Aside from the keyboard works of J.S. Bach, Glenn Gould's finest achievement may have been in the works of Arnold Schoenberg. Not surprisingly, Gould's Schoenberg...

Aside from the keyboard works of J.S. Bach, Glenn Gould's finest achievement may have been in the works of Arnold Schoenberg. Not surprisingly, Gould's Schoenberg is sometimes almost Bachian, as the pianist finds an affinity with the inventive counterpoint--a sphere in which Schoenberg saw himself as carrying on Bach's tradition. Schoenberg's Suite, Op. 25, cries out for Baroque interpretation, with its antiquated dance forms such as the gavotte and gigue. Elsewhere, however, Gould is sensitive to touches of Brahmsian lyricism.
Along with Schoenberg's complete solo piano music--mostly recorded just after Gould abandoned concert performance--this compilation includes a sparklingly vivid performance of the Piano Concerto, perhaps the most approachable of Schoenberg's serial compositions, and an assortment of works in which the piano plays a less prominent, if still integral role. Gould is a sensitive partner to Israel Baker in the impulsively shifting moods of the Phantasy for Violin, and an enthusiastic ensemble member in the 'Ode to Napoleon' and the first seven-song section of 'Pierrot Lunaire.' Despite overly deliberate rhythmic speech by John Horton, the 'Ode' receives one of its better performances on disc; and the 'Pierrot' excerpts, recorded for radio broadcast, leave one wanting a complete Gould-led performance of the work.