Bach: Orchestral Suites for a Young Prince

Orchestral Suite No. 3 in D Major, After BWV 1068: II. Air

Bach: Goldberg Variations

Goldberg Variations In G Major, Bwv 988: Variatio 24. Canone All'ottava. A 1 Clav.

Goldberg Variations In G Major, Bwv 988: Variatio 18. Canone Alla Sesta. A 1 Clav.

Goldberg Variations In G Major, Bwv 988: Variatio 21. A 1 Clav. Alla Breve

Goldberg Variations In G Major, Bwv 988: Variatio 25. A 2 Clav.: Adagio

Goldberg Variations In G Major, Bwv 988: Variatio 17. A 2 Clav.

Ladies and gentlemen, boys and girls, pianophiles, and adventure seekers alike, prepare to embark on an auditory journey like no other. Today, the great pianist Archie Chen will perform Leopold Godowsky's mesmerizing Study no. 4 in A minor "Ignis Fatuus" – a composition so delightfully treacherous it will leave you questioning the very limits of human dexterity.

From the mind of Godowsky, the mad scientist of piano, comes a set of 53 arrangements that would make even Chopin's most nimble fingers tremble in fear. Schonberg once quipped that they are "the most impossibly difficult things ever written for the piano," and we dare say he wasn't far off the mark!

But what's all this about Ignis Fatuus, you ask? A term that conjures images of spectral lights and ghostly marshes, it refers to the deceptive luminous phenomena that have haunted folklore for centuries. These mischievous lights, known as Will o' the Wisps or Jack o' Lanterns, have been said to lead travelers astray, luring them to their untimely doom. Whether the spirits of the drowned or the souls of unbaptized infants, these eerie orbs have captured the imagination and terror of many a night wanderer.

And so, the stage is set for Archie Chen's spellbinding rendition of "Ignis Fatuus." Listen in awe as he transfers Chopin's already devilish right-hand etude into the left hand – a feat of pianistic prestidigitation that would leave even Houdini gasping for breath. As the haunting melody flits and flickers like the enigmatic lights it emulates, you may find yourself lost in its bewitching allure.

But fear not, dear listener! For Archie Chen is your guide through this labyrinth of notes, and he shall lead you safely back from the brink of pianistic pandemonium. So sit back, relax, and let the otherworldly beauty of Godowsky's Study no. 4 in A minor "Ignis Fatuus" wash over you like a mysterious, flickering flame.

And remember, don't follow the light... unless, of course, it's Archie Chen's dazzling fingers dancing across the keyboard!

My SoundCloud Channel: @archie-chen
Official Website: www.archiechen.com
Youtube DIPF www.youtube.com/c/PianofestivalIe
Youtube Archie www.youtube.com/c/ArchieChenPianist
Festival Website: www.pianofestival.ie
Teaching Website: www.pianoacademy.ie

Unedited live recording
Piano: Hamburg Steinway B
Piano Technician: Martin Walsh
Recording Engineer: Joey McDonald
Piano provided by Pianos Plus

Frederic Chopin Etude in A minor op. 10 no. 2+Leopold Godowsky Study no. 4 in A minor "Ignis Fatuus"

J'aime mon lit

03 Packington's Pound (Anonymous)

Franz Liszt: Bénédiction de Dieu dans la solitude pour piano. From Harmonies poètiques et religieuses. Henrik Bo Hansen, live, 2011

Grabación en vivo del concierto realizado en St. Giles in the fields, Londres, Reino Unido.
25 de Septiembre de 2009.

Rodrigo Gutiérrez (oboe), Tomasz Wesolowski (fagot) e International Baroque Players, Johannes Pramsholer (violín y dir.).

J. D. ZELENKA: Sinfonía Concertante en La menor - Adagio

Glenn Gould was born in Toronto in 1932, and enjoyed a privileged, sheltered upbringing in the quiet Beach neighborhood. His musical gifts became apparent in infancy, and though his parents never pushed him to become a star prodigy, he became a professional concert pianist at age fifteen, and soon gained a national reputation. By his early twenties, he was also earning recognition through radio and television broadcasts, recordings, writings, lectures and compositions.

Early on, Gould's musical proclivities, piano style and independence of mind marked him as a maverick. Favoring structurally intricate music, he disdained the early-Romantic and impressionistic works at the core of the standard piano repertoire, preferring Elizabethan, Baroque, Classical, late-Romantic and early-twentieth-century music; Bach and Schoenberg were central to his aesthetic and repertoire. He was an intellectual performer, with a special gift for clarifying counterpoint and structure, but his playing was also deeply expressive and rhythmically dynamic. He had the technique and tonal palette of a virtuoso, though he upset many pianistic conventions - avoiding the sustaining pedal, using détaché articulation, for example. Believing that the performer's role was properly creative, he offered original, deeply personal, sometimes shocking interpretations (extreme tempos, odd dynamics, finicky phrasing), particularly in canonical works by Mozart, Beethoven and Brahms.

Gould's American début, in 1955, and the release, a year later, of his first Columbia recording, of Bach's Goldberg Variations, launched his international concert career. He earned widespread acclaim despite his musical idiosyncrasies, while his flamboyant stage mannerisms, as well as his hypochondria and other personal eccentricities, fuelled colorful publicity that heightened his celebrity. But he hated performing – "At concerts I feel demeaned, like a vaudevillian" – and though in great demand, he rationed his appearances stingily (he gave fewer than forty concerts overseas). Finally, in 1964, he permanently retired from concert life.

Gould harbored musical, temperamental and moral objections to concerts, and aired them publicly: "The purpose of art," he wrote, "is not the release of a momentary ejection of adrenalin but is, rather, the gradual, lifelong construction of a state of wonder and serenity." Even before he retired, he was not satisfied with being a concert pianist; he made radio and television programs, published writings on many musical and non-musical topics, continued to compose. After 1964, this work away from the piano only intensified. He liked to call himself "a Canadian writer, composer, and broadcaster who happens to play the piano in his spare time."

His retirement was also fuelled by his devotion to the electronic media. Gould was one of the first truly modern classical performers, for whom recording and broadcasting were not adjuncts to the concert hall but separate art forms that represented the future of music. He made scores of albums, steadily expanding his repertoire and developing a professional engineer's command of recording techniques. He also wrote prolifically about recording and the mass media, his ideas often harmonizing with those of his friend Marshall McLuhan.

Though he never became the significant composer that he longed to be, Gould channeled his creativity into other media. In 1967, he created his first "contrapuntal radio documentary," The Idea of North, an innovative tapestry of speaking voices, music and sound effects that drew on principles from documentary, drama, music and film. Over the next decade, he made six more such specimens of radio art, in addition to many other, more conventional, recitals and talk-and-play shows for radio and television. He also arranged music for two feature films.

Gould lived a quiet, solitary, spartan life, and guarded his privacy; his romantic relationships with women, for instance, were never made public. ("Isolation is the one sure way to human happiness.") He maintained a modest apartment and a small studio, and left Toronto only when work demanded it, or for an occasional rural holiday. He recorded in New York until 1970, when he began to record primarily at Eaton Auditorium in Toronto.

In the summer of 1982, having largely exhausted the piano literature that interested him, he made his first recording as a conductor, and he had ambitious plans for several years' worth of conducting projects; he planned then to give up performing, retire to the countryside, and devote himself to writing and composing. But shortly after his fiftieth birthday, Gould died suddenly of a stroke.

Since then, he has enjoyed a remarkable posthumous "life." His multifarious work has been widely disseminated. He has been the subject of an enormous and diverse literature in many languages. And he has inspired conferences, exhibitions, festivals, societies, radio and television programs, novels, plays, musical compositions, poems, visual art and a feature film (Thirty-Two Short Films About Glenn Gould).

Moreover, his ideas – like McLuhan's – still resonate strongly today in the world of digital technology, which was in its infancy when he died. His postmodernist advocacy of open borders between the roles of composer, performer and listener, for instance, anticipated digital technologies (like the Internet) that democratize and decentralize the institutions of culture. There is no question that Gould, more than any other classical musician, would have understood and admired digital technology – and would have had fun playing with it.

- Kevin Bazzana

Goldberg Variations In G Major, Bwv 988: Variatio 24. Canone All'ottava. A 1 Clav.

Glenn Gould

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