80 CD *GLENN GOULD* COMPLETE ORIGINAL JACKET COLLECTION Start Price USD 499.99 Current Price USD 499.99 Time Left - Bid Count 0 Buy It Now Price - Reserve Price - Start Time Wednesday, May 07, 2008 End Time Wednesday, May 14, 2008 Location Berlin See more about '80 CD *GLENN GOULD* COMPLETE ORIGINAL JACKET COLLECTION' Description supremeauctiononlinesoftware.gallery.auction_de.    *THE COMPLETE ORIGINAL JACKET COLLECTION* 80 CD Box incl. 240-page booklet new and factory sealed !  The Glenn Gould Complete Jacket Collection" is presented to mark the brilliant pianist's 75th birthday and the 25th anniversary of his death. It is a fascinating, limited edition: all the artist's LP recordings in the "look and feel" of the original vinyl discs on 80 CDs. The Canadian Glenn Gould (born in Toronto 25 September 1932 - died there 4 October 1982) was without doubt one of the most important pianists of all time. Even today, the idiosyncratic interpretations and the eccentric personality of the "James Dean of the piano" exert a continuing fascination.  In good time to commemorate the artist's birth 75 years ago on 25 September and his death 25 years ago on 4 October 2007, the Sony Classical label is launching a special project in honour of the double anniversary: "The Glenn Gould Complete Jacket Collection" transfers all the artist's recordings for LP on to 78 CDs, from Glenn Gould's legendary 1955 recording of the Goldberg Variations to piano works by Richard Strauss released posthumously on 4 April 1984, and of course, not one of the brilliant artist's legendary Bach recordings is missed out.  Each of the 60 single and 9 double CDs consists of the exact recordings as first issued on vinyl and looks like a miniaturised form of the original disc: the CDs are in cardboard slipcases in the original design, and the CD itself is designed to look like a LP.  Supplemented by two bonus CDs, the limited "Glenn Gould Complete Jacket Collection" comprises 80 CDs mounted in a high-quality display case with a booklet of more than 240 pages. This booklet contains a new, detailed essay by the German Gould specialist Michael Stegemann on Glenn Gould and the LP recording era along with texts and repertoire details to all recordings in the edition, plus a listing and depiction of the records with reissue dates for repertoire that has appeared before.  The bonus CDs include the last great interview that Glenn Gould gave the American journalist Tim Page in 1981 and an essay on Johann Sebastian Bach and the fugue that Gould recorded in 1972 for a bonus LP. They also feature a number of late recordings that never appeared on vinyl: fragments of the "Italian Album" and Wagner's Siegfried Idyll in its orchestral version -- Gould's recording debut as conductor and his last recording of all, made on 8 September 1982 with members of the Toronto Symphony Orchestra. Another rarity is Gould's own film music to George Roy Hill's Slaughterhouse Five from 1972. Glenn Herbert Gould (birth name "Glenn Herbert Gold"; September 25, 1932 – October 4, 1982) was a Canadian pianist, noted especially for his recordings of the music of Johann Sebastian Bach. He gave up concert performances in 1964, dedicating himself to the recording studio for the rest of his career, and performances for television and radio. LIFE Glenn Gould was born in Toronto, Ontario, Canada on September 25, 1932, to Russell Herbert ("Bert") Gould and Florence ("Flora") Emma Greig Gould, Presbyterians of Scottish extraction. (Greig is the original Scottish spelling of this name, unlike the Norwegian variant Grieg.) His mother's grandfather was a cousin of Norwegian composer Edvard Grieg. Gould's first piano teacher was his mother. From the age of ten he began attending the Royal Conservatory of Music in Toronto, where he studied piano with Alberto Guerrero, organ with Frederick C. Silvester and theory with Leo Smith. In 1945, he gave his first public performance (on the organ), and the following year he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of Beethoven's 4th piano concerto. His first public recital followed in 1947, and his first recital on radio came with the CBC in 1950. This was the beginning of his long association with radio and recording. In 1957, Gould toured the Soviet Union, becoming the first North American to play there since World War II. His concerts featured Bach, Beethoven, and the serial music of Arnold Schoenberg and Alban Berg, which previously had been suppressed in the Soviet Union during the era of Socialist Realism. On April 10, 1964, Gould gave his last public performance in Chicago, Illinois, at Orchestra Hall. Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's Art of Fugue (BWV 1080), and the Piano Sonata No.3, Op.92 No.4 by Ernst Krenek. For the rest of his life he eschewed live performance, focusing instead on recording, writing, and broadcasting. Towards the end of his life he began conducting; he had earlier directed Bach's Brandenburg concerto no.5 and cantata BWV 54, Widerstehe doch der Sünde from the harpsipiano [a piano with metal hammers to simulate harpsichord sound] in the 1960s. His last recording was as a conductor, Wagner's Siegfried Idyll in its original chamber music scoring. He had intended to give up the piano at the age of 50, spending later years conducting, writing on music and perhaps composing. He died in Toronto in 1982 after suffering a stroke, and is buried in Toronto's Mount Pleasant Cemetery. Gould as a Pianist Gould was known for his vivid musical imagination, and listeners regarded his interpretations as ranging from brilliantly creative to, on occasion, outright eccentric. His piano playing had great clarity, particularly in contrapuntal passages. Gould was not only a child prodigy, but also in adulthood was viewed by some as a musical phenomenon. He often swayed his torso, always in a clockwise motion, as he played. In 1949 Gould injured his tailbone on a paved boatlaunch near his Ontario home. This incident appears to be associated with injury to Gould's back that affected his playing posture. But it is not clear whether this occasioned the need for the chair that Gould's father subsequently modified with screws to adjust its height, and which Gould sat in to play for the rest of his life. The 1945 photo at the above right, however, shows Gould as a teenager seated at the piano with his back against the back of a chair. This posture is unorthodox, but characteristic of Gould's later posture at the piano, hence suggesting that he developed it very early in life. Gould disliked and rebelled against what he believed to be a hedonistic approach to music which had become popular in the 19th and 20th centuries. He was rarely virtuosic for the sake of being virtuosic, but rather, often had a refreshingly thoughtful and withdrawn interpretation of the music he played. Gould had a formidable technique that enabled him to choose very fast tempos while retaining the separateness and clarity of each note. He took an extremely low position at the instrument, which allowed him more control over the keyboard. Charles Rosen's view is that a low position at the piano is unsuitable for playing the technically demanding music of the 19th century. However, this did not seem to impede Gould, as he showed considerable technical skill in both his recordings of Bach, and in virtuosic and romantic works like his own arrangement of Ravel's La Valse and his playing of Liszt's transcriptions of Beethoven's 5th and 6th symphonies. Gould worked from a young age with his teacher Alberto Guerrero on a technique known as finger-tapping, a method of training the fingers to act more independently from the arm. Gould claimed he practiced little on the piano, preferring to study music by reading it rather than playing it, a technique he had also learnt from Guerrero. His voluminous repertoire, however, would also seem to betray a natural mnemonic gift. He stated that he didn't understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day. It seems that Gould was able to practice mentally without access to an instrument, and even took this so far as to prepare for a recording of Brahms piano works without ever playing them until a few weeks before the recording sessions. This is all the more staggering considering the absolute accuracy and phenomenal dexterity exhibited in his playing. Regarding the performance of Bach on the piano, Gould said, "the piano is not an instrument for which I have any great love as such... [But] I have played it all my life and it is the best vehicle I have to express my ideas." In the case of Bach, Gould admitted, "[I] fixed the action in some of the instruments I play on — and the piano I use for all recordings is now so fixed — so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things.   This 80 CD Box is brandnew and factory sealed in shrink wrap! We sell many similar items: please click here to see our other auctions on eBay.   WorldwideShipping !!! Please have a kind look on our other auctions on eBay !!! Save on combined shipping - find more in my eBay store! Combined shipping saves you postage fee - we charge the highest shipping cost and add just $1.00 for each additional item.Please visit our *me-site* for a list of accepted payment methods! 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