For Glenn Gould Stewart Goodyear
- Orlando Gibbons (1583-1625):
- 1Pavan & Galliard "Lord Salisbury"06:06
- Jan Pieterszoon Sweelinck (1562-1621):
- 2Fantasia in D Major07:36
- Johann Sebastian Bach (1685-1750):
- 33-Part Inventions: No. 7 in E Minor, BWV 79302:07
- 43-Part Inventions: No. 8 in F Major, BWV 79401:05
- 53-Part Inventions: No. 14 in B-Flat Major, BWV 80001:49
- 63-Part Inventions: No. 11 in G Minor, BWV 79702:18
- 73-Part Inventions: No. 4 in D Minor, BWV 79001:45
- 8Keyboard Partita No. 5 in G Major, BWV 829: I. Praeambulum02:23
- 9Keyboard Partita No. 5 in G Major, BWV 829: II. Allemande03:31
- 10Keyboard Partita No. 5 in G Major, BWV 829: III. Corrente01:32
- 11Keyboard Partita No. 5 in G Major, BWV 829: IV. Sarabande03:34
- 12Keyboard Partita No. 5 in G Major, BWV 829: V. Tempo di minuetto02:09
- 13Keyboard Partita No. 5 in G Major, BWV 829: VI. Passepied01:35
- 14Keyboard Partita No. 5 in G Major, BWV 829: VII. Gigue02:33
- Johannes Brahms (1833-1897):
- 156 Klavierstücke, Op. 118: No. 2, Intermezzo in A Major05:47
- 163 Intermezzi, Op. 117: No. 3 in C-Sharp Minor06:07
- Alban Berg (1885-1935):
- 17Piano Sonata, Op. 110:09
- Johann Sebastian Bach:
- 18Goldberg Variations, BWV 988: Aria04:02
Info for For Glenn Gould
This release comes from one of the hardest-working and most respected pianists in the world today- Stewart Goodyear. Every album from Goodyear is released to widespread critical acclaim, and this one is sure to be no different. Goodyear writes of this release: “It was the year Glenn Gould died when I first heard his legendary name. It was his Bach that introduced me to his playing. His sound struck me immediately… a sound that was compelling and uncompromising. It was not designed to speak words of mere prettiness, but of an individual truth… My decision to record Glenn Gould’s program came right after performing it in Montreal. While playing homage to one of the great Canadian legends, I was being transported to childhood memories of growing up in Toronto, Gould’s home town, studying at the Royal Conservatory, Gould’s home alma mater, and being an artist from Canada, Gould’s country.” “A phenomenon.” (Los Angeles Times) “One of the best pianists of his generation.” (Philadelphia Inquirer)
The Glenn Gould Foundation caught up with Stewart in the midst of his touring to discuss this remarkable new recording and his thoughts about Gould.
GGF: 1) Can you tell us how this program originated, and how it’s connected to Glenn Gould?
SG: This program consists of repertoire Glenn Gould performed in his historic debuts at the Phillips Collection in Washington DC, and the Ladies Morning Music Club in Montreal. Many of the works programmed were very close to Gould, and both programs showcased some of his most favourite composers.
GGF: What does Gould and his legacy as an artist mean to you?
SG: Gould’s legacy meant so much to me growing up in the city of Toronto. His individualism on the piano, his writings about music, and the fact that he was also a composer, motivated me to find my own voice, and to always be on the quest of communicating my love of music to listeners, audience members and, one day, readers.
GGF: When you’ve recreated his early concert programs, what have the audience reactions been?
SG: When I recreated Gould’s programs at both the Phillips Collection and the Ladies Morning Music Club, I felt a very intimate relationship with the audience. There was an audience member at my concert in Montreal who was also there for Gould’s debut. After my concert, she came backstage and told me that my performance brought back vivid memories of Gould’s concert, and that she wished he had in the audience to hear my interpretations. That meant so much to me.
GGF: Many musicians are inspired by Gould’s playing but others find it wayward, particularly in certain repertoire like his Mozart. How do you reconcile your relationship with him or your admiration for him with interpretations of his that you might disagree with strongly?
SG: Glenn Gould’s interpretations will always inspire discussion...for some listeners, Gould’s take on composers like Mozart and Beethoven provided a new way of listening to their well-known and often-recorded compositions. For others, his interpretations were maddening and controversial, as Gould would sometimes deliberately do the opposite of what those two composers directed the pianist to do. Both groups of listeners were never indifferent, and for me, that was the secret to Gould’s magnetism: an artist boldly following his own path and convictions, and taking all listeners along with him.
GGF: Do you see a connecting thread between the works on this program, and did you make any surprising discoveries along the way? Also, music like that of Sweelinck is almost never performed on a modern piano - do you see rewards in exploring pre-Bach keyboard music on your instrument?
SG: I think Glenn Gould was a masterful programmer. His sense of timing, and his knowledge of how each piece on his two programs complimented each other, was genius. Being introduced to the keyboard music of Orlando Gibbons and Jan Sweelinck was highly rewarding for me; I sang motets of both composers when I attended a choir school in Toronto, and I felt like I was going back to my childhood while preparing their works for the Washington and Montreal concerts.
GGF: As a Canadian artist with an international career, how has Gould affected you, and do you think it’s had an impact on the receptivity of international audiences to Canadian musicians?
SG: I think because of Gould, international audiences are very excited to hear Canadian musicians, and as a Canadian artist, I love performing for audiences around the world and sharing my interpretations of composers of every nationality. GGF: If you had had a chance to meet Gould, what questions would you have asked him / what would you have liked to discuss with him?
SG: If I had a chance to meet Gould, I would have asked him to lunch at Frans (Gould’s favorite diner in Toronto), and conversed with him about art, music, traveling, doing impersonations, and the city of Toronto for hours!
Stewart Goodyear, piano
Proclaimed "a phenomenon" by the Los Angeles Times and "one of the best pianists of his generation" by the Philadelphia Inquirer, Stewart Goodyear is an accomplished young pianist as a concerto soloist, chamber musician, recitalist and composer. Mr. Goodyear has performed with major orchestras of the world , including the Philadelphia Orchestra, New York Philharmonic, Chicago Symphony, Pittsburgh Symphony, San Francisco Symphony, Los Angeles Philharmonic, Cleveland Orchestra, Academy of St Martin in the Fields, Bournemouth Symphony, Frankfurt Radio Symphony, MDR Symphony Orchestra (Leipzig), Montreal Symphony, Toronto Symphony Orchestra, Dallas Symphony , Atlanta Symphony, Baltimore Symphony, Detroit Symphony, Seattle Symphony, Mostly Mozart Festival Orchestra, Royal Liverpool Philharmonic, and NHK Symphony Orchestra.
Mr. Goodyear began his training at The Royal Conservatory in Toronto, received his bachelor's degree from Curtis Institute of Music, and completed his master's at The Juilliard School. Known as an improviser and composer, he has been commissioned by orchestras and chamber music organizations, and performs his own solo works. This year, Mr. Goodyear premiered his suite for piano and orchestra, "Callaloo", with Kristjan Jarvi and MDR Symphony Orchestra in Leipzig, and in July of this year, the Clarosa Quartet will premiere his Piano Quartet commissioned by the Kingston Chamber Music Festival. Mr. Goodyear performed all 32 Beethoven Piano Sonatas in one day at Koerner Hall, McCarter Theatre, the Mondavi Center, and the AT&T Performing Arts Center in Dallas.
Mr. Goodyear's discography includes Beethoven's Complete Piano Sonatas (which received a Juno nomination for Best Classical Solo Recording in 2014) and Diabelli Variations for the Marquis Classics label, Tchaikovsky First Piano Concerto and Grieg's Piano Concerto, and Rachmaninov's Piano Concertos No. 2 and 3, both recorded with the Czech National Symphony under Stanislav Bogunia and Hans Matthias Forster respectively, and released to critical acclaim on the Steinway and Sons label. His Rachmaninov recording received a Juno nomination for Best Classical Album for Soloist and Large Ensemble Accompaniment. Also for Steinway and Sons is Mr. Goodyear's recording of his own transcription of Tchaikovsky's "The Nutcracker (Complete Ballet)", which was released October 2015 and was chosen by the New York Times as one of the best classical music recordings of 2015.
Highlights of the 2016-2017 season are recitals dates at McCarter Theatre and the Phillips Collection, return engagements with the New Jersey Symphony Orchestra and Toronto Symphony, and his debut at the Savannah Music Festival performing the complete Beethoven piano sonatas in one day.