the record

00:22:31.817 --> 00:22:34.080
you have to exaggerate a contrast, really.

00:22:34.163 --> 00:22:35.466
More so than you do in public.

00:22:35.508 --> 00:22:39.592
The other thing to do would be to do
a whole second half starting here.

00:22:40.891 --> 00:22:44.582
[sings]

00:22:44.670 --> 00:22:46.190
That\'s a marvelous stroke to get that.

00:22:46.236 --> 00:22:47.306
We didn\'t get at the top-

00:22:47.356 --> 00:23:02.750
[music]

00:23:04.323 --> 00:23:05.683
Can you hear that, is it coming through?

00:23:05.851 --> 00:23:07.165
Yes, it\'s coming through.

00:23:07.763 --> 00:23:08.899
Wait a minute.

00:23:09.123 --> 00:23:11.786
[chair squeaking]

00:23:12.678 --> 00:23:14.788
Oh, it\'s a question
of how far forward you sit on it.

00:23:14.830 --> 00:23:16.152
That\'s what does it.

00:23:19.200 --> 00:23:20.163
Instead of the front, it does--

00:23:20.228 --> 00:23:21.977
Well let\'s try anyway, see what happens.

00:23:22.076 --> 00:23:39.984
[music]

00:23:40.464 --> 00:23:41.493
Let\'s see what it is just now.

00:23:41.542 --> 00:23:43.062
Where is the financial?

00:23:43.600 --> 00:23:45.744
Glenn you know you can read the--

00:23:45.813 --> 00:23:47.843
Glenn- now this is the difference
in Glenn Gould-

00:23:47.897 --> 00:23:48.723
In four years.

00:23:48.773 --> 00:23:49.436
-in four years.

00:23:49.474 --> 00:23:50.940
When Glenn first came in here,

00:23:50.994 --> 00:23:53.790
not only didn\'t he care
about the financial page,

00:23:53.973 --> 00:23:55.939
he couldn\'t read the financial page.

00:23:56.000 --> 00:23:56.491
Right.

00:23:56.540 --> 00:23:58.384
This morning at a quarter past 11,

00:23:58.419 --> 00:23:59.904
he\'s not only able to read
the financial page,

00:23:59.950 --> 00:24:03.238
he\'s able to find out
what the value of the Canadian dollar is.

00:24:03.302 --> 00:24:19.390
[music]

00:24:20.209 --> 00:24:22.114
Right now I\'ll caution you

00:24:22.160 --> 00:24:27.809
that this should be a straight piano solo
without vocal obbligato.

00:24:27.935 --> 00:25:16.487
[music]

00:25:18.228 --> 00:25:19.043
Beautiful.

00:25:24.979 --> 00:25:27.619
Bob, will play that one back please,
this last take.

00:25:30.201 --> 00:25:31.005
-say, Howard?

00:25:31.059 --> 00:25:32.540
Will you play this take back, please?

00:25:32.636 --> 00:25:33.855
This last one that we did.

00:25:39.961 --> 00:25:41.112
How do you feel?
It wasn\'t bad.

00:25:41.177 --> 00:25:42.723
I think it was a good take.

00:25:43.520 --> 00:25:44.034
Got it.

00:25:44.125 --> 00:25:45.081
I\'m going to-
Take eight.

00:25:45.139 --> 00:25:46.464
Take five, take eight.

00:25:46.510 --> 00:25:53.539
[music]

00:25:54.182 --> 00:25:55.634
Good tempo.

00:25:55.714 --> 00:25:58.163
[music]

00:25:58.217 --> 00:25:59.485
It\'s a nice [?]

00:25:59.539 --> 00:26:03.238
[music]

00:26:03.356 --> 00:26:05.367
It doesn\'t too [?].
No, it\'s good.

00:26:05.420 --> 00:26:06.365
It\'s got good contrast.

00:26:06.422 --> 00:26:07.870
Watch your head on the mic.

00:26:07.950 --> 00:26:45.603
[music]

00:26:45.931 --> 00:26:46.948
Very good.

00:26:47.013 --> 00:26:50.788
[music]

00:26:50.899 --> 00:26:52.655
This time it didn\'t drop.
Yes.

00:26:52.731 --> 00:26:55.820
[music]

00:26:55.916 --> 00:26:57.211
So far, we\'re covered.

00:26:57.280 --> 00:26:59.203
[music]

00:26:59.401 --> 00:27:00.605
Wonderful.

00:27:00.670 --> 00:27:05.996
[music]

00:27:06.106 --> 00:27:07.500
That\'s a wonderful end.

00:27:07.573 --> 00:27:20.979
[music]

00:27:21.969 --> 00:27:23.851
It\'s one of the most awkward things
in Bach-

00:27:23.954 --> 00:27:25.565
It\'s really-

00:27:25.619 --> 00:27:26.971
[music]

00:27:27.348 --> 00:27:28.685
How long did you work on this,

00:27:28.746 --> 00:27:30.205
how long have you been playing
this piece?

00:27:30.980 --> 00:27:34.689
Played it for the first time,
I was about 13, I think.

00:27:34.740 --> 00:27:36.495
Something like that.
That\'s a long time.

00:27:36.537 --> 00:27:38.710
I\'ve never really played it in public
because I don\'t like to.

00:27:39.337 --> 00:27:42.110
When you drop, you just played it
and then went back-

00:27:42.655 --> 00:27:45.805
I\'ve played it from time to time,
but every three years,

00:27:45.860 --> 00:27:50.396
I get at it again,
try to restart enthusiasm.

00:27:52.674 --> 00:27:53.641
Good.

00:27:53.710 --> 00:28:27.009
[music]

00:28:27.493 --> 00:28:28.643
I think this is it.

00:28:29.299 --> 00:28:30.464
Extremely good.

00:28:30.525 --> 00:28:43.984
[music]

00:28:45.070 --> 00:28:46.361
We\'re finished.

00:28:46.864 --> 00:28:47.641
Done.

00:28:47.695 --> 00:28:48.198
Good.

00:28:48.236 --> 00:28:49.291
Good, great.

00:28:49.710 --> 00:28:50.388
Good take.

00:28:50.921 --> 00:28:52.129
Now, what do you want to do?

00:28:52.175 --> 00:28:52.883
What?

00:28:52.929 --> 00:28:53.657
Great.
Of course.

00:28:53.718 --> 00:28:54.365
Finished.

00:28:54.411 --> 00:28:55.760
Okay, Bob, wrap it up.

00:28:55.843 --> 00:28:57.074
Knock it off, Fred.

00:28:58.575 --> 00:29:00.845
That was a very good week I must say.

00:29:01.051 --> 00:29:02.243
Easier than most.

00:29:02.704 --> 00:29:04.110
I don\'t know why.

00:29:04.895 --> 00:29:06.300
Now, when do we come back?

00:29:07.862 --> 00:29:10.967
Few weeks and do another one--
Inventions.

00:29:12.304 --> 00:29:15.725
We want to check the B-flat Partita.

00:29:15.904 --> 00:29:16.815
B-flat Partita?

00:29:16.860 --> 00:29:18.510
[?] I can do another one.

00:29:18.647 --> 00:29:19.512
Inventions.