HD-Vinyls 24/96 (CBS) Johann Sebastian Bach – The Well Tempered Clavier (Gould)


Reposted, now with FF links

# Composer: Johann Sebastian Bach
# Performer: Glenn Gould
# Vinyls (1965)
# Number of Discs: 4
# Format: Flac
# Label: CBS
# DR-Analysis: DR 12
# ASIN: B0085MK2GM
# Size: 4.08 GB
# Scan: yes
# Server: FileFactory

What makes Gould so special? Seven points of grace:

(1) He had perfect pitch.
(2) He had the dialectically heterogeneous expressive faculties of celerity and durée–which is to say, he could compress or expand musical space-time into the numinous realm with equal sincerity and elegance.
(3) Too, he had the acuity of perception to cognitively construct an entire conceptual architecture of a musical artwork directly from the visual reading of a text, while simultaneously furnishing the décor of the work’s interior design with exquisite taste and style.
(4) His digital technique in its relationship to the keyboard was of astonishing–nigh miraculously stunning brilliance and accuracy, due to the actual physical make-up of his fingers, hands, and arms, and their unique neurological and muscular relationship to his mind. Simply put: no one could play as Gould did, full stop.
His consummate pianism was compared only to those of Busoni and Liszt.
(5) Equally marvellous is the distinctive catholicity of his artistic sensibility in his promotion of assorted recherché artworks from late-Mediaevalism to high-Modernism (e.g., from Sweelinck and Gibbons to Hindemith and Schönberg): everything he touched turned to gold.
(6) His early apprehension of studio recording techne and his active participation in (indeed control of) the production process, combined with his extraordinary aural perception, resulted in the timbre of all Gould’s recordings having a uniform extremely high-quality of sound reproduction: the integrity of his `sound’ is immediately recognizable and exclusive.
(7) Contemporaneous musical luminaries such as Bernstein, Karajan, Menuhin, Richter, and Stuckenschmidt recognized and extolled Gould’s impeccable artistic ingeniousness.

For those new to classical music, the late Canadian pianist Glenn Gould reconstituted J.S. Bach’s art in the middle 20th century and turned its world upside down when he released the 1955 Goldberg variations. He did so by playing the music staccato without using any pedal then carried it forward in all Bach’s keyboard works. While everyone in the period performance era now plays this way, it was new in 1955 and had never before been heard. The technique works better some places than others and works well in Bach because of the composer’s mathematical perfrection in thes preludes and fugues where left-hand and right-hand voicing is so absolutely critical. Listen to the most approachable Prelude and Fugue in E flat No. 7 in the first book, tracks 13 and 14, to hear everything you need to know about this and about Gould — including his famous humalong technique that has sent fans and critics on both sides of the Atlantic and a few other oceans atwitter for more than half a century now.

Gould was one of the most interesting characters of the middle 20th century and was exploited by the recording industry more than just about any other virtuoso in the 1960s before he stopped recording and playing in public. He played a piano at his cottage on a lake near Toronto that sounded like a harpsichord and was the first major figure in classical music to try to make a modern piano sound like a harpsichord with no reverberant characteristics. This aided the clarity of his sound but also made it into a hybrid of modern pianism without beauty. To suggest Bach wanted his music played t this way is questionable although Bach never considered the 48 suitable to be played the way they are now — with whole sets performed in concert and often recorded. Bach wrote them to promote his idea of equal temperament (the use of key structure we now follow unquestionably) and then his students and others played them for practice and to memorize equal temperament.

Gould, being the ultiimate cult figure in his time and ours, is enough for Sony to continue rereleasing these works to new audiences. The sound hasn’t been improved here so don’t bother if you have one of the older sets. Gould wil always be unique for his approach. As to ideas one reviewere wrote that his “digital technique in its relationship to the keyboard was of astonishing,” this is now commonplace among recent graduates of musical conservatories. Gould is no longer unique in this respect with the thousands of new pianists copying him every day with even more perfect forms of prestidigitization at the keyboard. But, as anyone that always hated Gould’s apprach inately knows, there is more than one way to play the piano; just ask (or listen to) Andras Schiff’s well-tempered klavier — or any other pianist that believes in using the sostenuto pedal with some romantic character.

Analyzed folder: /96k JSB – Das Wohltemperierte Klavier – Glenn Gould
DR        Peak        RMS        Filename
DR13        -4.89 dB     -21.59 dB     C4 BWV 861.wav
DR12        -0.92 dB     -16.79 dB     C5 BWV 862.wav
DR11        -3.77 dB     -18.81 dB     C6 BWV 863.wav
DR11        -3.44 dB     -16.97 dB     C7 BWV 864.wav
DR11        -2.70 dB     -16.61 dB     H6 BWV 893.wav
DR11        -3.44 dB     -16.45 dB     D1 BWV 865.wav
DR10        -2.07 dB     -15.30 dB     D2 BWV 866.wav
DR14        -2.30 dB     -22.48 dB     D3 BWV 867.wav
DR10        -3.48 dB     -17.47 dB     D4 BWV 868.wav
DR11        -1.88 dB     -16.68 dB     D5 BWV 869.wav
DR11        -2.05 dB     -16.83 dB     E1 BWV 870.wav
DR12        -3.97 dB     -19.13 dB     E2 BWV 871.wav
DR13        -1.16 dB     -19.05 dB     E3 BWV 872.wav
DR11        -1.78 dB     -16.91 dB     E4 BWV 873.wav
DR12        -2.53 dB     -17.36 dB     E5 BWV 874.wav
DR11        -2.87 dB     -17.01 dB     F1 BWV 875.wav
DR12        -1.76 dB     -16.52 dB     F2 BWV 876.wav
DR12        -2.64 dB     -19.09 dB     F3 BWV 877.wav
DR12        -2.41 dB     -17.81 dB     F4 BWV 878.wav
DR12        -4.37 dB     -18.31 dB     F5 BWV 879.wav
DR12        -3.32 dB     -17.85 dB     F6 BWV 880.wav
DR11        -3.85 dB     -19.16 dB     F7 BWV 881.wav
DR11        -2.70 dB     -16.52 dB     G1 BWV 882.wav
DR12        -0.45 dB     -17.90 dB     G2 BWV 883.wav
DR10        -4.49 dB     -18.22 dB     G3 BWV 884.wav
DR11        -1.15 dB     -17.23 dB     G4 BWV 885.wav
DR11        -1.85 dB     -16.65 dB     G5 BWV 886.wav
DR12        -1.74 dB     -17.65 dB     G6 BWV 887.wav
DR11        -0.26 dB     -13.70 dB     H1 BWV 888.wav
DR11        -1.10 dB     -16.86 dB     H2 BWV 889.wav
DR11        -3.66 dB     -18.67 dB     H3 BWV 890.wav
DR12        -0.24 dB     -15.47 dB     H4 BWV 891.wav
DR12        -2.09 dB     -17.36 dB     H5 BWV 892.wav
DR12        -2.97 dB     -18.61 dB     A1 BWV 846.wav
DR12        -2.47 dB     -17.00 dB     A2 BWV 847.wav
DR11        -0.95 dB     -15.75 dB     A3 BWV 848.wav
DR13        -2.56 dB     -19.65 dB     A4 BWV 849.wav
DR12        -0.75 dB     -16.19 dB     A5 BWV 850.wav
DR12        -5.68 dB     -21.53 dB     A6 BWV 851.wav
DR12        -2.30 dB     -18.35 dB     A7 BWV 852.wav
DR13        -1.14 dB     -18.90 dB     B1 BWV 853.wav
DR10        -2.16 dB     -17.41 dB     B2 BWV 854.wav
DR11        -7.55 dB     -21.90 dB     B3 BWV 855.wav
DR12        -3.86 dB     -18.76 dB     B4 BWV 856.wav
DR12        -7.78 dB     -24.36 dB     B5 BWV 857.wav
DR11        -3.50 dB     -19.65 dB     C1 BWV 858.wav
DR12        -2.05 dB     -18.32 dB     C2 BWV 859.wav
DR10        -2.68 dB     -15.46 dB     C3 BWV 860.wav
Number of files:    48
Official DR value:    DR12


  48 Preludes And Fugues BWV 846-893
  Volume/Teil I
A1   No. 1 In C Major BWV 846 4:17  
A2   No. 2 In C Minor BWV 847 3:43  
A3   No. 3 In C Sharp Major BWV 848 3:07  
A4   No. 4 In C Sharp Minor BWV 849 5:46  
A5   No. 5 In D Major BWV 850 2:47  
A6   No. 6 In D Minor BWV 851 3:01  
A7   No. 7 In E Flat Major BWV 852 5:59  
B1   No. 8 In E Flat Minor BWV 853 8:53  
B2   No. 9 In E Major BWV 854 2:37  
B3   No. 10 In E Minor BWV 855 3:49  
B4   No. 11 In F Major BWV 856 2:14  
B5   No. 12 In F Minor BWV 857 8:20  
C1   No. 13 In F Sharp Major BWV 858 4:32  
C2   No. 14 In F Sharp Minor BWV 859 4:50  
C3   No. 15 In G Major BWV 860 3:04  
C4   No. 16 In G Minor BWV 861 4:46  
C5   No. 17 In A Flat Major BWV 862 2:53  
C6   No. 18 In G Sharp Minor BWV 863 3:10  
C7   No. 19 In A Major BWV 864 3:25  
D1   No. 20 In A Minor BWV 865 4:35  
D2   No. 21 In B Flat Major BWV 866 2:34  
D3   No. 22 In B Flat Minor BWV 867 9:09  
D4   No. 23 In B Major BWV 868 2:35  
D5   No. 24 In B Minor BWV 869 6:50  
  Volume/Teil II
E1   No. 1 In C Major BWV 870 4:48  
E2   No. 2 In C Minor BWV 871 2:52  
E3   No. 3 In C Sharp Major BWV 872 5:13  
E4   No. 4 In C Sharp Minor BWV 873 5:04  
E5   No. 5 In D Major BWV 874 6:57  
F1   No. 6 In D Minor BWV 875 3:40  
F2   No. 7 In E Flat Major, BWV 876 3:07  
F3   No. 8 In D Sharp Minor BWV 877 4:38  
F4   No. 9 In E Major BWV 878 4:01  
F5   No. 10 In E Minor BWV 879 4:48  
F6   No. 11 In F Major BWV 880 3:40  
F7   No. 12 In F Minor, BWV 881 3:17  
G1   No. 13 In F Sharp Major BWV 882 3:59  
G2   No. 14 In F Sharp Minor BWV 883 6:07  
G3   No. 15 In G Major BWV 884 2:02  
G4   No. 16 In G Minor BWV 885 5:36  
G5   No. 17 In A Flat Major BWV 886 5:54  
G6   No. 18 In G Sharp Minor BWV 887 6:03  
H1   No. 19 In A Major BWV 888 2:24  
H2   No. 20 In A Minor BWV 889 3:46  
H3   No. 21 In B Flat Major BWV 890 4:12  
H4   No. 22 In B Flat Minor BWV 891 4:56  
H5   No. 23 In B Major BWV 892 3:40  
H6   No. 24 In B Minor BWV 893 3:08  

Ripping Infos

  • RCM: Okki Nokki
  • TT: Clearaudio Champion Level II
  • Cartridge: Limited Edition Denon DL103 SA
  • Phono stage: Pro-Ject Phono Box II
  • Pre Amp: Unison Research Unico Pre (Tube)
  • Finals: Opera Consonance 9.9 Mono (Tube)
  • Speakers: Dali Helikon 400
  • Connections: MIT Terminator, Audioquest Emerald, Audioquest Quartz
  • Software: iZotope RX Advanced v2.02, Adobe Audition CS 5.5, Twisted Wave 1.9
  • Light de-Clicking with ClickRepair, significant clicks manually removing, no De-Noising

If You hear some clicks and pops here and there, Who cares?
Id rather have a few light anomalies instead of destroying the music. Enjoy the music, not the ticks & pops.

  • DR-Analisys before converting to Flac
  • Converting Wave -> Flac: Twisted Wave 1.9
  • Artwork: Sony Alpha 350, Epson Perfection V750 Pro, Photoshop CS 5.5

If you like what i do, please consider that a little donation would be very appreciate. I reinvest all donations in maintenance of my rig, for purchasing cleaning solutions and, most important of all, purchasing of new vinyls.
Click on the “Donate”-button. Thank you very much !

Download from FileFactory
Due to several tech. problems on FF, all 10 archives (are all uploaded) will be visible in a few hours…sorry for this.
10 archives
PW: LaWally


36 thoughts on “HD-Vinyls 24/96 (CBS) Johann Sebastian Bach – The Well Tempered Clavier (Gould)

  1. Is this a repost? I ask because they’re wavs, but I don’t seem to have it, and I thought I had ALL your posts…

    Either way, I can’t wait to hear this. I have these as cd ripped mp3s that can now be deleted!

    I hope all’s well with you. my musical education is continuing at pace. I’ve been listening to the faure piano quartets obsessively for the last few days, as well as the Saint-Saens string quartets 1 & 2 – do you have any treasured vinyls of either of these? Any smaller chamber-type works are always especially appreciated by me because the big-concert-stuff often tends to show up the limitations of my stereo, whereas smaller groups/solo stuff rings through clear and beautiful. It will be rectified soon, I’m still on the hunt for a good stereo, but these things take time….

    oh, and a question, perhaps I’m being very stupid, but what does “fremd” stand for in your naming system?

    All the best my friend, hope all’s well with you

    • Hi K.
      No, is not a repost…is fresh (3-4 weeks ago) from the flea market.

      Some days ago i missed (forgotten) to post the last bid for a small combo of Saint-Saens records with all his symphonies…the symphonies 1 + 2 were for me intriguing (of course, we all know the 3rd, the “organ” symphony, forgotting that, where is a “3”, there must have been before this, a “1” and a “2”) 😀

      I’m not sure but i mean, there was a record included, with chamber music and i thougt: “SS and chamber music??????”

      A pity to have lost the item 🙁

    • ah…”fremd” means Foreign, or in this specific case “not mine”…is a sign that i use on music that is not my music…that i found somewhere in the net.
      If you pay attention, every time you have a “fremd” music file from me, i wrote in the post “not my work, many thanks to the original poster” 🙂

      • you’re right, I try to always put your “not my work” ones in a separate folder, and I hadn’t even noticed they were all *fremd*
        😳 😳

        No Rach post yet today 🙁 . It’s always a better day when there’s some new gem to discover.

          • ahh dear whatever, don’t be upset, for you created this wonderful site that has given me – quite seriously – more joy than any person has in a decade…..perhaps that speaks more of my eccentricities, but suffice to say since I discovered boxset.ru my life and my outlook on life has changed (for the better). That’s what music can do, and I remain forever grateful to you for giving that to me. I only wish that the whole world could be listening to this stuff with the same eager ears, instead of rotting their brains with shitty american corporate pop garbage.

        • Hi my friend….from tomorrow on, 6 days long (every 48 hours one of the four operas) the Solti-Wagner-Ring starts…and i hope that MR. WHATEVER will let each opera sticked for 24 hours 😀

          I was right busy in the last days, with work and with other sites…….but i never – NEVER – will left boxset. The only wish i have is that more people would not ONLY download, but also let comments. It seems like a town after a nuclear assault…i don’t understand why…in the first page of the comments (visible only for Whatever and me) you can see 20 comments per page…comments are from 9/26 to 9/28 🙁
          20 comments in two days 🙁
          8 of them are from Whatever and me 🙁

          12 comments in 48 hours

          • i find it odd too. Perhaps we could make the link to create an account more obvious? Maybe have a post about it? Once you have an account and are logged in and don’t have to see the captcha’s it’s a lot easier to post.

            Maybe also it’s hard to find stuff to say? There’s only so many times you can say “thank you” before you begin to look a bit odd. For my part, I would love to see more discussion of the music. It’s all well and good to read liner notes/wikipedia pages, but I learn a lot more on those rare occasions when people discuss the music itself here. To me, ALL this world is new, so I really cannot give much worthwhile input, but if there’s some folks out there reading who have something to say – join up (just a few clicks, they don’t spam you) and start leaving your comments. We should resolve to never let a post go past without some interesting insight/fact about it.

            or maybe people are just greedy/lazy/inconsiderate assholes….

  2. huh . . . who is the guy that uses MDM’s Otello photo as his alter-ego?

    Oh, well it doen’t matter. I thought I had this album of Gould on CD and just discovered I do not. But I do have someone playing this on a Cembalo instead of a Klavier; but it is much more rapid than Gould.
    What would be the reason for the stark difference in tempi? The kind of instrument?

    Any way, thank you, Rachmaninov, and Whatever for your good work!

    • Hi Bob….every artist (soloist, conductor) has his own rhythm, pace and understanding of the work He’s going to interprete, so it’s a normal thing, that some different during times are the result. More dramatic results can you get, if the composer has not let strictly orders concerning the tempi.

  3. I had Gould’s ‘well-tempered klavier’ CD.
    It was most boring one from Gould-Bach CDs.
    But this is quite different, so beautiful piano tone.
    Let me hear this ‘new’ well tempered klavier.
    Thank you very much, Rachmaninov. 😉

    p.s. But to make a reply is a worrisome task for me, who is not good at English. 😥

  4. Wow … thank you … as one of the humming G. Gould fans (who had the chance to hear the humming in concert – unforgettable) I’m really happy to put this gem on my download list.

    The audiophile compilation you have here makes me happy, I cannot decide where to start 🙂

    Thanks Rachmaninov for the hint you gave me on the other side of the world. Happy that I got you to the HRM … see you there!

  5. okay Alfredo okay … es gibt viel zu tun 🙂

    Ich freu mich drauf, aber es wird schon ein paar Tage dauern, die Liste abzuarbeiten. Dazu kommt, dass ich auch schon einige Links hier eingesammelt habe. Noch laenger wirds dauern bis Feedback kommt, aber ich bemuehe mich ordentlich zu kommentieren.

    Wir bleiben in Kontakt mein Freund, hier und sonstwo.

  6. Mist das zu hoeren … es waere schade wenn es nach Robert nun auch dich erwischt. I knock on wood for you my friend. We stay in contact.

  7. thank you rachmaninov
    I was reading some of the earlier comments on how people should comment the music they download and that they listen…
    for me this has two problems:
    first, I am Portuguese, and my English its not that good as to express long and complex ideas,
    and second, I don´t listen music: I “see” music – my brain just forms threads ,and tapestries as music is being played, threads that correspond to the phrases, to the flow of one phrase in to the other, how they interact,…(this is one of the reasons I must listen the same music three, four times… before I can really appreciate it.)
    and how can I make you “see” what I “see”?

    sorry about being this “intimate” to justify my telegraphic comments
    be well

    • Thank you for your great words and…your english is really good. Great, how you describe the way you “live” the music. I do similar, sometime…..giving faces of children and people in generally to the music I just listen to. Sometime instead of faces there are colours, sometime scenes of movies I know or situations of my past life with all the women I loved….

      Every one has his personal way to go with music: consuming or listening or living the music. I always try to celebrate it, but often i only hear at it….

  8. hello Wally, gratissimo by your magnificent posts. write to you to suggest that you use another server, filefactory this very bad, broken links, even unpleasant for those who have a premium account. Your material is indispensable, you could think of another sever? even one that is secondary?

    if you want to write me in pvt. rfragoso.rfa @ gmail.com

    thank in advance
    ricardo fragoso
    Brazil / South america / sao paulo

  9. Nice post but unfortunately has broken links. could resubmit

    thank you for the wonderful material that you send to our delight

    thank in advance

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