Rating: 
Summary: A well balanced, definitive biography
Review: After having started his career with meticulous analyses of Glenn Gould's musical interpretations, Bazzana immersed himself in all available resources to write the oracle of Toronto's definitive biography. After the previous biographies by Friedrich and Ostwald and all the articles that have appeared on Gould, much of the material in this book has limited novelty value, yet thanks to the depth of the writer's research, the detailed context he provides of the environment in which the young pianist grew up, and the balanced view of Gould the man and the performer, this biography deserves the "definitive" stamp.Starting the book with the flight that Gould's fame has taken after his death and the almost pathological admiration among some of the fans, Bazzana puts down the fundament for this biography by detailing the political and social climate of Toronto in the late 1930s. He really does a great job in bringing the sheltered surroundings in which Gould grew up to life, shatters myths over his heritage and does not play up the friction in the relationship between Glenn and his father that others have explored. Gould was both a "high tech" performer/recording artist and a true romantic. Bazzana delves into this dichotomy by analyzing Glenn's admiration for the odd couple Schoenberg / Richard Strauss. He hits a lot of right notes here, as he does later in unflattering, yet fair analysis of Gould's best known composition, the string quartet opus one, which was clearly influenced by Arnold and Richard. With an intermission chapter of Gould the man, this book follows the world's most articulate keyboard player throughout his career until his untimely death. A great strength of the book is its balanced treatment of the "hero". Both fans and critics get their say, and many details of eccentricities that have so much been the focus of previous publications are either put in proper context or just completely debunked. Even almost 22 years after his death Gould is still among his labels best selling artists and has become the most important pianist of the twentieth century. This book shows that this success was based on a lot of method and very little madness. A must for everyone interested in a visionary artist.
Rating:
Summary: An Enigmatic Genius, Understood a Lot Better
Review: Among the classical musicians of the twentieth century, there was none with as eager a fan base as Glenn Gould. The fans have not diminished in number since Gould's death at age fifty in 1982. Gould was a consummate musician who brought light to neglected but important works, but he was also an oddball who adored the Mary Tyler Moore Show, (...), popped dozens of pills every day to help him over imaginary illnesses, and refused to come out of self-imposed isolation to play a recital for a million-dollar fee. There has been an authorized biography of Gould before, but now _Wondrous Strange: The Life and Art of Glenn Gould_ (Oxford University Press) by Kevin Bazzana must be the one for all fans to have. Bazzana is the editor of nothing less than GlennGould magazine, and has written a previous book about Gould's musicianship. He brings helpful light on such topics as the influence of Gould's one piano teacher and his love of Canada and his home town Toronto. He is especially helpful in illuminating Gould's early life. Gould's parents were conservative, strict Protestants who stressed propriety as he was growing up in Toronto's Beach district. They had to make sure he did not practice too much (not too little, like most parents of young musicians) and learned that the strictest punishment they ever needed to enforce was locking up the piano. He remained close to them all his life, only moving out of their home when his parents were elderly in 1959. He knew he was going to be a classical pianist from age around five. He loved his neighborhood and the people who knew he was freakish or famous, but treated him as if he were just an unusual guy. He hated performing and touring. Even so, his performances were regarded by many as high points in their lives as listeners. Among the many stories told here is that of his first Russian concert, in Moscow. The auditorium was only a third full, but at intermission, concertgoers hurriedly called their friends to tell them what was going on. There was a small riot for tickets for the second half of the show. It was the recording studio to which he was devoted and to which he retired from his hated performing. His premiere recording of Bach's Goldberg Variations in 1955 brought to attention a piece that had only rarely been performed or recorded before, being thought too difficult and rarefied. The recording was a sensation, and remains one of the bestselling classical discs of all time. (It ought to be; there is no better join of dazzling technique, speedy fingers, and loving intimacy with the music.) He liked working with the technicians who helped record his performances, and had good humor in the sessions, but it was him in front of the microphone, in the isolation he preferred; he wrote, "Isolation is the one sure way to human happiness." Bazzana relishes the multiple enigmas that Gould presents, and this one is surely key: Gould isolated himself right into millions of homes, where it was obvious he communicated something important. Today, worshipful listeners, some of whom were not alive when he was, make pilgrimages to see his home sites, and his rickety old chair which he used whenever he played. He said that the purpose of art is "... the gradual, lifelong construction of a state of wonder and serenity." If that is the purpose of art, he would have admired this graceful, readable, big biography that underscores the full complexity of a monumentally enigmatic artist.
Rating:
Summary: An Enigmatic Genius, Understood a Lot Better
Review: Among the classical musicians of the twentieth century, there was none with as eager a fan base as Glenn Gould. The fans have not diminished in number since Gould's death at age fifty in 1982. Gould was a consummate musician who brought light to neglected but important works, but he was also an oddball who adored the Mary Tyler Moore Show, (...), popped dozens of pills every day to help him over imaginary illnesses, and refused to come out of self-imposed isolation to play a recital for a million-dollar fee. There has been an authorized biography of Gould before, but now _Wondrous Strange: The Life and Art of Glenn Gould_ (Oxford University Press) by Kevin Bazzana must be the one for all fans to have. Bazzana is the editor of nothing less than GlennGould magazine, and has written a previous book about Gould's musicianship. He brings helpful light on such topics as the influence of Gould's one piano teacher and his love of Canada and his home town Toronto. He is especially helpful in illuminating Gould's early life. Gould's parents were conservative, strict Protestants who stressed propriety as he was growing up in Toronto's Beach district. They had to make sure he did not practice too much (not too little, like most parents of young musicians) and learned that the strictest punishment they ever needed to enforce was locking up the piano. He remained close to them all his life, only moving out of their home when his parents were elderly in 1959. He knew he was going to be a classical pianist from age around five. He loved his neighborhood and the people who knew he was freakish or famous, but treated him as if he were just an unusual guy. He hated performing and touring. Even so, his performances were regarded by many as high points in their lives as listeners. Among the many stories told here is that of his first Russian concert, in Moscow. The auditorium was only a third full, but at intermission, concertgoers hurriedly called their friends to tell them what was going on. There was a small riot for tickets for the second half of the show. It was the recording studio to which he was devoted and to which he retired from his hated performing. His premiere recording of Bach's Goldberg Variations in 1955 brought to attention a piece that had only rarely been performed or recorded before, being thought too difficult and rarefied. The recording was a sensation, and remains one of the bestselling classical discs of all time. (It ought to be; there is no better join of dazzling technique, speedy fingers, and loving intimacy with the music.) He liked working with the technicians who helped record his performances, and had good humor in the sessions, but it was him in front of the microphone, in the isolation he preferred; he wrote, "Isolation is the one sure way to human happiness." Bazzana relishes the multiple enigmas that Gould presents, and this one is surely key: Gould isolated himself right into millions of homes, where it was obvious he communicated something important. Today, worshipful listeners, some of whom were not alive when he was, make pilgrimages to see his home sites, and his rickety old chair which he used whenever he played. He said that the purpose of art is "... the gradual, lifelong construction of a state of wonder and serenity." If that is the purpose of art, he would have admired this graceful, readable, big biography that underscores the full complexity of a monumentally enigmatic artist.
Rating: 
Summary: Fine read, has some holes
Review: Bananza failed to include my favourite story about Glenn Gould, and of the time he put on a cravat only to have it severed by Leonard Bernstein's sword during the latters antics one evening at Carnegie Hall. I can only speculate that Kevin Bananza withheld this anecdote because of how cravats have fallen into desuetude these last few years.
Rating:
Summary: The Title says it all
Review: Born in 1932 in Toronto, Ontario, Glenn Gould is surely one of the most enigmatic and celebrated musicians of our time. According to biographer Kevin Bazzana, it's almost as if Gould's gifts were too many for one man to pursue.
Bazzana has spent some two decades studying his elusive subject. Given free rein to explore Gould's papers and granted interviews by any number of the artist's friends and colleagues who were once reluctant to speak, the author is able to shed light on many questions that have piqued the interest of Gould fans. We are privy to much of his family history (the original family name was Gold), and the health problems that plagued him. Precocious? Yes, indeed. Readers learn that at the estimable age of 3 his talents were obvious. Perfect pitch was but one of them. As a child he was publicly performing on both piano and organ. His musical education was completed in Canada, and although known throughout Canada he did not make his American debut until 1955. His programs were unorthodox and his behavior on stage often very odd. To say Gould was an iconoclast is an understatement, but such a talented one. He was also an industrious writer, and later in life began conducting. It was in 1964 that Gould deserted the concert stage to perform solely for records, radio, television, and film. His last recording was made in 1982, the year that he died. Like some before him Gould's fame has grown since his death. Today many visit Toronto, paying their respects to a man who is arguably one of the greatest contemporary musicians. - Gail Cooke
Rating: 
Summary: AN ENIGMATIC GENIUS
Review: Born in 1932 in Toronto, Ontario, Glenn Gould is surely one of the most enigmatic and celebrated musicians of our time. According to biographer Kevin Bazzana, it's almost as if Gould's gifts were too many for one man to pursue.
Bazzana has spent some two decades studying his elusive subject. Given free rein to explore Gould's papers and granted interviews by any number of the artist's friends and colleagues who were once reluctant to speak, the author is able to shed light on many questions that have piqued the interest of Gould fans. We are privy to much of his family history (the original family name was Gold), and the health problems that plagued him. Precocious? Yes, indeed. Readers learn that at the estimable age of 3 his talents were obvious. Perfect pitch was but one of them. As a child he was publicly performing on both piano and organ. His musical education was completed in Canada, and although known throughout Canada he did not make his American debut until 1955. His programs were unorthodox and his behavior on stage often very odd. To say Gould was an iconoclast is an understatement, but such a talented one. He was also an industrious writer, and later in life began conducting. It was in 1964 that Gould deserted the concert stage to perform solely for records, radio, television, and film. His last recording was made in 1982, the year that he died. Like some before him Gould's fame has grown since his death. Today many visit Toronto, paying their respects to a man who is arguably one of the greatest contemporary musicians. - Gail Cooke
Rating:
Summary: First, set his fans straight, then write a good bio
Review: Given the fact that this biography begins by addressing what Gould was not and how his fans are so often wrong, it's a terrific biography, better than most. It gives us a Gould that likely is close to his own reality, stripped of the myths and fanorama that grew up around him. I've no musical expertise nor know much about Gould (other than loving his recordings) so I can't say much yae or nae but I did very much enjoy reading this insightful, detailed tome.
Rating:
Summary: The Title says it all
Review: His music was wondrous, beautiful, and moving. His behaviour was very strange, off and on stage.
He hated performing, once turning down a million-dollar fee for a recital, but he did perform in his early years; they were bizarre, sometimes difficult to watch, but so wonderful to hear.
One the many stories Bazzana relates is of Gould's first Russian concert. The auditorium was only a third full, but at intermission, concertgoers hurriedly called their friends telling them of the incredible performance. There was a small riot for tickets for the second half of the show.
Later in his career he turned exclusive to the recording studio; bringing us some of the best selling and rarely played classical pieces ever produced.
Kevin Bazzana gives us an in-depth, very personal look at the genius that was Glenn Gould.
The Thursday File
Rating:
Summary: Extraordinary Bio...Very Accessible, Very Intelligent...
Review: I've been perusing this book every chance I get at Borders. I can't wait to buy it! This has got to be hands-down the best bio on Gould you can read. And it is remarkably accessible. I'm no musician so hate it when writers go off on tangents describing a certain "contrapuntal line in 3/10 time over a 2/8...etc, etc", but this book is nothing of the kind. Anyone can come to it and enjoy it for what it is -- a candid, in-depth, and intelligent portrait of a genius. Also, full of revealing photographs. A must-buy for any music-lover, Classical or not, doesn't matter. Gould is indispensable and I agree with the author when he talks about a "cult of personality" surrounding Gould, a cult that approaches a "James Dean, Elvis Presley" stature. Believe it!
Rating:
Summary: This will stand as the definitive biography of Glenn Gould
Review: The definitive biography of the idiosyncratic pianist Glenn Gould, who died of a massive stroke in 1982, nine days after his 50th birthday. Gould is often regarded as an anomaly, outside of any tradition, but this book places him in the context of his upper middle class Protestant upbringing and the cultural milieu of mid-twentieth century Canada. This book also dispels long-held myths about Glenn Gould.
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