The enigmatic Canon 1 à 2 from J. S. Bachs Musical Offering (1747), The manuscript depicts a single musical sequence that is to be played front to back and back to front.
I have no doubt that Johann Sebastian would have made an excellent software developer! The programming mindset required for this highly technical composition reflects as much. To reiterate – the single line of music plays with itself! The first voice plays front to back and the second voice plays back to front – or vice versa.
The Canadian pianist Glenn Gould was one of the most brilliant and idiosyncratic interpreters of the music of Johann Sebastian Bach. In this 1962 special for the Canadian Broadcasting Corporation, Gould reveals the same brilliance and idiosyncrasy in his understanding of Bach’s place in history.
Bach, says Gould, was not so much ahead of his time as outside it. “For Bach, you see, was music’s greatest non-conformist, and one of the supreme examples of that independence of the artistic conscience that stands quite outside the collective historical process.”
“Glenn Gould on Bach,” was first broadcast in Canada on April 8, 1962, two years before Gould’s retirement from performing and only two days following his controversial Carnegie Hall concert with the New York Philharmonic, in which Gould’s interpretation of the Brahams D-minor piano concerto was so eccentric that Leonard Bernstein felt compelled to make a disclaimer to the audience. The centerpiece of the Bach broadcast is a performance of the Cantata BWV 54 featuring the American countertenor Russell Oberlin. “Glenn Gould on Bach” is a fascinating and entertaining half hour–essential viewing for lovers of Baroque and Classical music.