It was an extraordinarily heady time in Toronto, with a flourishing literary scene, artistic collectives such as Painters Eleven, and a flood of new composers in from Europe, such as Oskar Morawetz, putting Canadian composition “at the cross-roads,” as Gould recognized at the time. The possibility of being part of such an overlay of media and art production, of controlling it to some degree, of being controlled by it, or a bit of both — and maybe the buzz that comes with the hair-raising sexiness of it all — contributes to the sense of pleasure exuded by most of Gould’s TV appearances.
April 13, 1956: Opening Video
GRAPHIC: People of the moment against the background of their lives
Joe McCulley: And now, another guest with decided views. A pianist … Glenn Gould, who, at the age of fourteen, made a solo appearance with the Toronto Symphony Orchestra. Now twenty-three, he’s just received international acclaim on the release of a single recording … Bach’s Goldberg Variations. Many critics have referred to him as the most astonishing and promising young pianist on the continent.
MUSIC ENDS
McCulley: Good evening, Glenn.
Gould: Good evening, Mr. McCulley.
McCulley: What were you playing just now?
Gould: [Tells him and explains that he’s rehearsing it for a new recording in New York.]
McCulley: Glenn, in the last few months you’ve received a lot of attention in Life magazine and various other publications. What are your comments about all this publicity?
Gould: [Replies that he finds it flattering; also that he is glad to say he was first noticed in his own country. Mentions the overplaying of his eccentricities by the press.]
McCulley: What eccentricities, Glenn?
Gould: [Mentions his need to stay warm and his precautions against cold studios.]
McCulley: Following the success of the Goldberg Variations recordings, what have you done apart from your concert work?
Gould: [Replies he has written a quartet to be performed at Stratford, his future as a composer, etc.]
Gould never looked happier than in the interviews he gave CBC producer Franz Kraemer in 1959 for Glenn Gould: Off the Record and Glenn Gould: On the Record. The settings for each were to his liking, particularly his family’s Uptergrove cottage, with his beloved Chickering piano close at hand, which allowed him to turn around dramatically and play a sparkling atonal passage to prove a point. The many water and landscape shots in the cottage sequences are used to underline Gould’s need to get away. But this was cottage country, with boats buzzing by and city executives rushing up on Friday afternoons for the first Scotch, neat. Gould was connected with the city as much as ever.
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