PRINT Summer 1987


IN 1964, STILL YOUNG at age 32, the internationally acclaimed Canadian pianist Glenn Gould suddenly abandoned the performance of public concerts, preferring to communicate with audiences through recordings rather than in person. Gould felt that recording technology and the mass media offered unrealized possibilities for musicians and artists concerned with sound, and he devoted the rest of his life—he died in 1982—to exploring them. Many of his records, for example, are in fact montages rather than unbroken documents of his playing; experimenting with a procedure that is now standard recording-studio practice, he would edit fragments of a number of taped performances into a continuous piece of music.

Less widely known than Gould’s interpretations of the classical repertoire of the piano are a series of radio programs he made for the Canadian Broadcasting Company. Radio was in fact a favorite

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