Editing Glenn Gould

{{short description|Canadian pianist (1932–1982)}}
{{for|the actor|Glen Gould}}
{{Use dmy dates|date=October 2021}}
{{Use Canadian English|date=January 2020}}<!--practice/noun, practise/verb, -ize, colour, travelled-->
{{Infobox person
| name               = Glenn Gould
| image              = Glenn_Gould_1.jpg
| alt                = A profile of a man of about 50 playing a grand piano
| caption            = Gould c. 1980
| birth_name         = Glenn Herbert Gold<!--'Gold' is not a typo-->
| birth_date         = {{birth date|df=yes|1932|09|25}}
| birth_place        = [[Toronto]], Ontario, Canada
| death_date         = {{death date and age|df=yes|1982|10|4|1932|9|25}}
| death_place        = Toronto, Ontario
| burial_place       = [[Mount Pleasant Cemetery, Toronto]]
| occupation         = Pianist
| alma_mater         = [[Royal Conservatory of Music]]
| awards             = [[Companion of the Order of Canada]] (declined by Gould)<br />[[Grammy Lifetime Achievement Award]] (2013)<br />[[Grammy Awards]]: 1973, 1982, 1983<br /> [[Juno Awards]]: 1979, 1983, 1984<br /> [[Canadian Music Hall of Fame]]<br /> [[Persons of National Historic Significance|National Historic Person]]
| module             = {{Infobox musical artist|embed=yes
| background         = non_vocal_instrumentalist
| genre              = Classical music
| instrument         = {{hlist|Piano|organ}}
| years_active       = 1945–1982
| label              = [[Columbia Records|Columbia Masterworks]]
}}
| signature          = Glenn Gould (signature).svg
| website            = {{URL|glenngould.com}}
}}

'''Glenn Herbert Gould'''<ref name="fnA" group="fn" /> ({{IPAc-en|g|uː|l|d}}; né '''Gold''';<ref name="fnB" group="fn" /> 25 September 1932{{snd}}4 October 1982) was a Canadian classical pianist. He was among the most famous and celebrated pianists of the 20th century,<ref>{{Cite web|title=The 25 best piano players of all time|url=https://www.classicfm.com/discover-music/instruments/piano/best-pianists-ever/|access-date=30 January 2021|publisher=[[Classic FM (UK)]]|archive-date=5 December 2021|archive-url=https://web.archive.org/web/20211205213331/https://www.classicfm.com/discover-music/instruments/piano/best-pianists-ever/|url-status=live}}</ref> renowned as an interpreter of the keyboard works of [[Johann Sebastian Bach]]. His playing was distinguished by remarkable technical proficiency and a capacity to articulate the [[contrapuntal]] texture of Bach's music.

Gould rejected most of the Romantic piano literature by [[Frédéric Chopin|Chopin]], [[Robert Schumann|Schumann]], [[Franz Liszt|Liszt]], [[Sergei Rachmaninoff|Rachmaninoff]], and others, in favour of Bach and [[Ludwig van Beethoven|Beethoven]] mainly, along with some late-Romantic and [[Modernism (music)|modernist]] composers. Gould also recorded works by [[Joseph Haydn|Haydn]], [[Wolfgang Amadeus Mozart|Mozart]], and [[Johannes Brahms|Brahms]]; [[Early music|pre-Baroque]] composers such as [[Jan Pieterszoon Sweelinck]], [[William Byrd]], and [[Orlando Gibbons]]; and 20th-century composers including [[Paul Hindemith]], [[Arnold Schoenberg]], [[Alexander Scriabin]] and [[Richard Strauss]].

Gould was also a writer and broadcaster, and dabbled in [[List of compositions by Glenn Gould|composing]] and conducting. He produced television programmes about classical music, in which he would speak and perform, or interact with an interviewer in a scripted manner. He made three ''[[musique concrète]]'' radio documentaries, collectively the ''[[Solitude Trilogy]]'', about isolated areas of Canada. He was a prolific contributor to music journals, in which he discussed music theory. Gould was known for his eccentricities, ranging from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and behaviour. He disliked public performance, and stopped giving concerts at age 31 to concentrate on studio recording and media.

==Life==

===Early life===
Glenn Gould was born at home at 32 Southwood Drive in [[The Beaches, Toronto]], on September 25, 1932, the only child of Russell Herbert Gold and Florence Emma Gold (born Greig, a distant relative of the Norwegian composer and pianist [[Edvard Grieg]]),{{sfn|Bazzana|2003|pp=21, 54}} [[Presbyterianism|Presbyterians]] of Scottish, English, German, and Norwegian ancestry.{{sfn|Ostwald|1997|p=35}} The family's surname was informally changed to Gould around 1939 to avoid being mistaken for Jewish, given the prevailing [[antisemitism]] of prewar Toronto.<ref name="fnC" group="fn" /> Gould had no Jewish ancestry,<ref name="fnD" group="fn" /> though he sometimes joked about it, saying, "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war."{{sfn|Bazzana|2003|p=24}}

Gould's interest in music and his talent as a pianist were evident very early. Both parents were musical; his mother, especially, encouraged his musical development from infancy. Hoping he would become a successful musician, she exposed him to music during her pregnancy.{{sfn|Ostwald|1997|p=39}} She taught him the piano and as a baby, he reportedly hummed instead of crying, and wiggled his fingers as if playing a keyboard instrument, leading his doctor to predict that he would "be either a physician or a pianist".{{sfn|Ostwald|1997|p=40}} He learned to read music before he could read words,<ref name="archives.cbc.ca_4"/><ref name="Friedrich15">{{harvnb|Friedrich|1990|p=15}}</ref>{{sfn|Ostwald|1997|pp=44–45}} and it was observed that he had [[perfect pitch]] at age three. When presented with a piano, the young Gould was reported to strike single notes and listen to their long [[Decay (music)|decay]], a practice his father Bert noted was different from typical children.<ref name="Friedrich15" /> Gould's interest in the piano was concomitant with an interest in composition. He played his pieces for family, friends, and sometimes large gatherings—including, in 1938, a performance at the Emmanuel Presbyterian Church (a few blocks from the Gould family home) of one of his compositions.{{sfn|Ostwald|1997|p=48}}

Gould first heard a live musical performance by a celebrated soloist at age six. This profoundly affected him. He later described the experience:
<blockquote>It was [[Josef Hofmann|Hofmann]]. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all {{em|orchestral}} sounds, but {{em|I}} was playing them all, and suddenly I was Hofmann. I was enchanted.<ref name="archives.cbc.ca_4"/>{{sfn|Payzant|1978|p=2}}</blockquote>

At age 10, he began attending the Toronto Conservatory of Music in Toronto (known since 1947 as [[The Royal Conservatory of Music]]). He studied music theory with [[Leo Smith (composer)|Leo Smith]], organ with [[Frederick C. Silvester]], and piano with [[Alberto Guerrero]].<ref name="canadianencyclopedia.com_2"/> Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of [[Lake Simcoe]].<ref name="fnF" group="fn"/> This incident is apocryphally related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard.{{sfn|Ostwald|1997|p=73}} He used this chair for the rest of his life, taking it with him almost everywhere.<ref name="archives.cbc.ca_4"/> The chair was designed so that Gould could sit very low and allowed him to pull down on the keys rather than striking them from above, a central technical idea of Guerrero's.{{sfn|Ostwald|1997|p=71}}

[[File:Glenn Gould and Alberto Guerrero.jpg|thumb|200px|Gould with his teacher, [[Alberto Guerrero]], at the [[The Royal Conservatory of Music|Royal Conservatory of Music]] in Toronto, in 1945. Guerrero demonstrated his technical idea that Gould should "pull down" at the keys instead of striking them from above.]]

Gould developed a technique that enabled him to choose a very fast [[tempo]] while retaining the "separateness" and clarity of each note. His extremely low position at the instrument permitted him more control over the keyboard. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of [[Maurice Ravel|Ravel]]'s ''[[La valse]]'' and [[Beethoven Symphonies (Liszt)|Liszt's transcriptions]] of Beethoven's [[Symphony No. 5 (Beethoven)|Fifth]] and [[Symphony No. 6 (Beethoven)|Sixth]] Symphonies. Gould worked from a young age with Guerrero on a technique known as [[Finger tapping (piano)|finger-tapping]]: a method of training the fingers to act more independently from the arm.{{sfn|Friedrich|1990|p=31}}

Gould passed his final Conservatory examination in piano at age 12, achieving the highest marks of any candidate, and thus attaining professional standing as a pianist.<ref name="Bazzana76">{{harvnb|Bazzana|2003|p=76}}</ref> One year later he passed the written theory exams, qualifying for an Associate of the Toronto Conservatory of Music (ATCM) diploma.<ref name="fnT" group="fn"/><ref name="Bazzana76" />

Gould's next-door neighbour as a child and lifelong best friend was [[Robert Fulford (journalist)|Robert Fulford]], who became a prominent journalist and essayist.<ref name="StarObit">{{cite news |last1=Szklarski |first1=Cassandra |title=Prolific editor, columnist Robert Fulford dead at 92 |url=https://www.thestar.com/entertainment/prolific-editor-columnist-robert-fulford-dead-at-92/article_1a985d19-903c-5b2e-9600-5a1b5b58e871.html |access-date=October 16, 2024 |work=Toronto Star |agency=Canadian Press |date=October 16, 2024}}</ref> In 1952, Fulford and Gould founded New Music Associates, which produced and promoted Gould's first three public performances, including Gould's debut performance of Bach's ''[[Goldberg Variations]]''.<ref>{{cite news |last1=Houpt |first1=Simon| title=Prominent public intellectual Robert Fulford was a champion of Canadian arts |url=https://www.theglobeandmail.com/arts/books/article-prominent-public-intellectual-robert-fulford-was-a-champion-of/ |access-date=October 16, 2024 |work=[[Globe and Mail]] |date=October 15, 2024}}</ref>

===Piano===
Gould was a [[child prodigy]]<ref name="archives.cbc.ca_5" /> and was described in adulthood as a musical phenomenon.<ref name="fnV" group="fn" /> He claimed to have almost never practised on the piano itself, preferring to study repertoire by reading,<ref name="fnG" group="fn"/> another technique he had learned from Guerrero. He may have spoken ironically about his practising though, as there is evidence that on occasion he did practise quite hard, sometimes using his own drills and techniques.<ref name="fnH" group="fn"/> He seemed able to practise mentally, once preparing for a recording of [[Johannes Brahms|Brahms]]'s piano works without playing them until a few weeks before the sessions.{{sfn|Bazzana|2003|p=326}} Gould could play a vast repertoire of piano music, as well as a wide range of orchestral and operatic transcriptions, from memory.{{sfn|Friedrich|1990|pp=17–18}} He could "memorize at sight" and once challenged a friend to name any piece of music that he could not "instantly play from memory".{{sfn|Friedrich|1990|p=17}}

[[File:Glenn Gould as a child.jpg|thumb|200px|Gould in February 1946 with his dog, Nicky, and his parakeet, Mozart{{sfn|Hafner|2009|p=[https://books.google.com/books?id=Dig5pUHMjIsC&pg=PT19 19]}}<ref>{{cite journal|last=Jorgensen|first=Birgitte|title=The Dogs of Pianist Glenn Gould: In the Key of Woof|journal=Modern Dog|year=2003|url=http://www.moderndogmagazine.com/articles/dogs-pianist-glen-gould/280|access-date=December 24, 2011}}</ref>]]

The piano, Gould said, "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 noted, "[I] fixed the [[Action (music)|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."{{sfn|Stegemann|1993a|p=15}}

As a teenager, Gould was significantly influenced by [[Artur Schnabel]]<ref name="fnU" group="fn"/>{{sfn|Bazzana|1997|pp=132 fn. 1, 137}} and [[Rosalyn Tureck]]'s recordings of Bach{{sfn|Bazzana|1997|pp=21, 120–121}} (which he called "upright, with a sense of repose and positiveness"), and the conductor [[Leopold Stokowski]].{{sfn|Ostwald|1997|p=28}} Gould was known for his vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric. His pianism had great clarity and erudition, particularly in contrapuntal passages, and extraordinary control. Gould believed the piano to be "a contrapuntal instrument" and his whole approach to music was centered in the [[Baroque music|Baroque]]. Much of the [[homophony]] that followed he felt belongs to a less serious and less spiritual period of art.

Gould had a pronounced aversion to what he termed "hedonistic" approaches to piano repertoire, performance, and music generally. For him, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career.{{sfn|Friedrich|1990|p=147}} He associated this drift toward hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.{{sfn|Friedrich|1990|p=100}}

===Performances===
On 5 June 1938, at age five, Gould played in public for the first time, joining his family on stage to play piano at a church service at the Business Men's Bible Class in [[Uxbridge, Ontario]], in front of a congregation of about 2,000.{{sfn|Ostwald|1997|page=47}}<ref>{{Cite web|url=https://www.collectionscanada.gc.ca/glenngould/028010-1060-e.html|title=Glenn Gould Chronology|date=25 September 2002|website=[[Library and Archives Canada]]|access-date=28 March 2019|archive-date=29 March 2019|archive-url=https://web.archive.org/web/20190329002525/https://www.collectionscanada.gc.ca/glenngould/028010-1060-e.html|url-status=live}}</ref> In 1945, at 13, he made his first appearance with an orchestra in a performance of the first movement of [[Ludwig van Beethoven|Beethoven's]] [[Piano Concerto No. 4 (Beethoven)|4th Piano Concerto]] with the [[Toronto Symphony Orchestra|Toronto Symphony]].{{sfn|Friedrich|1990|p=35}} His first solo concert followed in 1947,{{sfn|Friedrich|1990|p=36}} and his first recital on radio was with the [[Canadian Broadcasting Corporation|CBC]] in 1950.{{sfn|Friedrich|1990|p=38}} This was the beginning of Gould's long association with radio and recording. He founded the Festival Trio chamber group in 1953 with cellist Isaac Mamott and violinist [[Albert Pratz]].{{fact|date=August 2023}}

{{external media|image1=[https://www.gettyimages.com/detail/news-photo/canadian-pianist-glenn-gould-at-a-piano-toronto-canada-1956-news-photo/498380869 Glenn Gould performing at the piano in Toronto, Canada, in 1956]|image2=[https://www.gettyimages.com/detail/news-photo/music-new-york-usa-circa-1960s-conductor-leonard-bernstein-news-photo/82139210 Glenn Gould, c. 1960s], with [[Leonard Bernstein]] and [[Igor Stravinsky]] in rehearsal with the [[New York Philharmonic]]}}

Gould made his American debut on 2 January 1955, in Washington, D.C. at [[The Phillips Collection]]. The music critic [[Paul Hume (music critic)|Paul Hume]] wrote in the ''[[Washington Post]]'', "January 2 is early for predictions, but it is unlikely that the year 1955 will bring us a finer piano recital than that played yesterday afternoon in the Phillips Gallery. We shall be lucky if it brings us others of equal beauty and significance."{{sfn|Friedrich|1990|p=43}} A performance at [[The Town Hall (New York City)|The Town Hall]] in New York City followed on 11 January. Gould's reputation quickly grew. In 1957, he undertook a tour of the Soviet Union, becoming the first North American to play there since World War II.{{sfn|Bazzana|2003|p=163}} His concerts featured Bach, Beethoven, and the [[serialism|serial music]] of [[Arnold Schoenberg|Schoenberg]] and [[Alban Berg|Berg]], which had been suppressed in the Soviet Union during the era of [[Socialist Realism]]. Gould debuted in Boston in 1958, playing for the [[Peabody Mason Concert]] Series.<ref name="bostonglobe.com"/> On 31 January 1960, Gould first appeared on American television on CBS's ''Ford Presents'' series, performing Bach's [[Harpsichord Concerto in D minor, BWV 1052|Keyboard Concerto No. 1 in D minor (BWV 1052)]] with [[Leonard Bernstein]] conducting the New York Philharmonic.<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/9Nx09pigZRI Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20160206124309/https://www.youtube.com/watch?v=9Nx09pigZRI Wayback Machine]{{cbignore}}: {{cite AV media|url=https://www.youtube.com/watch?v=9Nx09pigZRI|title=Glenn Gould's U.S. Television Debut – Bernstein conducts Bach's Keyboard Concerto No. 1 in D minor|date=20 January 2016|access-date=5 February 2016|via=YouTube}}{{cbignore}}</ref>

Gould believed that the institution of the public concert was an anachronism and a "force of evil", leading to his early retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience mostly attendant to the possibility of the performer erring or failing critical expectation, and that such performances produced unexceptional interpretations because of the limitations of live music. He set forth this doctrine, half in jest, in "GPAADAK", the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds.{{sfn|Gould|1987}} On 10 April 1964, he gave his last public performance, at Los Angeles's [[Ebell of Los Angeles|Wilshire Ebell Theater]].<ref name="Bazzana229">{{harvnb|Bazzana|2003|p=229}}</ref> Among the pieces he performed were Beethoven's [[Piano Sonata No. 30 (Beethoven)|Piano Sonata No. 30]], selections from Bach's ''[[The Art of Fugue]]'', and Hindemith's Piano Sonata No. 3.<ref name="fnE" group="fn" /> Gould performed fewer than 200 concerts, of which fewer than 40 were outside Canada. For a pianist such as [[Van Cliburn]], 200 concerts would have amounted to about two years' touring.{{sfn|Bazzana|2003|pp=232–233}}

One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a "love affair with the microphone".<ref name="fnS" group="fn" /> There, he could control every aspect of the final musical product by selecting parts of various takes. He felt that he could realize a musical score more fully this way. Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring. For the rest of his life, he eschewed live performance, focusing instead on recording, writing, and broadcasting.

===Eccentricities===
[[File:Glenn Gould's chair.JPG|upright|thumb|Replica of Gould's piano chair]]
Gould was widely known for his unusual habits. He often hummed or sang while he played, and his [[audio engineers]] were not always able to exclude his voice from recordings. Gould claimed that his singing was unconscious and increased in proportion to his inability to produce his intended interpretation on a given piano. It is likely that the habit originated in his having been taught by his mother to "sing everything that he played", as his biographer [[Kevin Bazzana]] wrote. This became "an unbreakable (and notorious) habit".{{sfn|Bazzana|2003|p=47}} Some of Gould's recordings were severely criticised because of this background "vocalising". For example, a reviewer of his 1981 [[Bach: The Goldberg Variations (Glenn Gould album)#1981: a new recording| rerecording ]] of ''The Goldberg Variations'' wrote that many listeners would "find the groans and croons intolerable".<ref>{{cite book |first1= Edward |last1= Greenfield |first2= Robert |last2= Layton |first3= Ivan |last3= March |title=The New Penguin Guide to Compact Discs and Cassettes |year= 1988 |publisher= Penguin Books |location= London |isbn=978-0-14-046829-8 |name-list-style= amp |page=44}}</ref> Gould was known for his peculiar, even theatrical, gesticulations while playing. Another oddity was his insistence on absolute control over every aspect of his environment. The temperature of the recording studio had to be precisely regulated; he invariably insisted that it be extremely warm. According to another of Gould's biographers, [[Otto Friedrich]], the air-conditioning engineer had to work just as hard as the recording engineers.{{sfn|Friedrich|1990|p=50}}

The piano had to be set at a certain height and would be raised on wooden blocks if necessary.{{sfn|Ostwald|1997|p=18}} A rug would sometimes be required for his feet.{{sfn|Friedrich|1990|p=51}} He had to sit exactly {{Convert|14|in}} above the floor, and would play concerts only with the chair his father had made. He continued to use the chair even when its seat was completely worn,{{sfn|Ostwald|1997|pp=304–306}} and became so closely identified with it that it is displayed in a glass case at [[Library and Archives Canada]].

Conductors had mixed responses to Gould and his playing habits. [[George Szell]], who led Gould in 1957 with the [[Cleveland Orchestra]], remarked to his assistant, "That nut's a genius."<ref name="Bazzana158">{{harvnb|Bazzana|2003|p=158}}</ref> Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him."<ref name="Bazzana158" /> Bernstein created a stir at the [[New York Philharmonic concert of April 6, 1962|concert of April 6, 1962]], when, just before the [[New York Philharmonic]] was to perform the Brahms [[Piano Concerto No. 1 (Brahms)|Piano Concerto No. 1 in D minor]] with Gould, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: "In a concerto, who is the boss{{dash}}the soloist or the conductor?", to which the audience laughed. "The answer is, of course, sometimes the one and sometimes the other, depending on the people involved."<ref name="archives.cbc.ca_3" /> Specifically, Bernstein was referring to their rehearsals, with Gould's insistence that the entire first movement be played at half the indicated tempo. The speech was interpreted by [[Harold C. Schonberg]], music critic for ''[[The New York Times]]'', as an abdication of responsibility and an attack on Gould.<ref name="nytimes.com_April 07, 1962" /> Plans for a studio recording of the performance came to nothing. The live radio broadcast was subsequently released on CD, Bernstein's disclaimer included.

Gould was averse to cold and wore heavy clothing (including gloves) even in warm places. He was once arrested, possibly being mistaken for a vagrant, while sitting on a park bench in [[Sarasota, Florida]], dressed in his standard all-climate attire of coat, hat and mittens.{{sfn|Friedrich|1990|p=62}} He also disliked social functions. He hated being touched, and in later life limited personal contact, relying on the telephone and letters for communication. On a visit to [[Steinway Hall]] in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould with a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of it. He went on to explore the possibility of litigation against [[Steinway & Sons]] if his apparent injuries were permanent.<ref name="ahsl.arizona.edu" /> He was known for cancelling performances at the last minute, which is why Bernstein's aforementioned public disclaimer opened with, "Don't be frightened, Mr. Gould is here ... [he] will appear in a moment."

In his [[liner notes]] and broadcasts, Gould created more than two dozen [[alter ego]]s for satirical, humorous, and didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist Karlheinz Klopweisser, the English conductor Sir Nigel Twitt-Thornwaite, and the American critic Theodore Slutz.{{sfn|Stegemann|1993a|p=14}} These facets of Gould, whether interpreted as [[neurosis]] or "play",{{sfn|Kingwell|2009|loc=pp. 125–128 (On "play", chapter 11)}} have provided ample material for [[psychobiography]].

Gould was a [[Teetotalism|teetotaller]] and did not smoke.<ref name="Bazzana325">{{harvnb|Bazzana|2003|p=325}}</ref> He did not cook; instead he often ate at restaurants and relied on room service. He ate one meal a day, supplemented by arrowroot biscuits and coffee.<ref name="Bazzana325"/> In his later years he claimed to be vegetarian, though this is not certain.<ref name="fnX" group="fn"/>

===Personal life===
{{external media|audio1=[https://archive.org/details/cbs-60253-bach-j.s.-o-italian-concerto-preludes-fugues-etc.-glenn-gould/CBS+60253%E2%80%A2f1.wav Gould performing] J. S. Bach's ''[[Italian Concerto (Bach)|Italian Concerto]]'' in F major, BWV 971 and various Bach Preludes and Fugues|audio2=[https://archive.org/details/glenn-gould-plays-bach-the-art-of-fugue-bwv-1080-organ-piano Gould performing] J. S. Bach's ''[[The Art of Fugue]]'', BWV 1080, on organ and piano}}

Gould lived a private life. The documentary filmmaker [[Bruno Monsaingeon]] said of him: "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly."<ref name="collectionscanada.gc.ca Monsaingeon (1983)"/> He never married, and biographers have spent considerable time on his sexuality. Bazzana writes that "it is tempting to assume that Gould was asexual, an image that certainly fits his aesthetic and the persona he sought to convey, and one can read the whole Gould literature and be convinced that he died a virgin"—but he also mentions that evidence points to "a number of relationships with women that may or may not have been platonic and ultimately became complicated and were ended".<ref>Elliott, R. "Constructions of Identity in the Life Stories of Emma Albani and Glenn Gould." ''Journal of Canadian Studies/Revue d'études canadiennes'' vol. 39 no. 2, 2005, pp. 105–126. Project MUSE, doi:10.1353/jcs.2006.0017</ref>

One piece of evidence arrived in 2007. When Gould was in Los Angeles in 1956, he met [[Cornelia Foss]], an art instructor, and her husband [[Lukas Foss|Lukas]], a conductor. After several years, she and Gould became lovers.<ref name="star.com (2007)"/> In 1967, she left her husband for Gould, taking her two children with her to Toronto. She purchased a house near Gould's apartment. In 2007, Foss confirmed that she and Gould had had a love affair for several years. According to her, "There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual." Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould, alluding to unusual behaviour that was more than "just neurotic".<ref name="star.com (2007)"/> Specifically, he believed that "someone was spying on him", according to Foss's son.<ref>{{Cite web |url=https://www.theglobeandmail.com/life/christopher-foss-grew-up-with-glenn-gould-but-never-got-to-say-goodbye/article4294730/ |title=Christopher Foss grew up with Glenn Gould, but never got to say goodbye |last=Hampson |first=Sarah |date=29 November 2009 |website=The Globe and Mail |access-date=24 April 2018 |archive-date=16 June 2018 |archive-url=https://web.archive.org/web/20180616191052/https://www.theglobeandmail.com/life/christopher-foss-grew-up-with-glenn-gould-but-never-got-to-say-goodbye/article4294730/ |url-status=live }}</ref>

===Health and death===
Though an admitted hypochondriac,<ref name="nytimes.com_May 29, 1988"/><ref name="fnL" group="fn"/> Gould had many pains and ailments, but his autopsy revealed few underlying problems in areas that often troubled him.<ref name="fnM" group="fn"/> He worried about everything from [[high blood pressure]] (which in his later years he recorded in diary form) to the safety of his hands. (Gould rarely shook people's hands, and habitually wore gloves.)<ref name="fnN" group="fn"/><ref name="fnO" group="fn"/> The spine injury he experienced as a child led physicians to prescribe, usually independently, an assortment of [[analgesic]]s, [[anxiolytic]]s, and other drugs. Bazzana has speculated that Gould's increasing use of a variety of prescription medications over his career may have had a deleterious effect on his health. It had reached the stage, Bazzana writes, that "he was taking pills to counteract the side effects of other pills, creating a cycle of dependency".{{sfn|Bazzana|2003|p=362}} In 1956, Gould told photojournalist [[Jock Carroll]] about "my hysteria about eating. It's getting worse all the time."<ref>{{Cite book|last=Caroll|first=Jock|title=Glenn Gould: Some Portraits of the Artist as a Young Man|publisher=Stoddart|year=1995|isbn=0773729046|pages=24}}</ref> In his biography, psychiatrist Peter F. Ostwald noted Gould's increasing neurosis about food in the mid-1950s, something Gould had spoken to him about. Ostwald later discussed the possibility that Gould had developed a "psychogenic eating disorder" around this time.{{sfn|Ostwald|1997}} In 1956, Gould was also taking [[Thorazine]], an anti-psychotic medication, and [[reserpine]], another anti-psychotic, which can also be used to lower blood pressure.{{sfn|Goddard|2017|p=19}} Cornelia Foss has said that Gould took many [[antidepressants]], which she blamed for his deteriorating mental state.<ref>{{Cite web |url=https://www.adelaidereview.com.au/arts/music/being-glenn-gould/ |title=Being Glenn Gould – The Adelaide Review |last=Orr |first=Stephen |date=14 August 2013 |website=The Adelaide Review |language=en-US |access-date=24 April 2018 |archive-date=24 April 2018 |archive-url=https://web.archive.org/web/20180424135649/https://www.adelaidereview.com.au/arts/music/being-glenn-gould/ |url-status=live }}</ref>

Whether Gould's behaviour fell within the [[autism spectrum]] has been debated.<ref name="canadianencyclopedia.com_1"/> The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book ''Glenn Gould: The Ecstasy and Tragedy of Genius''.{{sfn|Ostwald|1997}} There has also been speculation that he may have had [[bipolar disorder]], because he sometimes went several days without sleep, had extreme increases in energy, drove recklessly, and in later life endured severe depressive episodes.<ref>{{Cite book |url=https://books.google.com/books?id=DIOOAwAAQBAJ |title=The Autism Spectrum and Depression |last=Dubin |first=Nick |date=2014 |publisher=Jessica Kingsley Publishers |isbn=9780857002426 |page=77}}</ref>

[[File:Glenn gould.jpg|thumb|upright=0.9|Gould's grave marker, with incipit of Bach's ''[[Goldberg Variations]]'']]

On 27 September 1982, two days after his 50th birthday, after experiencing a severe headache, Gould had a stroke that paralyzed the left side of his body. He was admitted to [[Toronto General Hospital]] and his condition rapidly deteriorated. By 4 October, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support.{{sfn|Ostwald|1997|pp=325–328}} Gould's public funeral was held in [[St. Paul's, Bloor Street|St. Paul's Anglican Church]] on 15 October with singing by [[Lois Marshall]] and [[Maureen Forrester]]. The service was attended by over 3,000 people and was broadcast on the [[Canadian Broadcasting Corporation]]. He is buried next to his parents in Toronto's [[Mount Pleasant Cemetery, Toronto|Mount Pleasant Cemetery]] (section 38, lot 1050).<ref>{{cite web |title=Gould, Glenn Herbert (Search Results) |url=https://www.finditatmpg.com/Details.aspx?GID=ZVitZj8N38rFCcqFV1UScA%3d%3d |website=[[Mount Pleasant Cemetery, Toronto|Mount Pleasant Group]] |access-date=17 July 2021 |archive-date=17 July 2021 |archive-url=https://web.archive.org/web/20210717063457/https://www.finditatmpg.com/Details.aspx?GID=ZVitZj8N38rFCcqFV1UScA%3D%3D |url-status=live }}</ref> The first few bars of the ''[[Goldberg Variations]]'' are carved on his grave marker.<ref>{{cite news | url=https://edmontonjournal.com/entertainment/festivals/wildlife-on-the-trail-of-count-von-svoboda-and-glenn-gould | title=Wildlife: On the trail of Count von Svoboda and Glenn Gould | first=Fish | last=Griwkowsky | date=15 February 2018 | newspaper=[[Edmonton Journal]] | access-date=19 September 2018 | archive-date=20 September 2018 | archive-url=https://web.archive.org/web/20180920084015/https://edmontonjournal.com/entertainment/festivals/wildlife-on-the-trail-of-count-von-svoboda-and-glenn-gould | url-status=live }}</ref> An animal lover, Gould left half his estate to the [[Toronto Humane Society]]; the other half went to the [[The Salvation Army, Canada|Salvation Army]].{{sfn|Goddard|2017|p=35}}

In 2000, a [[Movement disorders|movement disorder]] neurologist suggested in a paper that Gould had [[dystonia]], "a problem little understood in his time."<ref>{{Cite news|last=Oestreich|first=James R.|author-link=James R. Oestreich|date=13 March 2012|title=A Disorder That Stops the Music|newspaper=[[The New York Times]]|url=https://www.nytimes.com/2012/03/14/arts/music/dystonia-which-struck-glenn-gould-and-other-musicians.html|access-date=5 May 2021|archive-date=9 June 2021|archive-url=https://web.archive.org/web/20210609053339/http://www.nytimes.com/2012/03/14/arts/music/dystonia-which-struck-glenn-gould-and-other-musicians.html|url-status=live}}</ref>

== Perspectives ==
===Writings===
{{external media|audio1=[https://archive.org/details/glenngould_201911/Glenn+Gould/El+Clavec%C3%ADn+Bien+Temperado/Well-Tempered+Clavier+I/Bach%2C+WTC+Bk1%2C+Prelude+%26+Fugue+01+in+C%2C+BWV846+-+1+Prelude.mp3 Glenn Gould performs] Bach's: Prelude & Fugue No. 1–24, BWV 846–869; Prelude & Fugue No. 1–24, BWV 870–893; English Suite No. 1–6, BWV 806–811; French Suite No. 1–6, BWV 812–817; Goldberg Variations No. 1–30, BWV 988; Partita No. 1–6, BWV 825–830; and various Inventions, Sinfonias & Contrapunctus|audio2=[https://archive.org/details/bach-j.s.-o-concertos-pour-piano-nos.-3-5-7-glenn-gould-20220705/CBS+60028%E2%80%A2f1.wav Glenn Gould and] the [[Columbia Symphony Orchestra]] with [[Vladimir Golschmann]] circa 1967 in Bach's Keyboard Concertos: No. 3 in D major, BWV 1054; No. 5 in F minor, BWV 1056; No. 7 in G minor, BWV 1058}}

Gould periodically told interviewers he would have been a writer if he had not been a pianist.{{sfn|Friedrich|1990|p=112}} He expounded his criticism and philosophy of music and art in lectures, [[convocation]] speeches, periodicals, and CBC radio and television documentaries. Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen to be as written work as much as off-the-cuff discussions. Gould's writing style was highly articulate, but sometimes florid, indulgent, and rhetorical. This is especially evident in his (frequent) attempts at humour and irony.<ref name="fnP" group="fn"/> Bazzana writes that although some of Gould's "conversational dazzle" found its way into his prolific written output, his writing was "at best uneven [and] at worst awful".{{sfn|Bazzana|2003|p=271}} While offering "brilliant insights" and "provocative theses", Gould's writing is often marred by "long, tortuous sentences" and a "false formality", Bazzana writes.{{sfn|Bazzana|2003|p=272}}

In his writing, Gould praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave analyses of the music of [[Richard Strauss]], [[Alban Berg]] and [[Anton Webern]]. Despite a certain affection for [[Dixieland jazz]], Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized [[the Beatles]] for "bad [[voice leading]]"<ref name="fnQ" group="fn"/>—while praising [[Petula Clark]] and [[Barbra Streisand]]. Gould and jazz pianist [[Bill Evans]] were mutual admirers, and Evans made his record ''[[Conversations with Myself (album)|Conversations with Myself]]'' using Gould's Steinway model CD 318 piano.<ref>{{cite encyclopedia|url=https://www.thecanadianencyclopedia.ca/en/article/glenn-goulds-steinway|title=Glenn Gould's Steinway|encyclopedia=The Canadian Encyclopedia|access-date=7 September 2019|archive-date=29 March 2019|archive-url=https://web.archive.org/web/20190329025229/https://www.thecanadianencyclopedia.ca/en/article/glenn-goulds-steinway|url-status=live}}</ref>

===On art===
Gould's perspective on art is often summed up by this 1962 quotation: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity."{{sfn|Kingwell|2009|p=194}}

Gould repeatedly called himself "the last [[puritan]]", a reference to the philosopher [[George Santayana]]'s [[The Last Puritan|1935 novel of the same name]].{{sfn|Friedrich|1990|p=125}} But he was progressive in many ways, promulgating the [[atonal]] composers of the early 20th century, and anticipating, through his deep involvement in the recording process, the vast changes technology had on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers, this way:

{{blockquote|He was progressive and anti-progressive at once, and likewise at once both a critic of the ''[[Zeitgeist]]'' and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius. He both was and was not a man of his time.{{sfn|Kingwell|2009|p=166}}}}

===Technology===
The issue of "authenticity" in relation to an approach like Gould's has been greatly debated (although less so by the end of the 20th century): is a recording less authentic or "direct" for having been highly refined by technical means in the studio? Gould likened his process to that of a film director{{sfn|Kingwell|2009|p=151}}—one knows that a two-hour film was not made in two hours—and implicitly asked why the recording of music should be different. He went so far as to conduct an experiment with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points, but none was wholly successful. While the test was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".{{sfn|Kingwell|2009|pp=158–159}}

In the lecture and essay "Forgery and Imitation in the Creative Process", one of his most significant texts,{{sfn|Gould|1999|loc=p. 205, editor's introduction to the essay}} Gould makes explicit his views on authenticity and creativity. He asks why the epoch in which a work is received influences its reception as "art", postulating a sonata of his own composition that sounds so like one of [[Haydn]]'s that it is received as such. If, instead, the sonata had been attributed to an earlier or later composer, it becomes more or less interesting as a piece of music. Yet it is not the work that has changed but its relation within the accepted narrative of [[music history]]. Similarly, Gould notes the "pathetic duplicity" in the reception of high-quality forgeries by [[Han van Meegeren]] of new paintings attributed to the [[Dutch master]] [[Johannes Vermeer]], before and after the forgery was known.

Gould preferred an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: "What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? ... moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? ... What if the composer, as historian, is faulty?"{{sfn|Gould|1999|p=208}}

==Recordings==
{{Further|Glenn Gould discography}}
{{external media|audio1=[https://archive.org/details/concertono4ingma00beet/01_Side_1.mp3 Gould performing] Beethoven's [[Piano Concerto No. 4 (Beethoven)|Piano Concerto No. 4]], with [[Leonard Bernstein]] and the [[New York Philharmonic]] in 1961
|audio2=[https://archive.org/details/GlennGouldPlaysBeethovensPianoConcertoNO2 Gould performing] Beethoven's [[Piano Concerto No. 2 (Beethoven)|Piano Concerto No. 2]]
|audio3=[https://archive.org/details/glenn-gould-consort-of-musicke-by-byrd-gibbons-full-album-1993 Gould performing] music by [[Orlando Gibbons]] and [[William Byrd]] in 1993}}

===Studio===
In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. He gave his final public performance in 1964, and thereafter devoted his career to the studio, recording albums and several [[radio documentary|radio documentaries]]. He was attracted to the technical aspects of recording, and considered the manipulation of [[Reel-to-reel audio tape recording|tape]] to be another part of the creative process. Although Gould's recording studio producers have testified that "he needed [[overdubbing|splicing]] less than most performers",{{sfn|Bazzana|2003|p=263}} Gould used the process to give himself total [[artistic control]] over the recording process. He recounted his recording of the A minor [[fugue]] from Book I of ''[[The Well-Tempered Clavier]]'' and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.<ref name="collectionscanada.gc.ca Gould (1966)"/>

Gould's first commercial recording (of [[Piano Sonata (Berg)|Berg's Piano sonata, Op. 1]]) came in 1953 on the short-lived Canadian Hallmark label. He soon signed with Columbia Records' classical music division and, in 1955, recorded ''[[Bach: The Goldberg Variations (Glenn Gould album)|Bach: The Goldberg Variations]]'', his breakthrough work. Although there was some controversy at Columbia about the appropriateness of this "debut" piece, the record received extraordinary praise and was among the best-selling classical music albums of its era.{{sfn|Ostwald|1997|p=119}} Gould became closely associated with the piece, playing it in full or in part at many recitals. A new recording of the ''[[Goldberg Variations]]'', in 1981, was among his last albums; the piece was one of a few he recorded twice in the studio. The 1981 release was one of CBS Masterworks' first [[digital recording]]s. The 1955 interpretation is highly energetic and often frenetic; the later is slower and more deliberate<ref name="npr.org_Goldberg Variations"/><ref name="nytimes.com_September 1, 2002"/>—Gould wanted to treat the aria and its 30 variations as a cohesive whole.<ref name="fnI" group="fn"/>

Gould said Bach was "first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived".<ref>In "Bach the Nonconformist"; Roberts (ed.), 100{{incomplete short citation|date=January 2021}}</ref> He recorded most of Bach's other keyboard works, including both books of ''[[The Well-Tempered Clavier]]'' and the [[Partitas for keyboard (Bach)|partitas]], [[French Suites (Bach)|French Suites]], [[English Suites (Bach)|English Suites]], [[Inventions and Sinfonias|inventions and sinfonias]], keyboard concertos, and a number of [[Toccatas for Keyboard (Bach)|toccatas]] (which interested him least, being less polyphonic). For his only recording at the organ, he recorded some of ''[[The Art of Fugue]]'', which was also released posthumously on piano.

As for Beethoven, Gould preferred the composer's early and late periods. He recorded all five of the [[List of compositions by Ludwig van Beethoven#Concerto|piano concertos]], 22 of the [[List of compositions by Ludwig van Beethoven#Piano sonatas|piano sonatas]],<ref>{{Cite web|title=Glenn Gould|url=https://www.sonyclassical.com/artists/artist-products/glenn-gould-2?page=2|access-date=10 September 2021|website=www.sonyclassical.com|archive-date=10 September 2021|archive-url=https://web.archive.org/web/20210910015420/https://www.sonyclassical.com/artists/artist-products/glenn-gould-2?page=2|url-status=dead}}</ref> and numerous bagatelles and variations. Gould was the first pianist to record any of [[Beethoven Symphonies (Liszt)|Liszt's piano transcriptions of Beethoven's symphonies]] (beginning with the Fifth Symphony, in 1967, with the Sixth released in 1969).

Gould also recorded works by Brahms, Mozart, and many other prominent piano composers, though he was outspoken in his criticism of the Romantic era as a whole. He was extremely critical of Chopin. When asked whether he found himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment—maybe once a year or twice a year for myself. But it doesn't convince me."{{sfn|Payzant|1978|p=82}} But in 1970, he played Chopin's [[Piano Sonata No. 3 (Chopin)|B minor sonata]] for the CBC and said he liked some of the miniatures and "sort of liked the first movement of the B minor".

Although he recorded all of Mozart's sonatas and admitted enjoying the "actual playing" of them,<ref name="pianoandkeyboard.com" /> Gould said he disliked Mozart's later works.{{sfn|Ostwald|1997|p=249}} He was fond of a number of lesser-known composers such as [[Orlando Gibbons]], whose ''Anthems'' he had heard as a teenager,{{sfn|Ostwald|1997|p=257}} and whose music he felt a "spiritual attachment" to.{{sfn|Ostwald|1997|pp=256–257}} He recorded a number of Gibbons's keyboard works, and called him his favourite composer,<ref name="cbc.ca_radio2" />{{sfn|Friedrich|1990|p=141}} despite his better-known admiration for Bach.<ref name="fnJ" group="fn" /> He made recordings of piano music by [[Jean Sibelius]] (the Sonatines and ''[[Kyllikki (Sibelius)|Kyllikki]]''), [[Georges Bizet]] (the ''Variations Chromatiques de Concert'' and the ''Premier nocturne''), Richard Strauss (the Piano Sonata, the Five Pieces, and ''[[Enoch Arden (Strauss)|Enoch Arden]]'' with [[Claude Rains]]), and Hindemith (the three piano sonatas and the sonatas for brass and piano). He also made recordings of Schoenberg's complete piano works. In early September 1982, Gould made his final recording: Strauss's [[Piano Sonata in B minor (Strauss)|Piano Sonata in B minor]].<ref name="cbc.ca" />

===Collaborations===
{{external media|video1={{YouTube|gvs4v_aswfk|Glenn Gould performing}} Bach's [[Brandenburg Concerto No. 5]] on a "[[harpsipiano]]" with [[Julius Baker]] and [[Oscar Shumsky]] for CBC Television in 1962|video2=[https://archive.org/details/GlennGould16.BeethovenPianoSonataNo.17Op.31Tempest1960 Glenn Gould performing] Beethoven's [[Piano Sonata No. 17 (Beethoven)|Piano Sonata No. 17]], Op. 31, No. 2 ("Tempest") in 1960|video3=[https://archive.org/details/GlennGould04.Beethoven15VariationsWithFugueOp.35Eroica1960 Glenn Gould performing] Beethoven's Variations and Fugue for Piano in E-flat major, Op. 35 (''[[Eroica Variations]]'') in 1960}}

The success of Gould's collaborations was to a degree dependent upon his collaborators' receptiveness to his sometimes unconventional readings of the music. The musicologist Michael Stegemann considered Gould's television collaboration with American violinist [[Yehudi Menuhin]] in 1965, in which they played works by Bach, Beethoven and Schoenberg, a success because "Menuhin was ready to embrace the new perspectives opened up by an unorthodox view".<ref name="album-notes Menuhin_p10"/> But Stegemann deemed the 1966 collaboration with soprano [[Elisabeth Schwarzkopf]], recording Strauss's ''Ophelia Lieder'', an "outright fiasco".<ref name="album-notes Menuhin_p10"/> Schwarzkopf believed in "total fidelity" to the score, and objected to the temperature:

{{blockquote|The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. But we persevered nonetheless. It wasn't easy for me. Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely.{{sfn|Gould|1992|p=12}}}}

Gould recorded Schoenberg, Hindemith, and [[Ernst Krenek]] with numerous vocalists, including [[Donald Gramm]] and [[Ellen Faull]]. He also recorded Bach's [[Six Sonatas for Violin and Harpsichord, BWV 1014–1019|six sonatas for violin and harpsichord]] ([[BWV]] 1014–1019) with [[Jaime Laredo]], and the [[Sonatas for viola da gamba and harpsichord (Bach)|three sonatas for viola da gamba and keyboard]] with [[Leonard Rose]]. Claude Rains narrated their recording of Strauss's melodrama ''Enoch Arden''. Gould also collaborated with members of the New York Philharmonic, the flutist [[Julius Baker]] and the violinist [[Rafael Druian]], in a recording of Bach's [[Brandenburg Concerto]] No. 4,<ref>Kazdin, Andrew (1989). ''Glenn Gould At Work: Creative Lying''. Dutton, p. 171</ref> and with [[Leopold Stokowski]] and the [[American Symphony Orchestra]] in a performance of Beethoven's [[Piano Concerto No. 5 (Beethoven)|Piano Concerto No. 5]] in 1966.<ref>[https://archive.org/details/beethoven-piano-no.-5-emperor-concerto-glenn-gould-american-symphony-orchestra-stokowski-1966 Glenn Gould and Leopold Stokowski on Archive.org]</ref>

Gould collaborated extensively with [[Vladimir Golschmann]] and the [[Columbia Symphony Orchestra]] for the [[Columbia Masterworks]] label in his recording of Beethoven's Piano Concerto No. 1 in 1958<ref>[https://archive.org/details/lp_concerto-no-1-in-c-major-for-piano-and_glenn-gould-vladimir-golschmann-columbi/disc1/01.01.+Concerto+No.1+In+C+Major+For+Piano+And+Orchestra%2C+Op.+15%3A+I+Allegro+Con+Brio.mp3 Glenn Gould, Vladimir Golschmann and the Columbia Symphony Orchestra performing Beethoven's Piano Concerto No. 1 & Bach's Keyboard Concerto No. 5 on archive.org]</ref> and several works by Bach in the 1960s, including the [[BWV 1054|Keyboard Concerto No. 3 (BWV 1054)]], the [[BWV 1056|Keyboard Concerto No. 5 (BWV 1056)]] and the [[BWV 1058|Keyboard Concerto No. 7 (BWV 1058)]] in 1967<ref>[https://archive.org/details/bach-j.s.-o-concertos-pour-piano-nos.-3-5-7-glenn-gould-20220705/CBS+60028%E2%80%A2f1.wav Glenn Gould performs Bach's Keyboard Concertos No. 3, No. 5 and No. 7 with Vladimir Golschmann and the Columbia Symphony Orchestra in 1967 on archive.org]</ref> and the [[BWV 1053|Keyboard Concerto No. 2 in E major (BWV 1053)]] and the [[BWV 1055|Keyboard Concerto No. 4 in A major (BWV 1055)]] in 1969.<ref>[https://archive.org/details/lp_keyboard-concertos-volii-no-2-in-e-major_glenn-gould-vladimir-golschmann-columbia-s/disc1/01.02.+Concerto+No.+2+In+E+Major+For+Piano+And+Orchestra%2C+BWV+1053%3A+II+-+Siciliano+.mp3 Glenn Gould performs Bach's Keyboard Concerto No. 2 and Keyboard Concerto No. 4 with Vladimir Golschmann and the Columbia symphony Orchestra in 1969 on archive.org]</ref>

===Documentaries===
Gould made numerous television and radio programs for [[CBC Television]] and [[CBC Radio]]. Notable productions include his ''[[musique concrète]]'' ''[[Solitude Trilogy]]'', which consists of ''The Idea of North'', a meditation on Northern Canada and its people; ''The Latecomers'', about [[Newfoundland and Labrador|Newfoundland]]; and ''The Quiet in the Land'', about [[Mennonite]]s in [[Manitoba]]. All three use a radiophonic electronic-music technique that Gould called "contrapuntal radio", in which several people are heard speaking at once—much like the voices in a fugue—manipulated through overdubbing and editing. His experience of driving across [[northern Ontario]] while listening to [[Top 40 radio]] in 1967 inspired one of his most unusual radio pieces, ''The Search for Petula Clark'', a witty and eloquent dissertation on Clark's recordings.<ref name="archives.cbc.ca_1" />

Also among Gould's CBC programs was an educational lecture on the music of Bach, "Glenn Gould On Bach", which featured a collaborative performance with [[Julius Baker]] and [[Oscar Shumsky]] of the [[Brandenburg Concerto No. 5]].<ref>{{Cite web |url=https://www.youtube.com/watch?v=gvs4v_aswfk |title=CBC Television: Glenn Gould lecturer and conductor with Julius Baker and Oscar Shumsky performing Bach's Brandenbur Concerto No. 5, BWV 1050 on bing.com |website=[[YouTube]] |access-date=30 October 2023 |archive-date=30 October 2023 |archive-url=https://web.archive.org/web/20231030152818/https://www.youtube.com/watch?v=gvs4v_aswfk |url-status=live }}</ref><ref>''Wondrous Strange: The Life and Art of Glenn Gould''. Bazzana, Kevin. McClelland & Stewart, Toronto, Canada, 2003, pg. 225-226 [https://books.google.com/books?id=f2ZXdsN8jaIC&dq=Glenn+Gould+CBC+Television+Bach+Brandenburg+Concerto+NO.+5&pg=PA225 "Glenn Gould on Bach": documentary on CBC Television, Gould performs Bach's Brandenburg Concerto No. 5 with Oscar Shumsky in 1962 on Googlebooks] {{Webarchive|url=https://web.archive.org/web/20230315234210/https://books.google.com/books?id=f2ZXdsN8jaIC&dq=Glenn+Gould+CBC+Television+Bach+Brandenburg+Concerto+NO.+5&pg=PA225 |date=15 March 2023 }}</ref>

==Transcriptions, compositions, and conducting==
{{Further|List of compositions by Glenn Gould}}
{{external media|audio1=[https://archive.org/details/lp_concerto-no-1-in-c-major-for-piano-and_glenn-gould-vladimir-golschmann-columbi/disc1/01.01.+Concerto+No.1+In+C+Major+For+Piano+And+Orchestra%2C+Op.+15%3A+I+Allegro+Con+Brio.mp3 Glenn Gould collaborating] with [[Vladimir Golschmann]] and the [[Columbia Symphony Orchestra]] in [[Piano Concerto No. 1 (Beethoven)|Beethoven's Piano Concerto No. 1 in C major, Op. 15]] in 1958|audio2=[https://archive.org/details/lp_keyboard-concertos-volii-no-2-in-e-major_glenn-gould-vladimir-golschmann-columbia-s/disc1/01.02.+Concerto+No.+2+In+E+Major+For+Piano+And+Orchestra%2C+BWV+1053%3A+II+-+Siciliano+.mp3 Glenn Gould and Vladimir Golschmann] with the Columbia Symphony Orchestra in J. S. Bach's: Keyboard Concerto No. 2 in E major, BWV 1053 and Keyboard Concerto No. 4 in A major, BWV 1055 in 1969|audio3=[https://archive.org/details/lp_string-quartet-op-1_glenn-gould-the-symphonia-quartet/disc1/01.01.+String+Quartet%2C+Op.+1+(Beginning).mp3 Glenn Gould's String Quartet in F minor, Op. 1], performed by the Symphonia Quartet in 1960}}

Gould was also a prolific transcriber of orchestral repertoire for piano. He transcribed his own Wagner and Ravel recordings, as well as Strauss's operas and [[Franz Schubert| Schubert]]'s and [[Anton Bruckner|Bruckner]]'s symphonies,<ref name="archives.cbc.ca_4" /> which he played privately for pleasure.<ref name="fnK" group="fn" />

Gould dabbled in composition, with few finished works. As a teenager, he wrote chamber music and piano works in the style of the [[Second Viennese School]]. Significant works include a string quartet, which he finished in his 20s (published 1956, recorded 1960), and his [[cadenza]]s to Beethoven's [[Piano Concerto No. 1 (Beethoven)|Piano Concerto No. 1]]. Later works include the [[Goddard Lieberson|Lieberson]] Madrigal (soprano, alto, tenor, bass [<nowiki/>[[SATB]]] and piano),<ref>{{Cite web |title=History – Glenn Gould |url=https://glenngould.com/history/ |access-date=2023-12-02 |website=glenngould.com |archive-date=2 December 2023 |archive-url=https://web.archive.org/web/20231202024059/https://glenngould.com/history/ |url-status=live }}</ref> and "[[So You Want to Write a Fugue?]]" (SATB with piano or string-quartet accompaniment). His String Quartet (Op. 1) received a mixed reaction: ''[[The Christian Science Monitor]]'' and ''[[Saturday Review (U.S. magazine)|Saturday Review]]'' were quite laudatory, the ''[[Montreal Star]]'' less so.{{sfn|Friedrich|1990|pp=165–166}} There is little critical commentary on Gould's compositions because there are few of them; he never succeeded beyond Opus 1, and left a number of works unfinished.{{sfn|Friedrich|1990|p=170}} He attributed his failure as a composer to his lack of a "personal voice".{{sfn|Friedrich|1990|p=172}} Most of his work is published by [[Schott Music]]. The recording ''Glenn Gould: The Composer'' contains his original works.

Towards the end of his life, Gould began conducting. He had earlier directed Bach's ''Brandenburg Concerto No. 5'' and the [[cantata]] ''[[Widerstehe doch der Sünde, BWV 54|Widerstehe doch der Sünde]]'' from the [[harpsipiano]] (a piano with metal hammers to simulate a harpsichord's sound), and [[Gustav Mahler]]'s [[Symphony No. 2 (Mahler)|Symphony No. 2]] (the ''Urlicht'' section) in the 1960s. His first known public appearance conducting occurred in 1939 when he was six, while appearing as a pianist in a concert for the Business Men's Bible Class in Uxbridge.<ref name="books.google.com">{{Cite book |url=https://books.google.com/books?id=f2ZXdsN8jaIC&q=conducting&pg=PA225 |title=''Wondrous Strange: The Life and Art of Glenn Gould''. Bazzana, Kevin. Mc Clelland and Stewart, Toronto, 2003, p. 476 on Google books.com |isbn=978-1-55199-287-7 |access-date=17 March 2023 |archive-date=12 September 2023 |archive-url=https://web.archive.org/web/20230912233542/https://books.google.com/books?id=f2ZXdsN8jaIC&q=conducting&pg=PA225 |url-status=live |last1=Bazzana |first1=Kevin |date=5 February 2010 |publisher=McClelland & Stewart }}</ref> By 1957 he emerged as the conductor for the CBC Television program ''Chrysler Festival'', in which he collaborated with [[Maureen Forrester]].<ref name="books.google.com"/> In the same year he also joined forces with the CBC Vancouver Orchestra as a conductor in a radio broadcast of [[Symphony No. 1 (Mozart)|Mozart's Symphony No. 1]] and [[Symphony No. 4 (Schubert)|Schubert's Symphony No. 4 ("Tragic")]].<ref name="books.google.com"/>

In 1958, Gould wrote to Golschmann of his "temporary retirement" from conducting, apparently as a result of the unanticipated muscular strain it created.<ref name="books.google.com"/> Gould found himself "practically crippled" after his conducting appearances and unable to perform properly at the piano.<ref name="books.google.com"/> Yet even at the age of 26, Gould continued to contemplate retiring as a piano soloist and devoting himself entirely to conducting.<ref name="books.google.com"/> Immediately before his death, he was finalizing plans to appear as a conductor of [[Piano Concerto No. 2 (Beethoven)|Beethoven's Piano Concerto No. 2]] in 1982 and in recordings of [[Mendelssohn]]'s ''[[Hebrides Overture]]'' and Beethoven's ''[[Coriolan Overture]]'' in 1983.<ref name="ZXdsN8jaIC 2003, p. 482">{{Cite book |url=https://books.google.com/books?id=f2ZXdsN8jaIC&q=conducting&pg=PA225 |title=''Wondrous Strange: The Life and Art of Glenn Gould''. Bazzana, Kevin. Mc Clelland and Stewart, Toronto, 2003, p. 482 on Google books.com |isbn=978-1-55199-287-7 |access-date=17 March 2023 |archive-date=12 September 2023 |archive-url=https://web.archive.org/web/20230912233542/https://books.google.com/books?id=f2ZXdsN8jaIC&q=conducting&pg=PA225 |url-status=live |last1=Bazzana |first1=Kevin |date=5 February 2010 |publisher=McClelland & Stewart }}</ref> His last recording as a conductor was of [[Richard Wagner|Wagner]]'s ''[[Siegfried Idyll]]'' in its original [[chamber music|chamber-music]] scoring. He intended to spend his later years conducting, writing about music, and composing while pursuing an idyllic "neoThoreauvian way of life" in the countryside.{{sfn|Friedrich|1990|p=315}}<ref name="ZXdsN8jaIC 2003, p. 482"/>

==Legacy and honours==
[[File:Glenngould-statue-toronto.jpg|thumb|upright=0.75|Park bench sculpture of Gould located outside the [[Canadian Broadcasting Centre]]]]
Gould is one of the most acclaimed musicians of the 20th century. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners and highly objectionable to others. Philosopher [[Mark Kingwell]] wrote, "his influence is made inescapable. No performer after him can avoid the example he sets ... Now, everyone must perform ''through'' him: he can be emulated or rejected, but he cannot be ignored."{{sfn|Kingwell|2009|p=59}} Among the pianists who acknowledged Gould's influence are [[András Schiff]], [[Zoltán Kocsis]], [[Ivo Pogorelić]], and [[Peter Serkin]].{{sfn|Bazzana|1997|p=2}} Artists influenced by Gould include painter [[George Condo]].<ref>{{Cite web |last=Amadour |date=2023-02-15 |title=15 Minutes with George Condo |url=https://lamag.com/art/15-minutes-with-george-condo |access-date=2023-12-31 |website=LAmag |archive-date=20 October 2023 |archive-url=https://web.archive.org/web/20231020191336/https://lamag.com/art/15-minutes-with-george-condo |url-status=live }}</ref>

One of Gould's performances of the Prelude and Fugue in C major from Book II of ''The Well-Tempered Clavier'' was chosen for inclusion on the [[NASA]] [[Voyager Golden Record]] by a committee headed by [[Carl Sagan]]. The record was placed on the spacecraft ''[[Voyager 1]]''. On 25 August 2012, the spacecraft became the first to cross the [[Heliopause (astronomy)|heliopause]] and enter the [[interstellar medium]].<ref name="voyager.jpl.nasa.gov" />

Gould is a popular subject of biography and critical analysis. Philosophers such as Kingwell and [[Giorgio Agamben]] have interpreted his life and ideas.{{sfn|Kingwell|2009|pp=62, 75}} References to Gould and his work are plentiful in poetry, fiction, and the visual arts.{{sfn|Kingwell|2009|loc=notes 3, 13, 18}} [[François Girard]]'s [[Genie Award]]-winning 1993 film ''[[Thirty Two Short Films About Glenn Gould]]'' includes interviews with people who knew him, dramatizations of scenes from his life, and fanciful segments including an animation set to music. [[Thomas Bernhard]]'s 1983 novel ''[[The Loser]]'' purports to be an extended first-person essay about Gould and his lifelong friendship with two fellow students from the Mozarteum school in Salzburg, both of whom have abandoned their careers as concert pianists due to the intimidating example of Gould's genius.

[[File:Glenn Gould Star on Canada's Walk of Fame.jpg|thumb|left|upright=0.75|Gould's star on [[Canada's Walk of Fame]]]]

Gould left an extensive body of work beyond the keyboard. After retiring from concertising, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the [[electronic age]] on media consumption. (Gould grew up in Toronto at the same time that Canadian theorists [[Marshall McLuhan]], [[Northrop Frye]], and [[Harold Innis]] were making their mark on communications studies.){{sfn|Kingwell|2009|loc=p. xi, "Introduction" by [[John Ralston Saul]]}}{{sfn|Kingwell|2009|pp=34–35}} Anthologies of Gould's writing and letters have been published, and [[Library and Archives Canada]] holds a significant portion of his papers.

In 1983, Gould was posthumously inducted into the [[Canadian Music Hall of Fame]].<ref>{{cite web|url=http://canadianmusichalloffame.ca/inductee/glenn-gould/|title=Glenn Gould|website=The Canadian Music Hall of Fame|access-date=17 February 2018|archive-date=17 February 2018|archive-url=https://web.archive.org/web/20180217082841/httpnt://canadianmusichalloffame.ca/inductee/glenn-gould/|url-status=live}}</ref> He was inducted into [[Canada's Walk of Fame]] in Toronto in 1998, and designated a [[Persons of National Historic Significance|National Historic Person]] in 2012.<ref>[http://www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=13171 Glenn Gould National Historic Person] {{Webarchive|url=https://web.archive.org/web/20131020061617/http://www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=13171 |date=20 October 2013 }}, Parks Canada, Designations of National Historic Significance, 2012</ref><ref>[http://news.gc.ca/web/article-en.do?crtr.sj1D=&crtr.mnthndVl=2&mthd=advSrch&crtr.dpt1D=68&nid=721939&crtr.lc1D=&crtr.tp1D=&crtr.yrStrtVl=2012&crtr.kw=Gould&crtr.dyStrtVl=25&crtr.aud1D=&crtr.mnthStrtVl=1&crtr.page=1&crtr.yrndVl=2014&crtr.dyndVl=23 Harper Government Celebrates Glenn Gould as National Historic Person Canadian cultural icon commemorated at plaque unveiling ceremony] {{Webarchive|url=https://web.archive.org/web/20160304121503/http://news.gc.ca/web/article-en.do?crtr.sj1D=&crtr.mnthndVl=2&mthd=advSrch&crtr.dpt1D=68&nid=721939&crtr.lc1D=&crtr.tp1D=&crtr.yrStrtVl=2012&crtr.kw=Gould&crtr.dyStrtVl=25&crtr.aud1D=&crtr.mnthStrtVl=1&crtr.page=1&crtr.yrndVl=2014&crtr.dyndVl=23 |date=4 March 2016 }}, Parks Canada news release, 21 February 2013</ref> Both his childhood home and his longtime apartment on Saint Clair Avenue West bear [[Heritage Toronto]] plaques honouring his life,<ref>https://storeys.com/toronto-home-musician-glenn-gould/
Legendary Houses: The Music Filled Homes of Glenn Gould] {{Webarchive|url=https://web.archive.org/web/20240424212917/https://storeys.com/toronto-home-musician-glenn-gould/ |date=24 April 2024 }}, Storeys.com, 25 November 2021</ref> and a federal plaque was erected next to a [[Statue of Glenn Gould|sculpture]] of him in downtown Toronto.<ref>[http://www.torontoplaques.com/Pages/Glenn_Gould4.html Glenn Gould (1932–1982)] {{Webarchive|url=https://web.archive.org/web/20160302081350/http://www.torontoplaques.com/Pages/Glenn_Gould4.html |date=2 March 2016 }}, National Historic Sites and Monuments Board marker at OntarioPlaques.com</ref> The [[Glenn Gould Studio]] at the [[Canadian Broadcasting Centre]] in Toronto was named after him. To commemorate what would have been Gould's 75th birthday, the [[Canadian Museum of Civilization]] held an exhibition, ''Glenn Gould: The Sounds of Genius'', in 2007. The multimedia exhibit was held in conjunction with Library and Archives Canada.<ref name="civilization.ca_1" />

===Glenn Gould Foundation===
{{Main|Glenn Gould Foundation}}
The [[Glenn Gould Foundation]] was established in Toronto in 1983 to honour Gould and keep alive his memory and life's work. The foundation's mission "is to extend awareness of the legacy of Glenn Gould as an extraordinary musician, communicator, and Canadian, and to advance his visionary and innovative ideas into the future", and its prime activity is the triennial awarding of the [[Glenn Gould Prize]] to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies."<ref name="newswire.ca"/> The prize consists of {{CA$|100000}} and the responsibility of awarding the {{CA$|15000}} Glenn Gould Protégé Prize to a young musician of the winner's choice.

===Glenn Gould School===
{{Main|The Glenn Gould School}}
The Royal Conservatory of Music Professional School in Toronto adopted the name [[The Glenn Gould School]] in 1997 after its most famous alumnus.<ref name="learning.rcmusic.ca"/>

==Awards==
Gould received many honours both during his lifetime and posthumously. He was awarded the 1969 [[Molson Prize]], then worth C$15,000.<ref>"Glenn Gould draws a $15,000 Molson Prize". ''The Globe and Mail'', September 10, 1968. ProQuest Historical Newspapers.</ref> In 1970, the Canadian government offered him the [[Companion of the Order of Canada]], but he declined, believing himself too young.<ref>{{cite book | url=https://books.google.com/books?id=4f_dQFXQpVkC&pg=PA210 | title=The Order of Canada: Its Origins, History, and Development | first=Christopher | last=McCreery | publisher=University of Toronto Press | year=2005 | page=210 | isbn=9780802039408 | access-date=2 November 2018 }}</ref>

===Juno Awards===
The [[Juno Awards]] are presented annually by the [[Canadian Academy of Recording Arts and Sciences]]. Gould won three, accepting one in person.<ref name="junoawards.ca">
{{cite web
 |url         = http://junoawards.ca/awards/artist-summary/?artist_name=Glenn+Gould&submit=Search
 |title       = Juno Awards Database
 |work        = junoawards.ca
 |publisher   = [[Canadian Academy of Recording Arts and Sciences]]
 |access-date  = 18 December 2011
|url-status     = dead
 |archive-url  = https://web.archive.org/web/20120531081754/http://junoawards.ca/awards/artist-summary/?artist_name=Glenn+Gould&submit=Search
 |archive-date = 31 May 2012
|df          = dmy-all
}}
</ref>
{| class="wikitable" width=100%
|-
! width=5%|Year
! width=35%| Award
! width=50%| Nominated work
! width=10%| Result
|-
|[[Juno Awards of 1979|1979]]
|[[Juno Award for Classical Album of the Year – Solo or Chamber Ensemble|Best Classical Album of the Year]]
| ''[[Paul Hindemith|Hindemith]]: Das Marienleben'' (with [[Roxolana Roslak]])
|{{won}}
|-
|[[Juno Awards of 1981|1981]]
| Best Classical Album of the Year
| ''Bach Toccatas, Vol. 2''
|{{nom}}
|-
|[[Juno Awards of 1982|1982]]
|Best Classical Album of the Year
| ''Bach: Preludes. Fughettas & Fugues''
|{{nom}}
|-
|rowspan="2"|[[Juno Awards of 1983|1983]]
|rowspan="2"|Best Classical Album of the Year
| ''[[Haydn: The Six Last Sonatas]]''
|{{nom}}
|-
| ''[[Goldberg Variations (Glenn Gould recording)|Bach: The Goldberg Variations]]''
|{{won}}
|-
|[[Juno Awards of 1984|1984]]
| Best Classical Album of the Year
| ''Brahms: Ballades Op. 10, Rhapsodies Op. 79''
|{{won}}
|}

===Grammy Awards===
The [[Grammy Awards|Grammys]] are awarded annually by the [[National Academy of Recording Arts and Sciences]]. Gould won four and, as with the Junos, accepted one in person.<ref name="grammy.com"/> In 1983 he was inducted posthumously into the [[Grammy Hall of Fame Award|Grammy Hall of Fame]] for his 1955 recording of the ''Goldberg Variations''.<ref name="grammy.org"/>

{| class="wikitable" width=100%
|-
! width=5%|Year
! width=45%| Award
! width=40%| Nominated work
! width=10%| Result
|-
|[[Grammy Awards of 1973|1973]]
|[[Grammy Award for Best Album Notes|Best Album Notes – Classical]]
|''[[Paul Hindemith|Hindemith]]: Sonatas for Piano (Complete)''
|{{won}}
|-
|rowspan="2"|[[Grammy Awards of 1982|1982]]
|[[Grammy Award for Best Classical Album|Best Classical Album]]
|''[[Bach: The Goldberg Variations (Glenn Gould album)|Bach: The Goldberg Variations]]'' (with producer Samuel H. Carter)
|{{won}}
|-
|[[Grammy Award for Best Instrumental Soloist Performance (without orchestra)|Best Instrumental Soloist Performance<br />(without orchestra)]]
|''Bach: The Goldberg Variations''
|{{won}}
|-
|[[Grammy Awards of 1983|1983]]
|[[Grammy Award for Best Instrumental Soloist Performance (without orchestra)|Best Classical Performance – Instrumental Soloist or Soloists<br />(without orchestra)]]
|''Beethoven: Piano Sonatas Nos. 12 & 13''
|{{won}}
|-
|[[Grammy Awards of 2013|2013]]
|[[Grammy Lifetime Achievement Award]]<ref>{{cite news|url=http://www.winnipegfreepress.com/arts-and-life/entertainment/music/torontos-glenn-gould-to-receive-grammy-lifetime-achievement-award-190514821.html|archive-url=https://archive.today/20130412051544/http://www.winnipegfreepress.com/arts-and-life/entertainment/music/torontos-glenn-gould-to-receive-grammy-lifetime-achievement-award-190514821.html|url-status=dead|archive-date=12 April 2013|title=Late Toronto pianist Glenn Gould receives Grammy lifetime achievement award|last=Patch|first=Nick|date=9 February 2013|work=[[Winnipeg Free Press]]|access-date=11 February 2013}}</ref>
|
|{{won}}
|-
|}

==See also==
* ''[[Gould Estate v Stoddart Publishing Co Ltd]]''
* [[List of Canadian composers]]

==References==
'''Footnotes'''
{{Reflist
| colwidth = 30em
| group = fn
| refs = <!-- to reference these notes in the article use syntax<ref name="fnW" group="fn"/> -->

<ref name="fnA">
{{harvtxt|Bazzana|2003|p=27}} states, "Gould's first name is frequently misspelled as 'Glen' in documents (including official ones) dating back to the beginning of his life, and Gould himself used both spellings interchangeably throughout his life." {{harvtxt|Bazzana|2003|p=24}} further investigated the name-change records in Ontario's Office of the Registrar General and found only a record of his father Bert's name-change to Gould in 1979 (to be able to legally marry with that name); he concludes that the family's name-change was informal and "Gould was still legally 'Glenn Herbert Gold' when he died."
</ref>

<ref name="fnB">
According to {{harvtxt|Bazzana|2003|p=24}}, "[Gould's] birth certificate gave his name as 'Gold, Glenn Herbert.' The family name had always been Gold [...] All of the documents through 1938 that survive among Gould's papers give his surname as 'Gold,' but beginning at least as early as June 1939, the family name was almost always printed 'Gould' in newspapers, programs, and other sources; the last confirmed publication of 'Gold' is in the program for a church supper and concert on 27 October 1940. The whole family adopted the new surname."
</ref>

<ref name="fnC">
Full circumstances of the name-change can be found in {{harvtxt|Bazzana|2003|pp=24–26}}.
</ref>

<ref name="fnD">
According to {{harvtxt|Bazzana|2003|p=27}}, "At least as far back as the mid-eighteenth century, there were no Jews in this particular Gold lineage."
</ref>

<ref name="fnE">
Friedrich first states that Gould performed the Beethoven Piano Sonata No. 30 (Opus 109) {{harvtxt|Friedrich|1990|p=108}} but later states that he performed the Beethoven Piano Sonata No. 31 (Opus 110) {{harvtxt|Friedrich|1990|p=354}}. {{harvtxt|Bazzana|2003|p=229}} cites Beethoven Piano Sonata No. 30 (Opus 109).
</ref>

<ref name="fnF">
{{harvtxt|Friedrich|1990|p=27}} dates this incident on the basis of a discussion with Gould's father, who is cited by Friedrich as stating that it occurred "when the boy was about ten".
</ref>

<ref name="fnG">
In their documentary film ''Glenn Gould: A Portrait'' {{harv|Till|Tovell|1985}}, Glenn Gould's father recalled that Glenn "would not come out [of his bedroom] until he memorized the whole music" [regarding one of Beethoven's piano concertos].
</ref>

<ref name="fnH">
In outtakes of the Goldberg Variations, Gould describes his practising technique by composing a drill on Variation 11, remarking that he is "still sloppy" and with his usual humour that "a little practising is in order." He is also heard practising other parts of the Goldbergs.
</ref>

<ref name="fnI">
There are two other Gould recordings of the Goldberg Variations. One is a live recording from 1954 [[CBC Records]] [http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-22T09%3A47%3A20Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=14300634&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng (PSCD 2007)]; the other is live recorded in Moscow on 7 May 1957, and in [[Salzburg]] on 25 August 1959 (Sony SRCR 9500). It is part of ''The Glenn Gould edition'' and has been re-released on CD on [[Sony Classical Records]] [http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-22T10%3A05%3A07Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=20540433&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng (SMK 52685)].
</ref>

<ref name="fnJ">Gould discusses this in the 1974 [[Bruno Monsaingeon]] film series ''Chemins de la Musique'' ''(Ways of the Music)''. His 24 part series features Gould in four of those parts: La Retraite ''(The Retreat)'', L'Alchimiste ''(The Alchemist)'', 1974, Partita No. 6 ''(Bach's Partita No 6)''.[http://www.collectionscanada.gc.ca/glenngould/028010-4030.08-f.html#b ] {{Webarchive|url=https://web.archive.org/web/20130611103146/http://www.collectionscanada.gc.ca/glenngould/028010-4030.08-f.html#b |date=11 June 2013 }} The four parts on Gould were re-released in 2002 on DVD as ''Gould: the alchemist'' {{harv|Monsaingeon|2002}}.</ref>

<ref name="fnK">
The Schubert can be seen briefly in the film ''Hereafter'' {{harv|Monsaingeon|2006}}. The transcription of Bruckner's [[Symphony No. 8 (Bruckner)|8th symphony]] Gould alludes to in an article {{harv|Gould|1987}} where he deprecates its "sheer ledger-line unplayability"; the Strauss opera playing can be seen in one of the [[Humphrey Burton]] conversations and is referred to by almost everyone who saw him play in private.
</ref>

<ref name="fnL">
{{harvtxt|Bazzana|2003|pp=352–368}} In a section, quotes Gould: "They say I'm a hypochondriac, and, of course, I am."
</ref>

<ref name="fnM">
{{harvtxt|Ostwald|1997|p=329}} specifies "No physical abnormalities were found in the kidneys, prostate, bones, joints, muscles, or other parts of the body that Glenn so often had complained about."
</ref>

<ref name="fnN">
This is discussed and can be seen in the 1959 [[National Film Board of Canada]] documentary film ''On and Off the Record'' {{harv|Koenig|Kroitor|1959a}} and {{harv|Koenig|Kroitor|1959b}}.
</ref>

<ref name="fnO">
The claim that Gould "never shook hands" is exaggerated. {{harvtxt|Friedrich|1990|p=267}} quotes [[Timothy Findley]]: "Everybody said you never touched his hands, you never try to shake hands with him, but the first thing he did to me was to offer to shake hands. He offered me his hand in a very definite way, none of this tentative, 'don't-touch-me' stuff."
</ref>

<ref name="fnP">
These include his famous "self-interview", his book review of a biography written about him (in which he refers to himself in the third person)—not to mention the various appearances of his "alter egos" in print, radio, or TV, including an "extended and rather strained radio joke show", ("Critics Callout Corner" on the ''Silver Jubilee Album'', 1980) which {{harvtxt|Kingwell|2009|p=180}} comments: "The humour is punishing... There can be no excuse for it, and the one clear lesson of the recording is that it could exist only because of the stature of its creator. Gould in effect called in twenty-five years of chits from Columbia when he got them to release this embarrassing piece of twaddle."
</ref>

<ref name="fnQ">
These comments can be found in essays in {{harvtxt|Gould|1987}}.
</ref>

<ref name="fnS">
Originally published in ''Piano Quarterly'' in 1974. Reprinted and quoted in {{harvtxt|Kingwell|2009|p=159}} and {{harvtxt|Kieser|1993}}. See [http://www.worldcat.org/oclc/44275099 Album details] at world catalogue.
</ref>

<ref name="fnT">
ATCM is Associate, Toronto Conservatory of Music. The Conservatory received its [[royal charter]] in 1947 and became [[The Royal Conservatory of Music]].
</ref>

<ref name="fnU">
Gould: "The piano was a means to an end for him, and the end was to approach Beethoven." See {{harvtxt|Tovell|1959}} 07:40 minutes in.
</ref>

<ref name="fnV">
During Gould's 1957 concert performances in Moscow, [[Vladimir Ashkenazy]] labelled him a phenomenon {{harv|Till|Tovell|1985}}. <!-- User talk:98.163.221.235: Just to be clear, it was in the main film and not in the DVD suppelentary features you may have seen? "...comments of Vladimir Ashkenazy and others." Others? I removed this as too ambiguous. Unless of course you can name names (or Ashkenazy)! Please advise on both issues. -->
</ref>

<ref name="fnX">
In a letter to cellist Virginia Katims in 1973, Gould said he had been vegetarian for about ten years (''Glenn Gould: Selected Letters'', John P. L. Roberts, Ghyslaine Guertin, 1992), but in his private notepads he wrote down some lists of foods he may have eaten, including chicken, Dover sole, roast beef and veal {{harv|Bazzana|2003|p=325}}. [[Fran's Restaurant]] in Toronto was a regular haunt; a CBC profile noted that "sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs.<!-- this is the ref but it won't work here: <ref name="archives.cbc.ca_2"/> -->
</ref>
}}

=== Citations ===

{{Reflist
| refs     =

<ref name="ahsl.arizona.edu">
{{cite web
| url         = http://www.ahsl.arizona.edu/about/ahslexhibits/musicianmedicalmaladies/musicians.cfm
| title       = Musician's Medical Maladies
| work        = ahsl.arizona.edu
| publisher   = [[Arizona health sciences library]]
| archive-url  = https://web.archive.org/web/20071230140202/http://www.ahsl.arizona.edu/about/ahslexhibits/musicianmedicalmaladies/musicians.cfm
| archive-date = 30 December 2007
| access-date  =12 March 2009
}}
</ref>

<ref name="album-notes Menuhin_p10">
{{harvnb|Stegemann|1993b|p=10}}
</ref>

<ref name="archives.cbc.ca_1">{{Cite episode
 |title          = Glenn Gould's fascination with Petula Clark (excerpt)
 |url            = http://www.cbc.ca/archives/categories/arts-entertainment/music/glenn-gould-variations-on-an-artist/goulds-fascination-with-petula-clark-excerpt.html
 |access-date    = 17 December 2011
 |series         = The Best of IDEAS
 |series-link    = Ideas (radio show)
 |credits        = Announcer: Ken Haslam, Commentator: Glenn Gould
 |station        = [[CBC Radio One]]
 |location       = Toronto
 |air-date       = 11 December 1967
 |minutes        = 4:34
 |transcript     = . <!-- necessary for link below to appear -->
 |transcript-url = http://ms.radio-canada.ca/archives_new/2002/en/wma/gould19671211er1.wma
 |archive-date   = 25 March 2013
 |archive-url    = https://web.archive.org/web/20130325062108/http://www.cbc.ca/archives/categories/arts-entertainment/music/glenn-gould-variations-on-an-artist/goulds-fascination-with-petula-clark-excerpt.html
 |url-status     = live
}}</ref>

<!-- <ref name="archives.cbc.ca_2">
{{Cite episode
 | title         = Glenn Gould: Variations on an Artist » Gould on his eccentricities » Did you know?
 | url           = http://archives.cbc.ca/IDC-1-68-320-1673/arts_entertainment/glenn_gould/
 | access-date    =12 March 2009
| series        = Assignment
 | credits       = Interviewer: Hugh Thomson
 | station       = [[CBC Radio One]]
 | location      = Toronto
 | air-date       = 15 July 1958
| transcript    = . necessary for link below to appear
 | transcript-url = http://ms.radio-canada.ca/archives_new/2002/en/wma/gould19580715er1.wma
}}
</ref> -->

<ref name="archives.cbc.ca_3">{{Cite episode
 |title          = Leonard Bernstein and Glenn Gould don't see eye to eye
 |url            = http://archives.cbc.ca/on_this_day/04/25/
 |access-date    = 23 December 2011
 |series         = CBC Radio Special
 |credits        = Announcer: James Fassett, Guest: [[Leonard Bernstein]]
 |station        = [[CBC Radio One]]
 |location       = New York
 |air-date       = 25 April 1962
 |transcript     = . <!-- necessary for link below to appear -->
 |transcript-url = http://www.cbc.ca/archives/categories/arts-entertainment/music/glenn-gould-variations-on-an-artist/bernstein-and-gould-dont-see-eye-to-eye.html
 |archive-date   = 4 April 2008
 |archive-url    = https://web.archive.org/web/20080404184519/http://archives.cbc.ca/on_this_day/04/25/
 |url-status     = live
}}</ref>

<ref name="archives.cbc.ca_4">{{cite episode
 |date         = 4 December 1959
 |title        = Gould in conversation with his friend Vincent Tovell (excerpt): A 26-year-old Gould talks about his fame
 |url          = http://ms.radio-canada.ca/archives_new/2002/en/wma/gould19501204er1.wma
 |first        = Vincent
 |last         = Tovell
 |series       = Project '60
 |publisher    = [[CBC Radio One]]
 |access-date  = 25 December 2011
 |archive-date = 25 April 2012
 |archive-url  = https://web.archive.org/web/20120425100806/http://ms.radio-canada.ca/archives_new/2002/en/wma/gould19501204er1.wma
 |url-status   = dead
}}</ref>

<ref name="archives.cbc.ca_5">{{Cite episode
 |title          = Glenn Gould is a rising star " The Story
 |url            = http://archives.cbc.ca/arts_entertainment/music/clips/1670/
 |access-date    = 25 December 2011
 |series         = CBC Newsmagazine
 |credits        = Host: Gordon Burwash
 |station        = [[CBC Television]]
 |air-date       = 23 June 1957
 |transcript     = . <!-- necessary for link below to appear -->
 |transcript-url = http://ms.radio-canada.ca/archives_new/2002/en/wmv/gould19570623et1.wmv
 |archive-date   = 22 December 2008
 |archive-url    = https://web.archive.org/web/20081222213336/http://archives.cbc.ca/arts_entertainment/music/clips/1670/
 |url-status     = live
}}</ref>

<ref name="bostonglobe.com">
{{cite news
| title       = Glenn Gould at Jordan Hall
| first       = Kevin
| last        = Kelly
| newspaper   = [[The Boston Globe]]
| date        = 22 March 1958
}}
</ref>

<!--<ref name="bostonherald.com">
{{cite news
| title       = Letter to the Editor
| newspaper   = [[Boston Herald]]
| publisher   = Patrick J. Purcell
| issn        = 0738-5854
| date        = 23 March 1958
| quote       = If I never hear Bach's ''Goldberg Variations'' again, I feel with all my heart that I have heard the ultimate, and am grateful.
}}
</ref> -->
<ref name="canadianencyclopedia.com_1">{{cite encyclopedia
 |first1          = Kevin
 |last1           = Bazzana
 |first3          = Geoffrey
 |last3           = Payzant
 |first2          = John
 |last2           = Beckwith
 |encyclopedia    = [[The Canadian Encyclopedia]]
 |url             = https://www.thecanadianencyclopedia.ca/en/article/glenn-gould
 |date            = 4 March 2015
 |title           = Glenn Gould
 |publisher       = [[Historica Canada]]
 |access-date     = 7 September 2019
 |name-list-style = amp
 |archive-date    = 13 October 2019
 |archive-url     = https://web.archive.org/web/20191013132053/https://thecanadianencyclopedia.ca/en/article/glenn-gould
 |url-status      = live
}}</ref>

<ref name="canadianencyclopedia.com_2">{{cite encyclopedia
 |url          = https://www.thecanadianencyclopedia.ca/en/article/alberto-guerrero-emc
 |title        = Alberto Guerrero
 |first        = John
 |last         = Beckwith
 |author-link  = John Beckwith (composer)
 |encyclopedia = [[Encyclopedia of Music in Canada]]
 |publisher    = Historica Canada
 |date         = 15 September 2014
 |access-date  = 7 September 2019
 |archive-date = 7 June 2019
 |archive-url  = https://web.archive.org/web/20190607210841/https://www.thecanadianencyclopedia.ca/en/article/alberto-guerrero-emc
 |url-status   = live
}}</ref>

<ref name="cbc.ca">{{cite web|url=http://www.cbc.ca/gould/timeline/ |title=Glenn Gould " The CBC Legacy " Timeline of a Musical Genius |work=cbc.ca/gould |publisher=[[Canadian Broadcasting Corporation]] |access-date=25 December 2011 |url-status=dead |archive-url=https://web.archive.org/web/20130424031039/http://www.cbc.ca/gould/timeline/ |archive-date=24 April 2013 }}</ref>

<ref name="cbc.ca_radio2"><!-- More Gould quotes are here -->
{{cite web
 |url          = http://www.cbc.ca/radio2/feature-gouldLibrary.html
 |title        = Variations on Gould
 |work         = cbc.ca/radio2
 |publisher    = [[CBC Radio 2]]
 |access-date  = 24 December 2011
 |archive-date = 7 July 2008
 |archive-url  = https://web.archive.org/web/20080707114248/http://www.cbc.ca/radio2/feature-gouldLibrary.html
 |url-status   = live
}}</ref>

<ref name="civilization.ca_1">{{cite web|url=http://www.civilization.ca/cmc/exhibitions/cmc/gould/gould05e.shtml |title=Glenn Gould: The Sounds of Genius » Credits |year=2007 |work=civilization.ca |publisher=[[Canadian Museum of Civilization]] |access-date=18 December 2011 |url-status=dead |archive-url=https://web.archive.org/web/20121114025505/http://www.civilization.ca/cmc/exhibitions/cmc/gould/gould05e.shtml |archive-date=14 November 2012 }}</ref>

<ref name="collectionscanada.gc.ca Gould (1966)">{{Cite journal
 |url          = http://www.collectionscanada.gc.ca/glenngould/028010-4020.01-e.html#d
 |title        = The Prospects of Recording – Resources – The Glenn Gould Archive
 |first        = Glenn
 |last         = Gould
 |year         = 1966
 |journal      = Collectionscanada.gc.ca
 |publisher    = [[Library and Archives Canada]]
 |location     = [[Ottawa]]
 |access-date  = 8 December 2010
 |archive-date = 20 October 2012
 |archive-url  = https://web.archive.org/web/20121020224020/http://www.collectionscanada.gc.ca/glenngould/028010-4020.01-e.html#d
 |url-status   = live
}}</ref>

<ref name="collectionscanada.gc.ca Monsaingeon (1983)">{{Cite journal
 |url          = http://www.collectionscanada.gc.ca/glenngould/028010-4020.15-e.html
 |title        = Introduction to The Last Puritan
 |first        = Monsaingeon
 |last         = Bruno
 |year         = 1983
 |journal      = Collectionscanada.gc.ca
 |publisher    = [[Library and Archives Canada]]
 |location     = [[Ottawa]]
 |access-date  = 15 December 2011
 |archive-date = 1 June 2013
 |archive-url  = https://web.archive.org/web/20130601131330/http://www.collectionscanada.gc.ca/glenngould/028010-4020.15-e.html
 |url-status   = live
}}</ref>

<ref name="grammy.com">
{{cite web
| url         = http://www.grammy.com/nominees/search?artist=Glenn+Gould&title=&year=All&genre=All
| title       = Home Past " Winners Search
| work        = www.grammy.org
| publisher   = [[National Academy of Recording Arts and Sciences]]
| access-date  =18 December 2011
}}
</ref>

<ref name="grammy.org">{{cite web
 |url          = http://www.grammy.org/recording-academy/awards/hall-of-fame#g
 |title        = Home " The Recording Academy " The GRAMMY Awards " GRAMMY Hall of Fame
 |work         = www.grammy.org
 |publisher    = [[National Academy of Recording Arts and Sciences]]
 |access-date  = 19 December 2011
 |archive-date = 22 January 2011
 |archive-url  = https://web.archive.org/web/20110122042616/http://www.grammy.org/recording-academy/awards/hall-of-fame#g
 |url-status   = dead
}}</ref>

<ref name="learning.rcmusic.ca">
{{cite web
 |url         = http://learning.rcmusic.ca/glenn-gould-school/about-glenn-gould-school/key-facts-and-history
 |title       = The Glenn Gould School " Key Facts and History
 |year        = 1997
 |work        = learning.rcmusic.ca
 |publisher   = [[Royal Conservatory of Music]]
 |access-date  = 20 December 2011
|url-status     = dead
 |archive-url  = https://web.archive.org/web/20120426062549/http://learning.rcmusic.ca/glenn-gould-school/about-glenn-gould-school/key-facts-and-history
 |archive-date = 26 April 2012
|df          = dmy-all
}}
</ref>

<ref name="newswire.ca">{{cite press release
 |publisher    = Aerial Communications Group
 |date         = 14 February 2008
 |work         = newswire.ca
 |title        = Dr. José Antonio Abreu Awarded Coveted 2008 Glenn Gould Prize
 |url          = http://www.newswire.ca/en/story/377803/dr-jose-antonio-abreu-awarded-coveted-2008-glenn-gould-prize
 |access-date  = 18 December 2011
 |archive-date = 14 November 2012
 |archive-url  = https://web.archive.org/web/20121114025512/http://www.newswire.ca/en/story/377803/dr-jose-antonio-abreu-awarded-coveted-2008-glenn-gould-prize
 |url-status   = dead
}}</ref>

<ref name="npr.org_Goldberg Variations">{{cite web|url=https://www.npr.org/templates/story/story.php?storyId=1967623 |title=The Variations of Glenn Gould: Legendary, Eccentric Pianist Launched His Career by Playing Bach |work=www.npr.org |publisher=[[National Public Radio]] |access-date=24 December 2011 |url-status=dead |archive-url=https://web.archive.org/web/20111129073423/http://www.npr.org/templates/story/story.php?storyId=1967623 |archive-date=29 November 2011 }}</ref>

<ref name="nytimes.com_May 29, 1988">{{cite news
 |title        = Ottawa; An Exhibition of Glenn Gould Memorabilia Sheds A Little Light on A Musical Enigma
 |first        = John F.
 |last         = Burns
 |author-link  = John F. Burns
 |url          = https://www.nytimes.com/1988/05/29/arts/ottawa-exhibition-glenn-gould-memorabilia-sheds-little-light-musical-enigma.html
 |newspaper    = [[The New York Times]]
 |date         = 29 May 1988
 |access-date  = 18 December 2011
 |archive-date = 14 June 2013
 |archive-url  = https://web.archive.org/web/20130614031257/http://www.nytimes.com/1988/05/29/arts/ottawa-exhibition-glenn-gould-memorabilia-sheds-little-light-musical-enigma.html
 |url-status   = live
}}</ref>

<ref name="nytimes.com_September 1, 2002">{{cite news
 |title        = Two faces of a pianist who had many
 |first        = Anthony
 |last         = Tommasini
 |author-link  = Anthony Tommasini
 |url          = https://www.nytimes.com/2002/09/01/arts/music-recordings-two-faces-of-a-pianist-who-had-many.html
 |newspaper    = [[The New York Times]]
 |date         = 1 September 2002
 |page         = AR20
 |access-date  = 22 December 2011
 |volume       = 151
 |archive-date = 27 May 2015
 |archive-url  = https://web.archive.org/web/20150527202034/http://www.nytimes.com/2002/09/01/arts/music-recordings-two-faces-of-a-pianist-who-had-many.html
 |url-status   = live
}}</ref>

<!--<ref name="nytimes.com_November 24, 2007">
{{cite news
| title       = The Continuing Cult of Glenn Gould, Deserved or Not
| first       = Bernard
| last        = Holland
| author-link  = Bernard Holland
| url         = https://www.nytimes.com/2007/11/24/arts/music/24goul.html
| newspaper   = [[The New York Times]]
| date        = 24 November 2007
| page        = B7
| access-date  =22 December 2011
| volume      = 157
| issue       = 54138
}}
</ref> -->

<ref name="nytimes.com_April 07, 1962">{{cite news
 |title        = Music: Inner Voices of Glenn Gould; Pianist Plays Them in Addition to Brahms Bernstein Speech Hits at the Interpretation (article abstract)
 |first        = Harold C.
 |last         = Schonberg
 |author-link  = Harold C. Schonberg
 |url          = http://select.nytimes.com/gst/abstract.html?res=FA0F1FFC395D117B93C5A9178FD85F468685F9
 |newspaper    = [[The New York Times]]
 |date         = 7 April 1962
 |page         = 17
 |access-date  = 23 December 2011
 |archive-date = 14 November 2012
 |archive-url  = https://web.archive.org/web/20121114025508/http://select.nytimes.com/gst/abstract.html?res=FA0F1FFC395D117B93C5A9178FD85F468685F9
 |url-status   = live
}}</ref>

<ref name="pianoandkeyboard.com">
{{cite news
| title       = Of Mozart and Related Matters. Glenn Gould in Conversation with Bruno Monsaingeon
| magazine    = The Piano Quarterly
| publisher   = The String Letter Press
| location    = [[San Anselmo]]
| issn        = 0031-9554
| date        =Fall 1976
| page        = 33
}}
Reprinted in 1990. See also {{harvtxt|Ostwald|1997|p=249}}.
</ref>

<!--<ref name="record.com">
{{cite news
| title       = Glenn Gould school breeds world-class professionals
| first       = Andrew
| last        = Flynn
| newspaper   = [[Waterloo Region Record]]
| location    = [[Kitchener, Ontario|Kitchener]]
| issn        = 0824-5150
| date        = 27 August 1998
| page        = D15 Entertainment
| access-date  =20 December 2011
}}
</ref> -->

<ref name="star.com (2007)">{{cite news
 |title        = The secret life of Glenn Gould
 |first        = Michael
 |last         = Clarkson
 |url          = https://www.thestar.com/article/249787
 |newspaper    = [[Toronto Star]]
 |oclc         = 679765547
 |issn         = <!-- do not use this number 0319-0781 it points to a different periodical -->
 |date         = 25 August 2007
 |access-date  = 29 May 2009
 |archive-date = 16 October 2012
 |archive-url  = https://web.archive.org/web/20121016043517/http://www.thestar.com/article/249787
 |url-status   = live
}}</ref>

<ref name="voyager.jpl.nasa.gov">{{cite web
 |url          = http://voyager.jpl.nasa.gov/spacecraft/music.html
 |title        = Voyager&nbsp;– Music From Earth
 |date         = 20 August 1977
 |work         = voyager.jpl.nasa.gov
 |publisher    = [[Jet Propulsion Laboratory]]
 |access-date  = 12 March 2009
 |archive-date = 20 July 2013
 |archive-url  = https://web.archive.org/web/20130720053223/http://voyager.jpl.nasa.gov/spacecraft/music.html
 |url-status   = live
}}</ref>

}}

=== Bibliography ===
==== Books ==== <!-- {{cite book}} only -->
*{{cite book
|last           = Bazzana
|first          = Kevin
|author-link    = Kevin Bazzana
|title          = Glenn Gould: The Performer in the Work: A Study in Performance Practice 
|publisher      = Clarendon Press 
|location       = Oxford
|year           = 1997
|isbn           = 0198166567
}}
*{{cite book
|last           = Bazzana
|first          = Kevin
|title          = Wondrous Strange: The Life and Art of Glenn Gould
|url            = https://books.google.com/books?id=Fj_c-WF9sBIC
|publisher      = McClelland & Stewart
|location       = Toronto
|year           = 2003
|isbn           = 978-0-7710-1101-6
}}
*{{cite book
 |last         = Friedrich
 |first        = Otto
 |author-link  = Otto Friedrich
 |title        = Glenn Gould: A Life and Variations
 |url          = https://books.google.com/books?id=ZJoQAQAAMAAJ
 |publisher    = Random House
 |location     = New York
 |year         = 1990
 |orig-date    = 1989
 |isbn         = 978-0-679-73207-5
 |access-date  = 23 September 2016
 |archive-date = 4 September 2023
 |archive-url  = https://web.archive.org/web/20230904190921/https://books.google.com/books?id=ZJoQAQAAMAAJ
 |url-status   = live
}}
*{{cite book
|last           = Goddard
|first          = Peter
|title          = The Great Gould
|publisher      = Dundurn
|location       = Toronto
|year           = 2017
|isbn           = 978-1-4597-3309-1
}}
*{{cite book
 |last1         = Gould
 |first1        = Glenn
 |editor1-last  = Page
 |editor1-first = Tim
 |title         = The Glenn Gould Reader
 |url           = https://books.google.com/books?id=r2qzQgAACAAJ
 |year          = 1987
 |publisher     = Faber and Faber
 |location      = Boston
 |isbn          = 0-571-14852-2
 |access-date   = 23 September 2016
 |archive-date  = 4 September 2023
 |archive-url   = https://web.archive.org/web/20230904190916/https://books.google.com/books?id=r2qzQgAACAAJ
 |url-status    = live
}}
*{{cite book
 |first        = Glenn
 |last         = Gould
 |author-mask  = 1
 |others       = Contributing author Roberts
 |editor-last  = Roberts
 |editor-first = John Peter Lee
 |title        = The Art of Glenn Gould: Reflections of a Musical Genius
 |url          = https://books.google.com/books?id=EdxpQgAACAAJ
 |year         = 1999
 |publisher    = Malcolm Lester Books
 |location     = Toronto
 |isbn         = 978-1-894121-28-6
 |access-date  = 23 September 2016
 |archive-date = 4 September 2023
 |archive-url  = https://web.archive.org/web/20230904190922/https://books.google.com/books?id=EdxpQgAACAAJ
 |url-status   = live
}}
*{{cite book
 |last         = Hafner
 |first        = Katie
 |author-link  = Katie Hafner
 |title        = A Romance on Three Legs: Glenn Gould's Obsessive Quest for the Perfect Piano
 |url          = https://books.google.com/books?id=m25e7t4efpgC
 |publisher    = McClelland & Stewart
 |location     = Toronto
 |year         = 2009
 |isbn         = 978-0-7710-3762-7
 |access-date  = 23 September 2016
 |archive-date = 4 September 2023
 |archive-url  = https://web.archive.org/web/20230904190918/https://books.google.com/books?id=m25e7t4efpgC
 |url-status   = live
}}
*{{cite book
 |last         = Kingwell
 |first        = Mark
 |author-link  = Mark Kingwell
 |series       = Extraordinary Canadians
 |title        = Glenn Gould
 |url          = https://books.google.com/books?id=Er3x5AALbMkC
 |publisher    = Penguin Canada
 |location     = Toronto
 |year         = 2009
 |isbn         = 978-0-670-06850-0
 |access-date  = 23 September 2016
 |archive-date = 4 September 2023
 |archive-url  = https://web.archive.org/web/20230904190912/https://books.google.com/books?id=Er3x5AALbMkC
 |url-status   = live
}}
*{{cite book
 |last         = Ostwald
 |first        = Peter F.
 |title        = Glenn Gould: The Ecstasy and Tragedy of Genius
 |url          = https://books.google.com/books?id=V0YCotrV9NAC
 |year         = 1997
 |publisher    = W. W. Norton
 |location     = New York
 |isbn         = 978-0-393-04077-7
 |access-date  = 23 September 2016
 |archive-date = 4 September 2023
 |archive-url  = https://web.archive.org/web/20230904190915/https://books.google.com/books?id=V0YCotrV9NAC
 |url-status   = live
}}
*{{cite book
 |last         = Payzant
 |first        = Geoffrey
 |title        = Glenn Gould: Music & Mind
 |url          = https://books.google.com/books?id=YPCcXr7tFVoC
 |publisher    = Van Nostrand Reinhold
 |location     = Toronto; London
 |year         = 1978
 |isbn         = 0-442-29802-1
 |access-date  = 23 September 2016
 |archive-date = 21 September 2022
 |archive-url  = https://web.archive.org/web/20220921055826/https://books.google.com/books?id=YPCcXr7tFVoC
 |url-status   = live
}}

==== Multimedia sources ==== <!--Section for full-length radio/TV/film sources-->
*{{cite AV media notes
|title          = The Glenn Gould Edition Richard Strauss: Ophelia-Lieder: Three Songs after Shakespeare, Op. 67; Enoch Arden: A Melodrama for Piano after Tennyson, Op.38; Piano Sonata, Op. 5; Five Piano Pieces, Op. 3
|others         = Glenn Gould & [[Claude Rains]] & [[Elisabeth Schwarzkopf]]<!--Please wikilink if the citation is being used on a page that is not the artist or band's article. -->
|year           = 1992
|url            = http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-27T08%3A15%3A46Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=12663008&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng <!-- TITLE OF RECORDING FROM (no notes):  https://www.amazon.com/Richard-Strauss-Ophelia-Lieder-Shakespeare-Melodrama/dp/B0000028O4/ -->
|first          = Glenn
|last           = Gould
|type         = Booklet
|publisher      = [[Sony Classical Records]]
|location       = New York City
|asin           = B0000028O4
}}
*{{cite AV media notes
|title          = Glenn Gould Bach: original CBC broadcasts
|others         = Glenn Gould <!--Please wikilink if the citation is being used on a page that is not the artist or band's article. -->
|year           = 1993
|first          = Karen
|last           = Kieser
|type           = Booklet
|publisher      = [[CBC Records]]
|location       = Toronto
|oclc           = 609984589
}}
*{{cite video
 |first           = Wolf
 |last            = Koenig
 |author-link     = Wolf Koenig
 |first2          = Roman
 |last2           = Kroitor
 |author2-link    = Roman Kroitor
 |year            = 1959a
 |title           = Glenn Gould: Off the Record
 |url             = http://www.nfb.ca/film/glenn_gould_off_record/
 |medium          = Documentary film. Originally produced in 1959 for the television program [[Documentary '60]]
 |publisher       = [[National Film Board of Canada]]; [[Image Entertainment]] (Distributor)
 |location        = Montreal
 |access-date     = 30 January 2013
 |oclc            = 130741039
 |name-list-style = amp
 |archive-date    = 23 September 2013
 |archive-url     = https://web.archive.org/web/20130923063243/http://www.nfb.ca/film/glenn_gould_off_record/
 |url-status      = live
}}
*{{cite video
 |first           = Wolf
 |last            = Koenig
 |author-link     = Wolf Koenig
 |first2          = Roman
 |last2           = Kroitor
 |author2-link    = Roman Kroitor
 |year            = 1959b
 |title           = Glenn Gould: On the Record
 |url             = http://www.nfb.ca/film/glenn_gould_on_record/
 |medium          = Documentary film. Originally produced in 1959 for the television program [[Documentary '60]]
 |publisher       = [[National Film Board of Canada]]; [[Image Entertainment]] (Distributor)
 |location        = Montreal
 |access-date     = 30 January 2013
 |oclc            = 130741039
 |name-list-style = amp
 |archive-date    = 23 September 2013
 |archive-url     = https://web.archive.org/web/20130923052957/http://www.nfb.ca/film/glenn_gould_on_record/
 |url-status      = live
}}
*{{cite video
|first          = Bruno
|last           = Monsaingeon
|author-link    = Bruno Monsaingeon
|year           = 2002
|title          = Glenn Gould: the alchemist
|url            = http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T04%3A18%3A53Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=28403434&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng
|medium         = DVD
|language       = en, fr, de, es
|publisher      = [[Office de Radiodiffusion Télévision Française|ORTF]]; [[EMI Classics]] (Distributor)
|access-date    = 23 December 2011
|oclc           = 52719241
}}
*{{cite video
|first          = Bruno
|last           = Monsaingeon
|author-mask    = 1
|author-link    = Bruno Monsaingeon
|year           = 2006
|orig-date      = 2005
|title          = Glenn Gould: Au delà du temps
|url            = http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T06%3A58%3A13Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=33384632&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng
|medium         = DVD. Original release 2005
|language       = en, it, ru, fr, de, es, ja
|trans-title=Glenn Gould: hereafter
|publisher      = Idéale Audience and Rhombus Media
|location       = Paris
|access-date     =23 December 2011
|oclc           = 612160794
}}
*{{cite AV media notes
|title          = Bach: Partitas BWV 825–830; Preludes and Fugues
|others         = Glenn Gould <!--Please wikilink if the citation is being used on a page that is not the artist or band's article. -->
|year           = 1993a
|url            = <!-- Author of notes & album name from: http://www.allmusic.com/album/bach-partitas-bwv-825-830-preludes-and-fugues-w133063/credits/credits-asc -->
|first          = Michael
|last           = Stegemann
|type           = Booklet
|publisher      = [[Sony Classical Records]]
|oclc           = 222101706
}}
*{{cite AV media notes
|title          = Gould Meets Menuhin: Bach · Beethoven · Schoenberg
|series         = The Glenn Gould Edition
|others         = Glenn Gould & [[Yehudi Menuhin]]<!--Please wikilink if the citation is being used on a page that is not the artist or band's article. -->; English translation: Stewart Spencer
|year           = 1993b
|url            = <!-- Author of notes from: http://www.worldcat.org/title/gould-meets-menuhin/oclc/30923019 -->
|first          = Michael
|last           = Stegemann
|author-mask     = 1 <!-- as at 27 December 2011 this template ignores this field -->
|type         = Front cover booklet
|publisher      = [[Sony Classical Records]]
|oclc           = 30923019
}}
*{{cite video
| people        = Till, Eric (Producer / Director / Narrator) & Tovell, Vincent (Producer / Director / Narrator)
|editor-last    = Evans
|editor-first   = Wayne
|year           = 1985
|orig-date       = First published as Documentary film in 1985
|title          = Glenn Gould: A Portrait
|url            = http://collectionscanada.gc.ca/ourl/res.php?url_ver=Z39.88-2004&url_tim=2011-12-23T01%3A27%3A55Z&url_ctx_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Actx&rft_dat=23396582&rfr_id=info%3Asid%2Fcollectionscanada.gc.ca%3Aamicus&lang=eng
|medium         = VHS Videotape released 22 October 1991
|publisher      = [[CBC Enterprises]]; [[Kultur International Films]] (Distributor)
|location       = West Long Branch
|access-date     =23 December 2011
|oclc           = 22897163
|ref            = {{harvid|Till|Tovell|1985}}
}}

==External links==
{{Wikiquote}}
{{Commons category|Glenn Gould}}
* {{Official website|https://glenngould.com/}}
* [https://www.sonyclassical.com/artists/artist-products/glenn-gould?page=1 Glenn Gould at Sony Classical] {{Webarchive|url=https://web.archive.org/web/20230904191249/https://www.sonyclassical.com/artists/artist-products/glenn-gould?page=1 |date=4 September 2023 }}
* [https://glenngould.ca The Glenn Gould Foundation] {{Webarchive|url=https://web.archive.org/web/20230707041736/https://www.glenngould.ca/ |date=7 July 2023 }}
* [https://www.collectionscanada.gc.ca/glenngould/028010-3000-e.html The Glenn Gould Archive] {{Webarchive|url=https://web.archive.org/web/20180726110922/https://www.collectionscanada.gc.ca/glenngould/028010-3000-e.html |date=26 July 2018 }} at Library and Archives Canada
* {{discogs artist|Glenn Gould}}
* {{imdb name|0332384}}
* [https://www.thecanadianencyclopedia.ca/en/article/glenn-gould Article at thecanadianencyclopedia.ca]

{{Glenn Gould}}
{{Canadian Music Hall of Fame}}
{{Grammy Lifetime Achievement Award}}
{{Gramophone Hall of Fame}}
{{Voyager Golden Record}} 
{{Portal bar|Biography|Classical music|Canada}}
{{Authority control}}

{{DEFAULTSORT:Gould, Glenn}}
[[Category:Glenn Gould| ]]
[[Category:1932 births]]
[[Category:1982 deaths]]
[[Category:20th-century Canadian conductors (music)]]
[[Category:20th-century Canadian male musicians]]
[[Category:20th-century Canadian classical composers]]
[[Category:20th-century Canadian classical pianists]]
[[Category:Bach musicians]]
[[Category:Burials at Mount Pleasant Cemetery, Toronto]]
[[Category:Canadian conductors (music)]]
[[Category:Canadian male classical composers]]
[[Category:Canadian Music Hall of Fame inductees]]
[[Category:Canadian people of English descent]]
[[Category:Canadian people of Norwegian descent]]
[[Category:Canadian people of Scottish descent]]
[[Category:Grammy Award winners]]
[[Category:Grammy Lifetime Achievement Award winners]]
[[Category:Juno Award for Classical Album of the Year – Solo or Chamber Ensemble winners]]
[[Category:Canadian male classical pianists]]
[[Category:Canadian male conductors (music)]]
[[Category:Musicians from Toronto]]
[[Category:Musicians with dystonia]]
[[Category:Persons of National Historic Significance (Canada)]]
[[Category:Sony Classical Records artists]]
[[Category:The Royal Conservatory of Music alumni]]