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Johann Sebastian Bach - Toccatas Vol. 2, BWV 911 & 914-916 - Glenn Gould (1980/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz
Johann Sebastian Bach - Toccatas Vol. 2, BWV 911 & 914-916 - Glenn Gould (1980/2015) High-Fidelity FLAC Stereo 24bit/44,1kHz

Сomposer: Johann Sebastian Bach (1685-1750)
Artist: Glenn Gould
Title: Bach, J.S. - Toccatas Vol. 2, BWV 911 & 914-916
Genre: Classical
Label: © Columbia Records/Sony Music Entertainment
Release Date: 1980/2015
Quality: High-Fidelity FLAC Stereo 44,1kHz/24bit
Source: Qobuz
Duration: 00:37:32
Recorded: 1963, 1979

In May 1979 Eaton’s Auditorium was hastily reopened for recording purposes. “Basically, it looked as if a bomb had hit the place. Walls were missing, doors were boarded up. There were no lights. There was no heat. Thick layers of dust covered everything. Luckily, the freight elevator still functioned so the piano could be brought in.” The result was the completion of the series of Bach toccatas.

Glenn Gould could not have timed his professional entrance to the recording studio any better than with his première recording in 1955. Five years had passed since the lacquer disc medium had been retired and the industry had fully embraced tape recording.
The availability of digital tools for remastering and restoration has never been greater, or more refined. Yet everything starts with the original masters. Columbia Records kept very good archives of session logs, documenting which takes were recorded on which job reel, and to which musical work they belong. Gould often worked with the producer on choosing how the takes would be edited together, marking directly in the score where one take would end and the next would begin. The session reels were assembled into a “master edit reel.” If the master edit reel was mono or stereo, it would go directly to mastering, where the proper EQ (equalization) was applied for generating a “vinyl master.” If the master edit was three-track or higher, a master stereo mix would be made; this might be a generation before the vinyl master, should further vinyl EQ be necessary for LP manufacturing. Thankfully, the archives have preserved previous generations, so today we can ignore the numerous later copies and work with the original master edits.
In the remastering studio, we maintain original analogue Studer A80, A820 and A807 machines for playback of the Gould recordings. Most of these machines are modified by JRF Magnetics in order to ensure perfect reading from the playback head stack. The signal is converted to DSD via Mytek digital converters, all the while being monitored through Bowers & Wilkins Nautilus 802 series speakers (powered by Krell 600 watt amplification). This level of professional playback ensures that we hear exactly what was recorded at the studio without coloration and with greater clarity than even Glenn Gould had heard. The audio is treated in the computer using Cube-Tec restoration tools when needed, tools that allow us to remove such noises as electrical tics, pops, random studio noises, or even electrical buzzing.
Now, in 2015, we have accomplished a project that took more than three years: the analogue (and digital) remastering of Gould’s entire recorded legacy for Columbia. Remastering and restoration is not, however, a process of creating something new, but the art of bringing clarity and enhancement to the original masterpiece. Just as the restoration of the Sistine Chapel brought new life to Michelangelo’s paintings, so we’ve tried to bring new life to Glenn Gould’s recordings.

Johann Sebastian Bach (1685-1750)
1 Toccata in C Minor, BWV 911 11:16
2 Toccata in G Minor, BWV 915 08:46
3 Toccata in G Major, BWV 916 08:54
4 Toccata in E Minor, BWV 914 08:36

Glenn Gould, piano

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