The Land may refer to:

• The Land, the setting for novels by Stephen R. Donaldson, in the The Chronicles of Thomas Covenant, the Unbeliever universe
• The Land, primary setting for the novels by Robert J. Sawyer, in the Quintaglio Ascension Trilogy
• The Land (Mildred D. Taylor), a novel by Mildred D. Taylor
• The Land (1942 film), a documentary film directed by Robert J. Flaherty
• The Land (1969 film), a 1969 Egyptian film
• The Land (1974 film), a 1974 South Korean film
• The Land (song), a protest song, traditionally sung by the Georgist movement in pursuit and promotion of land value taxation
• The Land (Epcot), a pavilion at Walt Disney World's Epcot theme park
• Haaretz, an Israeli newspaper whose name means "The Land" (as in the Land of Israel)
• The Land, the Michigan Women's Music Festival women-only venue
• The Land, a long narrative poem by Vita Sackville-West
• The Land, a rural newspaper in Australia owned by Rural Press
• The Land (magazine), a Minnesota farm and rural life newspaper owned by CNHI

See also[link]

• Land (disambiguation)

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Glenn Gould

Glenn Herbert Gould^{[fn 1][fn 2]} (September 25, 1932 – October 4, 1982) was a Canadian pianist who became one of the best-known and most celebrated classical pianists of the 20th century. He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach’s music.

Gould rejected most of the standard Romantic piano literature and, after his adolescence, avoided Liszt, Schumann, and Chopin. Although his recordings were dominated by Bach, Gould's oeuvre was diverse, including works by Beethoven, Mozart, Haydn, Brahms, pre-Baroque composers such as Jan Sweelinck, and such 20th-century composers as Paul Hindemith and Arnold Schoenberg. Gould was well known for various eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and personal behavior. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects.

Gould was also known as a writer, composer, conductor, and broadcaster. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy. His career as a composer was less distinguished. His output was minimal and many projects were left unfinished. There is evidence that, had he lived beyond 50, he intended to abandon the piano and devote the remainder of his career to conducting and other projects. As a broadcaster, Gould was prolific. His output ranged from television and radio broadcasts of studio performances to musique concrète radio documentaries about life in the Canadian wilderness.

Life[link]

Early life[link]

Glenn Herbert Gould was born at home in Toronto on September 25, 1932, to Russell Herbert ("Bert") Gold and Florence ("Flora") Emma Gold (née Grieg),^[1] Presbyterians of Scottish and English ancestry.^[2] His maternal grandfather was a cousin of Norwegian composer Edvard Grieg.^[3][4] The family's surname was changed to Gould informally around 1939 in order to avoid being mistaken for Jewish, given the prevailing anti-Semitism of prewar Toronto and the Gold surname's Jewish association.^{[fn 3]} Gould had no Jewish ancestry,^{[fn 4]} though he sometimes made jokes on the subject, like "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war."^[5] Gould grew up in a home at 32 Southwood Drive, Toronto. His childhood home has been named a historic site by the City of Toronto.^[6]

Gould in February 1946 with his parakeet, Mozart, and his English Setter, Nick(y).^[7][8]

Gould's interest in music and his talent as a pianist became evident very early. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. Before his birth, his mother planned for him to become a successful musician, and thus exposed him to music during her pregnancy.^[9] As a baby, he reportedly hummed instead of crying and wiggled his fingers as if playing chords, leading his doctor to predict that he would "be either a physician or a pianist".^[10] By the age of three, Gould's perfect pitch was noticed. He learned to read music before he could read words.^[3][11][12] When presented with a piano, the young Gould was reported to strike single notes and listen to their long decay, a practice his father Bert noted was different from typical children.^[11] Gould's interest in the piano proceeded side by side with an interest in composition. He would play his own little pieces for family, friends, and sometimes large gatherings, including, in 1938, a performance at the Emmanuel Presbyterian Church (a few blocks from the Gould house) of one of his own compositions.^[13] At the age of six, he was taken for the first time to hear a live musical performance by a celebrated soloist. This left a tremendous impression. He later described the experience:

It was Hofmann. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all orchestral sounds, but I was playing them all, and suddenly I was Hofmann. I was enchanted.^[3][14]

Glenn Gould with his teacher, Alberto Guerrero, demonstrating Guerrero's technical idea that Gould should pull down at keys instead of striking them from above. The photo was taken in 1945 before Gould fully developed this technique.

As a young child, Gould was taught piano by his mother. At the age of 10, he began attending The Royal Conservatory of Music in Toronto. He studied music theory with Leo Smith, the organ with Frederick C. Silvester, and piano with Alberto Guerrero.^[15] Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of Lake Simcoe.^{[fn 5]} This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard.^[16] He used this chair for the rest of his life and took it with him almost everywhere.^[3] This famous chair was designed so that Gould could sit very low at the keyboard. The chair allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero.^[17]

Gould developed a technique that enabled him to choose a very fast tempo while retaining the separateness and clarity of each note.^[18] His extremely low position at the instrument arguably permitted more control over the keyboard. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of Ravel's La valse and Liszt's transcriptions of Beethoven's fifth and sixth symphonies. Gould worked from a young age with his teacher Alberto Guerrero on a technique known as finger-tapping: a method of training the fingers to act more independently from the arm.^[19]

Gould passed his final Conservatory examination in piano at the age of 12 (achieving the "highest marks of any candidate"), thus attaining "professional standing as a pianist" at that age.^[20] One year later he passed the written theory exams, qualifying for an ATCM diploma.^{[fn 6][20]}

Gould the pianist[link]

Gould claimed he almost never practiced on the piano, preferring to study music by reading it rather than playing it,^{[fn 7]} another technique he had learned from Guerrero. His manual practicing focused on articulation, rather than basic facility. He may have spoken ironically about his practicing, but there is evidence that on occasion, he did practice quite hard, sometimes using his own drills and techniques.^{[fn 8]}

He stated that he didn't understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day.^[21] It seems that Gould was able to practice mentally without access to an instrument, and even took this so far as to prepare for a recording of Brahms piano works without ever playing them until a few weeks before the recording sessions. This is all the more staggering considering the absolute accuracy and phenomenal dexterity exhibited in his playing. Gould's large repertoire also demonstrated this natural mnemonic gift.

The piano, Gould said, "is not an instrument for which I have any great love as such... [but] I have played it all my life, and it is the best vehicle I have to express my ideas." In the case of Bach, Gould admitted, "[I] fixed the action in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."^[22]

Of significant influence upon the teenage Gould were Artur Schnabel,^{[fn 9]} Rosalyn Tureck's recordings of Bach ("upright, with a sense of repose and positiveness"), and Leopold Stokowski.^[23]

Gould was known for having a vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric.^[18] His piano playing had great clarity and erudition, particularly in contrapuntal passages,^[18] and extraordinary control. He was a child prodigy^[24] and in adulthood described as a musical phenomenon.^{[fn 10]} As he played, he often swayed his torso in a clockwise motion.

Gould had a pronounced aversion to what he termed a "hedonistic" approach to the piano repertoire, performance, and music generally. For Gould, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career.^[25] He associated this drift towards hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.^[26]

Performances[link]

In 1945, he gave his first public performance, playing the organ,^[27] and the following year he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of the first movement of Beethoven's 4th Piano Concerto.^[28] His first solo recital followed in 1947,^[29] and his first recital on radio was with the CBC in 1950.^[30] This was the beginning of his long association with radio and recording. He founded the Festival Trio chamber group in 1953 with the cellist Isaac Mamott and the violinist Albert Pratz.

In 1957, Gould embarked on a tour of the Soviet Union, becoming the first North American to play there since World War II.^[31] His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series.^[32]

Gould was convinced that the institution of the public concert was not only an anachronism, but also a "force of evil", leading to his retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience (musically and otherwise) mostly attendant to the possibility of the performer erring or not meeting critical expectation. This doctrine he set forth, only half in jest, in "GPAADAK", the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds.^[33]

On April 10, 1964, Gould gave his last public performance, playing in Los Angeles, at the Wilshire Ebell Theater.^[34] Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's The Art of Fugue, and Paul Hindemith's Piano Sonata No. 3.^{[fn 11]} Gould performed fewer than 200 concerts over the course of his career, of which fewer than 40 were overseas. For pianists such as Van Cliburn, 200 concerts would have amounted to about two years' touring.^[35]

One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a "love affair with the microphone".^{[fn 12]} There, he could control every aspect of the final musical "product" by selecting parts of various takes. He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices. Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work. For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting.

Technology[link]

The issue of "authenticity" in relation to an approach like Gould's has been a topic of great debate, although diminished by the end of the 20th century—a development that Gould seems to have anticipated. It asks whether a recording is less authentic or "direct" for having been highly refined by technical means in the studio. Gould likened his process to that of a film director—one does not perceive that a two-hour film was made in two hours—and implicitly asks why the act of listening to music should be any different. He went so far as to conduct an "experiment" with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points based on their relationship to music, but none successfully. While the conclusion was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".^[36]

In a lecture and essay titled "Forgery and Imitation in the Creative Process", one of Gould's most significant texts,^[37] he makes explicit his views on authenticity and creativity. Gould asks why the epoch in which a work is received influences its reception as "art", postulating a sonata he composes that sounds so much like Haydn that it is received as such. If, instead, the same sonata had been attributed to a somewhat earlier or later composer, it becomes more or less interesting as a piece of music. Yet it is not the work that has changed but its relation within the accepted narrative of music history. Similarly, Gould notes the "pathetic duplicity" in the reception of high-quality forgeries by Hans van Meegeren of new paintings attributed to Dutch Golden Age master Vermeer, before and after the forgery was known.

Gould, therefore, prefers an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: "What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? ... moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? ... What if the composer, as historian, is faulty?"^[38]

Writings[link]

Gould said that if he had not been a musician, he would have been a writer. He expounded his criticism and philosophy of music and art in lectures, convocation speeches, periodicals, and radio and television documentaries for the Canadian Broadcasting Corporation. Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen as much as "works" as off-the-cuff discussions. His writing style was highly articulate but sometimes florid, indulgent, or rhetorical. This is especially evident in those works in which he attempts humour or irony, which he did often.^{[fn 13]}

In these he praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave insightful analyses of the music of Richard Strauss, Alban Berg and Anton Webern. Despite a certain affection for Dixieland jazz, Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized The Beatles for "bad voice leading"^{[fn 14]}—while praising Petula Clark and Barbra Streisand. He shared a mutual admiration with jazz pianist Bill Evans, who made his seminal record Conversations with Myself using Gould's celebrated Steinway CD 318 piano. Gould believed that "the piano is a contrapuntal instrument," and his whole approach to music was, in fact, centered in the Baroque. Much of the homophony that followed he felt belongs to a less serious and less spiritual period of art.

"The Last Puritan"[link]

A 1962 quote is often used to summarize Gould's perspective on art: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity."^[39]

Gould referred to himself repeatedly as "the last puritan", a reference to philosopher George Santayana's novel of the same name. Weighing this statement against Gould's highly individualistic lifestyle and artistic vision leads to an apparent contradiction. He was progressive in many ways, promulgating the controversial atonal composers, and anticipating, through his deep involvement with the recording process, the vast changes that technology would have on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers:

He was progressive and anti-progressive at once, and likewise at once both a critic of the Zeitgeist and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius. He both was and was not a man of his time.^[40]

Eccentricities[link]

Gould was widely known for his unusual habits. He usually hummed while he played the piano, and his recording engineers had mixed results in how successfully they were able to exclude his voice from recordings. Gould claimed that his singing was subconscious and increased proportionately with the inability of the piano in question to realize the music as he intended. It is likely that this habit originated in Gould's having been taught by his mother to "sing everything that he played", as Kevin Bazzana puts it. This became "an unbreakable (and notorious) habit".^[41] Some of Gould's recordings were severely criticised because of the background "vocalise". For example, a reviewer of his 1981 re-recording of the Goldberg Variations opined that many listeners would "find the groans and croons intolerable".^[42] Gould was renowned for his peculiar body movements while playing and for his insistence on absolute control over every aspect of his playing environment. The temperature of the recording studio had to be exactly regulated. He invariably insisted that it be extremely warm. According to Friedrich, the air conditioning engineer had to work just as hard as the recording engineers.^[43] The piano had to be set at a certain height and would be raised on wooden blocks if necessary.^[44] A small rug would sometimes be required for his feet underneath the piano.^[45] He had to sit fourteen inches above the floor and would play concerts only while sitting on the old chair his father had made. He continued to use this chair even when the seat was completely worn through.^[46] His chair is so closely identified with him that it is shown in a place of honour in a glass case at the National Library of Canada.

A replica of Glenn Gould's chair.

Conductors responded diversely to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius."^[47] Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him."^[47] Ironically, Bernstein created a stir at the April 6, 1962 concert when, just before the New York Philharmonic was to perform the Brahms Piano Concerto No. 1 in D minor with Gould as soloist, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: "In a concerto, who is the boss – the soloist or the conductor? (audience laughter). The answer is, of course, sometimes the one and sometimes the other, depending on the people involved."^[48] Specifically, he was referring to their rehearsals with Gould's insistence that the entire first movement be played at half the indicated tempo. The speech was interpreted by Harold C. Schonberg, music critic for The New York Times, as an abdication of responsibility and an attack on Gould.^[49] Plans for a studio recording of the performance came to nothing. The live radio broadcast (along with Bernstein's disclaimer) was subsequently released on CD.

Gould was averse to cold, and wore heavy clothing (including gloves), even in warm places. He was once arrested, presumably mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coat(s), warm hat, and mittens.^[50] He also disliked social functions. He hated being touched, and in later life he limited personal contact, relying on the telephone and letters for communication. On one visit to Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould by giving him a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of the incident. He went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent.^[51] He was known for cancelling performances at the last minute, which is why Bernstein's above-mentioned public disclaimer opens with, "Don't be frightened, Mr. Gould is here... will appear in a moment."

In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, or didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist "Karlheinz Klopweisser", the English conductor "Sir Nigel Twitt-Thornwaite", and the American critic "Theodore Slutz".^[52] These facets of Gould, whether interpreted as neurosis or "play",^[53] have provided ample material for psychobiography.

Fran's Restaurant in Toronto was a regular haunt of Gould's. A CBC profile noted, "sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs."^[54]

It has been debated whether or not Gould was autistic, or, more accurately, if his mind fell within the autism spectrum.^[6] The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book, Glenn Gould: The Ecstasy and Tragedy of Genius.^[55] It has been disputed by, among others, Kevin Bazzana.^{[citation needed]}

Relationships[link]

Gould lived a private life: Bruno Monsaingeon said of him, "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly."^[56]

When Gould was in Los Angeles in 1956, he met Cornelia Foss and husband Lukas. Foss was an art instructor who had studied sculpture at the American Academy in Rome. Her husband worked for both the Buffalo Philharmonic Orchestra and the Brooklyn Philharmonic. After several years, Gould and Foss became lovers.^[57] Foss left her husband in 1967 for Gould, taking her two children with her to Toronto. She purchased a house near Gould's 110 St. Clair Avenue West apartment. In 2007, Cornelia Foss finally admitted that she and Gould had had a love affair lasting several years.^[57] According to Foss, "There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual." Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould. She describes a serious paranoid episode:

"It lasted several hours, and then I knew he was not just neurotic – there was more to it. I thought to myself, 'Good grief, am I going to bring up my children in this environment?' But I stayed four and a half years." Foss did not discuss details, but others close to Gould said he was convinced someone was trying to poison him and that others were spying on him.^[57]

Health[link]

Gould suffered many pains and ailments, though he was something of a hypochondriac^{[58][fn 15]} (admitting it himself on at least one occasion), and his autopsy revealed few underlying problems in areas that often troubled him.^{[fn 16]} Early in his life, Gould suffered a spine injury. His physicians prescribed, usually independently, an assortment of analgesics, anxiolytics, and other drugs. Some speculate that his extensive use of prescription medications throughout his career had a deleterious effect on his health.

He was highly concerned about his health throughout his life, worrying about everything from high blood pressure (which in his later years he recorded in diary form) to the safety of his hands. Gould rarely shook hands with anyone and usually wore gloves.^{[fn 17][fn 18]}

Death[link]

On September 27, 1982, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital and his condition rapidly deteriorated. By October 4, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support.^[59] He is buried next to his parents in Toronto's Mount Pleasant Cemetery (section 38, Row 1088, Plot 1050). The first few measures of the Goldberg Variations are carved on his marker. According to the Glenn Gould Foundation, the cemetery staff often handle requests to locate his gravesite.^[60]

Recordings[link]

Studio[link]

Prelude and Fugue in C major from The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach (excerpt) noicon The C major prelude from the first book of the WTC. Allegro Moderato from Piano Sonata No. 10 in C major by Wolfgang Ama- deus Mozart (excerpts from two recordings) noicon Compare the 1970 version from the "Complete Piano Sonatas" set (played first) and the 1958 interpretation (second). Contrapunctus V from The Art of Fugue by Johann Sebastian Bach (excerpt) noicon The only organ recordings Gould made were the first nine parts of Bach's The Art of Fugue. Gigue from Suite in A major HWV 426, by Georg Friederich Handel (excerpt) noicon Gould recorded several Handel suites and a few pieces from J.S. Bach's WTC on a Wittmayer harpsichord. The somewhat muffled sound of this 20th-century instrument is very different from modern recordings that are made using copies of old harpsichords.

Problems listening to these files? See media help.

In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. After his final public performance in 1964, he devoted his career solely to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although Gould's recording studio producers have testified that 'he needed splicing, less than most performers',^[61] Gould used the process to give him total artistic control over the recording process. He recounted his recording of the A minor fugue from Book I of The Well-Tempered Clavier and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.^[62]

Following his first recording (of Berg's Piano sonata, Op. 1, on the Canadian Hallmark label, c. 1952), the pianist's first breakthrough success, Bach: The Goldberg Variations, was recorded in 1955, at Columbia Records 30th Street Studios in New York City. Although there was initially some controversy at CBS as to whether this was the most appropriate piece to record, the finished product received phenomenal praise and was among the best-selling classical music albums of its time.^[63] Gould became closely associated with the piece, playing it in full or in part at many of his recitals. Another version of the Goldberg Variations, recorded in 1981, would be among his last recordings, and one of only a few pieces he recorded twice in the studio. The 1981 recording was one of CBS Masterworks' first digital recordings. The first recording is highly energetic and often frenetic. The second, slower and more deliberate.^[64][65] In the latter, Gould treats the aria and its 30 variations as one cohesive piece.^{[fn 19]}

Gould revered Bach: "[he was] first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived".^[66] He recorded most of Bach's other keyboard works, including the complete The Well-Tempered Clavier, Partitas, French Suites, English Suites, and keyboard concertos. For his only recording at the organ, he recorded about half of The Art of Fugue. He also recorded all five of Beethoven's piano concertos and 23 of the 32 piano sonatas.

Gould also recorded works by Brahms, Mozart, and many other prominent piano composers, though he was outspoken in his criticism of some of them. He was extremely critical of Frédéric Chopin. In a radio interview, when asked if he didn't find himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment – maybe once a year or twice a year for myself. But it doesn't convince me." Although Gould recorded all of Mozart's sonatas and admitted enjoying the "actual playing" of them,^[67] he claimed to dislike Mozart's later works, to the extent of arguing (perhaps facetiously) that Mozart died too late rather than too early.^[68] He was fond of many lesser-known composers, such as Orlando Gibbons, whose Anthems he had heard as a teenager,^[69] and for whose music he felt a "spiritual attachment".^[70] He recorded a number of Gibbons's keyboard works and called him his favourite composer,^[71][72] despite his better-known admiration for the technical mastery of Bach.^{[fn 20]} He made recordings of piano music by Jean Sibelius (the Sonatines and Kyllikki), Georges Bizet (the Variations Chromatiques de Concert and the Premier nocturne), Richard Strauss (the Piano Sonata, the Five Pieces, and Enoch Arden with Claude Rains), and Paul Hindemith (the three piano sonatas and the sonatas for brass and piano). He also made recordings of the complete piano works Lieder by Arnold Schoenberg. The last thing Gould recorded as a session musician was Strauss: Piano Sonata, Op. 5. It was recorded between September 1 – 3, 1982^[73] in New York City.

Collaborations[link]

The success of Gould's collaborations with other artists was to a degree dependent upon their receptiveness to his sometimes unconventional readings of the music. His television collaboration with Yehudi Menuhin in 1965, recording works by Bach, Beethoven and Schoenberg,Stegemann (1993b) was deemed a success because "... Menuhin was ready to embrace the new perspectives opened up by an unorthodox view ...".^[74] In 1966, his collaboration with Elisabeth Schwarzkopf, however, recording Richard Strauss's Ophelia Lieder, Op. 67, was deemed an "outright fiasco".^[74] Schwarzkopf believed in "total fidelity" to the score, but she also objected to the thermal conditions in the recording studio: "The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. But we persevered nonetheless. It wasn't easy for me. Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely...."^[75]

Radio documentaries[link]

As the result of Gould's association with CBC Records, he made numerous television and radio programs for CBC Television and CBC Radio. Notable productions include his music-concrète Solitude Trilogy, which consists of The Idea of North, a meditation on Northern Canada and its people, The Latecomers about Newfoundland, and The Quiet in the Land, about Mennonites in Manitoba. All three use a radiophonic electronic-music technique that Gould called contrapuntal radio, in which several people are heard speaking at once—much like the voices in a fugue—manipulated through the use of tape. Gould's experience of driving across northern Ontario while listening to Top 40 radio in 1967 provided the inspiration for one of his most unusual CBC radio pieces, The Search for Petula Clark, a witty and eloquent dissertation on the recordings of the renowned British pop singer, who was then at the peak of her international success^[76]

Arrangements and compositions[link]

Gould was not only a composer, but also a prolific arranger of orchestral repertoire for piano. His arrangements include his recorded Wagner and Ravel transcriptions, as well as the operas of Richard Strauss and the symphonies of Schubert and Bruckner,^[3] which he played privately for pleasure.^{[fn 21]}

As a teenager, Gould wrote chamber music and piano works in the style of the Second Viennese school of composition. His only significant work was the String Quartet, Op. 1, which he finished when he was in his 20s, and perhaps his cadenzas to Beethoven's Piano Concerto No. 1. Later works include the Lieberson Madrigal (SATB and piano), and So You Want to Write a Fugue? (SATB with piano or string quartet accompaniment). The majority of his work is published by Schott Music. The recording Glenn Gould: The Composer contains his original works.

The String Quartet Op. 1 (published in 1956 and recorded in 1960) had a mixed reception from critics. For example, the notices from the Christian Science Monitor and The Saturday Review were quite laudatory, while the response from the Montreal Star was less so.^[77] There is little critical commentary on Gould's compositional work for the simple reason that there are few compositions. He did not proceed beyond Opus 1. Gould left many compositions unfinished.^[78] He attributed his failure as a composer to his lack of a "personal voice".^[79] See List of compositions by Glenn Gould for a complete list of works.

Conducting[link]

Towards the end of his life, Gould began conducting. He had earlier directed Bach's Brandenburg Concerto No. 5 and the cantata Widerstehe doch der Sünde from the harpsipiano (a piano with metal hammers to simulate a harpsichord's sound), and Gustav Mahler's Symphony No. 2 (the Urlicht section) in the 1960s. His last recording was as a conductor of Wagner's Siegfried Idyll in its original chamber music scoring. He intended to give up the piano at the age of 50, spending later years conducting, writing about music, and composing.^[80]

Legacy and honours[link]

Park Bench Sculpture of Gould located outside the Canadian Broadcasting Centre

Gould is one of the most acclaimed 20th-century classical musicians. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners while highly objectionable to others. Philosopher Mark Kingwell writes that "his influence is made inescapable. No performer after him can avoid the example he sets... Now, everyone must perform through him: he can be emulated or rejected, but he cannot be ignored."^[81]

Gould left an extensive body of work beyond the keyboard. After his retirement from concert performance, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the electronic age on the consumption of media. (Gould grew up in Toronto at the same time that Canadian theorists Marshall McLuhan, Northrop Frye, and Harold Innis were making their mark on communications studies.)^[82][83] Anthologies of his writing and letters have been published.^{[fn 22]} Library and Archives Canada retains a significant portion of Gould's work called the The Glenn Gould Archive.

One of Gould's performances of the Prelude and Fugue in C major from Book II of The Well-Tempered Clavier was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The disc of recordings was placed on the spacecraft Voyager 1, which is now approaching interstellar space and is the farthest human-made object from Earth.^[84]

Gould is a popular subject of biography and even critical analysis. Philosophers such as Giorgio Agamben and Mark Kingwell have interpreted Gould's life and ideas.^[85] References to Gould and his work are plentiful in poetry, fiction, and the visual arts.^[86] For example, François Girard's Genie Award winning 1993 film, Thirty Two Short Films About Glenn Gould.

The Glenn Gould Studio at the Canadian Broadcasting Centre in Toronto was named after him.

Glenn Gould Foundation[link]

In Toronto in 1983, The Glenn Gould Foundation was established to honour Gould and preserve his memory. The Foundation's mission "is to extend awareness of the legacy of Glenn Gould as an extraordinary musician, communicator, and Canadian, and to advance his visionary and innovative ideas into the future." Among other activities, the foundation awards the Glenn Gould Prize every three years^[87] to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies." The prize consists of $50,000 for an original work by a Canadian artist.

Glenn Gould School[link]

The Royal Conservatory of Music in Toronto decided to adopt the name The Glenn Gould School in 1997, after its most famous alumnus.^[88]

Glenn Gould: The Sounds of Genius[link]

To commemorate what would have been Gould's 75th birthday, the Canadian Museum of Civilization held an exhibition titled Glenn Gould: The Sounds of Genius. The multimedia exhibit was held in conjunction with Library and Archives Canada.^[89] The exhibition opened September 28, 2007^[90] and looked at five aspects of Gould: "The person," "The musician," "The broadcast personality and producer," "The writer and theorist, composer and conductor," and "The Sounds of Genius".^[91] Curator Sam Cronk said "The primary purpose of the exhibition is to remind Canadians of the many facets of Gould’s musical genius."^[90] John F. Burns of the The New York Times reported, in an interview with Herbert Kallmann, that the exhibit will omit many of Gould's eccentricities in favour of highlighting Gould’s talent. Of the numerous documents, there are essays, scripts, and music scores. The scores on display were used for some of his most important recordings, marked only for breaks between takes.^[58] Peter Goddard of the Toronto Star says that the exhibit will give patrons a feeling of what it was like at Gould's home: "The cramped space conveys a sense of what his St. Clair Ave. apartment might have felt like, with his piano at the very centre of things, along with his low piano chair made by his father."^[92]

Awards[link]

Glenn Gould received many honours before and after his death, although he personally claimed to despise competition in music.

Juno Awards[link]

The Juno Awards are presented annually by the Canadian Academy of Recording Arts and Sciences. Gould won three awards out of his six nominations. However he only personally received one Juno. In 1983, he was posthumously inducted into the Canadian Music Hall of Fame.^[93]

Grammy Awards[link]

The Grammys are awarded annually by the National Academy of Recording Arts and Sciences. Gould won four awards but personally only received one.^[94] In 1983, he was honoured posthumously, being inducted into the Grammy Hall of Fame for his 1955 recording (released in 1956) Bach: The Goldberg Variations.^[95]

See also[link]

	Canada portal
	Toronto portal
32x28px	Music of Canada portal
	Classical music portal

• Glenn Gould Prize
• Music of Canada
• List of Canadian composers
• List of compositions by Glenn Gould
• List of recordings by Glenn Gould

References[link]

Footnotes

Citations

Bibliography

Multimedia sources

Further reading[link]

External links[link]

Wikiquote has a collection of quotations related to: Glenn Gould

• Media related to Glenn Gould at Wikimedia Commons
• Glenn Gould Official website
• Glenn Gould recordings owned by Sony Music
• The Glenn Gould Foundation including the GlennGould Magazine
• The Glenn Gould Archive from Library and Archives Canada
• Glenn Gould: Variations on an Artist from the CBC Digital Archives
• Glenn Gould at Société Radio-Canada from the CBC French language Digital Archives
• Glenn Gould pictures and writings by film director Bruno Monsaingeon
• Glenn Gould collected news and commentary at The New York Times
• Works by or about Glenn Gould in libraries (WorldCat catalog)

Video

• Bach & Friends: Glenn Gould (2010) from director Michael Lawrence
• Genius Within: The Inner Life of Glenn Gould (2010) from co-directors Peter Raymont and Michèle Hozer
• Glenn Gould on Myspace

Henry John Deutschendorf, Jr. (December 31, 1943 – October 12, 1997), known professionally as John Denver, was an American singer/songwriter, activist, and humanitarian. After traveling and living in numerous locations while growing up in his military family, Denver began his music career in folk music groups in the late 1960s. His greatest commercial success was as a solo singer. Throughout his life Denver recorded and released approximately 300 songs, about 200 of which he composed. He performed primarily with an acoustic guitar and sang about his joy in nature, his enthusiasm for music, and relationship trials. Denver's music appeared on a variety of charts including country & western, the Billboard Hot 100, and adult contemporary, in all earning him 12 gold and 4 platinum albums with his signature songs "Sunshine on My Shoulders", "Take Me Home, Country Roads", "Leaving on a Jet Plane", "Rocky Mountain High", "Annie's Song", and "Calypso".

Denver further starred in films and several notable television specials in the 1970s and 1980s. In the following decades he continued to record, but also focused on calling attention to environmental issues, lent his vocal support to space exploration, and testified in front of Congress to protest censorship in music. He is known for his love of the state of Colorado, which he sang about numerous times. He lived in Aspen, Colorado, for much of his life, and influenced the governor to name him Poet Laureate of the state in 1974. The Colorado state legislature also adopted "Rocky Mountain High" as one of its state songs in 2007. He was an avid pilot, and died while flying his personal aircraft at the age of 53. Denver was one of the most popular acoustic artists of the 1970s.^[1]

Biography[link]

Early years[link]

Henry John Deutschendorf, Jr., was born in Roswell, New Mexico, to Erma Louise Swope and Lt. Col. Henry John Deutschendorf, Sr.,^[2] an Air Force Lieutenant Colonel (who set three speed records in the B-58 Hustler bomber and earned a place in the Air Force Hall of Fame). Henry Sr. was of German ancestry, and met and married his "Oklahoma Sweetheart".^[3] Denver's Irish Catholic and German maternal grandmother was the one who imbued Denver with his love of music. In his autobiography, Take Me Home, Denver described his life as the eldest son of a family shaped by a stern father who could not show his love for his children.

Because Denver's father was in the military, the family moved often, making it difficult for Denver to make friends and fit in with people of his own age. Constantly being the new kid was agony for the introverted child, and he grew up always feeling as if he should be somewhere else, but never knowing where that "right" place was.^[4] While living in Tucson, Arizona, Denver was a member of the Tucson Arizona Boys Chorus for two years. Denver was happy living in Tucson, but his father was transferred to Montgomery, Alabama, then in the midst of the Montgomery boycotts. The family later moved to Fort Worth, Texas, where Denver graduated from Arlington Heights High School. Attending high school in Fort Worth was a distressing experience for the disenfranchised Denver. In his third year of high school, he borrowed his father's car and ran away to California to visit family friends and begin his music career. His father flew to California to bring him back, and Denver unhappily returned to finish high school.^[5]

At the age of 11, Denver received an acoustic guitar from his grandmother.^[6] He learned to play well enough to perform at local clubs by the time he was in college. He adopted the surname "Denver" after the capital of his favorite state, Colorado. He decided to change his name when Randy Sparks, founder of The New Christy Minstrels, suggested that "Deutschendorf" wouldn't fit comfortably on a marquee.^[7] Denver attended Texas Tech University in Lubbock and sang in a folk-music group called "The Alpine Trio" while pursuing architecture studies.^[8] He was also a member of Delta Tau Delta Fraternity. Denver dropped out of the Texas Tech School of Engineering in 1963,^[6] and moved to Los Angeles, California, where he sang in folk clubs. In 1965, Denver joined the Chad Mitchell Trio, a folk group that had been renamed "The Mitchell Trio" prior to Chad Mitchell's departure and before Denver's arrival, and then "Denver, Boise, and Johnson" (John Denver, David Boise, and Michael Johnson).^[6]

Solo career[link]

In 1969, John Denver abandoned the band life to pursue a solo career and released his first album for RCA Records: Rhymes & Reasons. Two years prior Denver had made a self-produced demo recording of some of the songs he played at his concerts. He included in the demo a song called "Babe I Hate to Go," later renamed "Leaving on A Jet Plane." Denver made several copies and gave them out as presents for Christmas.^[9] Mitchell Trio manager Milt Okun brought the unreleased "Jet Plane" song to the high-profile folk group Peter, Paul and Mary. Their version of the song hit number one on the Billboard Hot 100.^[10]

Although RCA did not actively promote Rhymes & Reasons with a tour, Denver himself embarked on an impromptu supporting tour throughout the Midwest, stopping at towns and cities as the fashion took him, offering to play free concerts at local venues. When he was successful in convincing a school, college, American Legion Hall, or local coffee-house to let him play, he would spend a day or so postering the town and could usually be counted upon to show up at the local radio station, guitar in hand, offering himself for an interview.^{[citation needed]} With his foot-in-the-door of having authored "Leaving on a Jet Plane", he was often successful in gaining some valuable promotional airtime, usually featuring one or two songs performed live. Some venues would let him play for the "door"; others restricted him to selling copies of the album at intermission and after the show. After several months of this constant low-key touring schedule, however, he had sold enough albums to convince RCA to take a chance on extending his recording contract. He had also built a sizable and solid fan base, many of whom remained loyal throughout his career.^[6]

Denver recorded two more albums in 1970, Take Me to Tomorrow and Whose Garden Was This, including a mix of songs he had written and cover versions of other artists' compositions.

Career peak[link]

His next album, Poems, Prayers, and Promises (released in 1971), was a breakthrough for him in the U.S., thanks in part to the single "Take Me Home, Country Roads", which went to No.2 on the Billboard charts despite the first pressings of the track being distorted. Its success was due in part to the efforts of his new manager, future Hollywood producer Jerry Weintraub, who signed Denver in 1970. Weintraub insisted on a re-issue of the track and began a radio-airplay campaign that started in Denver, Colorado. Denver's career flourished from then on, and he had a series of hits over the next four years. In 1972, Denver scored his first Top Ten album with Rocky Mountain High, with its title track reaching the Top Ten in 1973.^[11] Between 1974 and 1975, Denver experienced an impressive chart dominance, with a string of four No.1 songs ("Sunshine on My Shoulders", "Annie's Song", "Thank God I'm a Country Boy", and "I'm Sorry") and three No.1 albums (John Denver's Greatest Hits, Back Home Again, and Windsong).^[12]

In the 1970s, Denver's onstage appearance included long blond hair, embroidered shirts emblazoned with images commonly associated with the American West (created by designer & appliqué artist Anna Zapp), and "granny" glasses. His manager, Jerry Weintraub, insisted on a significant number of television appearances, including a series of half-hour shows in England, despite Denver's protests at the time, "I've had no success in Britain...I mean none."^[13] Weintraub explained to Maureen Orth of Newsweek in December 1976, "I knew the critics would never go for John. I had to get him to the people."

After appearing as a guest on many shows, Denver went on to host his own variety/music specials, including several concerts from Red Rocks Amphitheatre near Denver. His seasonal special, Rocky Mountain Christmas, was watched by more than 60 million people and was the highest-rated show for the ABC network at that time.^{[citation needed]}

His live concert special, An Evening with John Denver, won the 1974–1975 Emmy for Outstanding Special, Comedy-Variety or Music.^[14] When Denver ended his business relationship because of Weintraub's focus on other projects, Weintraub threw Denver out of his office and called him a Nazi. Denver would later tell Arthur Tobier, when the latter transcribed his autobiography^{[citation needed]}, "...I'd bend my principles to support something he wanted of me. And of course every time you bend your principles – whether because you don't want to worry about it, or because you're afraid to stand up for fear of what you might lose – you sell your soul to the devil."^[15]

Denver was also a guest star on The Muppet Show, the beginning of the lifelong friendship between Denver and Jim Henson that spawned two television specials with The Muppets. He also tried his hand at acting, appearing in the The Colorado Cattle Caper episode of the McCloud television movie on February 24, 1974, and starring in the 1977 film Oh, God! opposite George Burns. Denver hosted the Grammy Awards five times in the 1970s and 1980s and guest-hosted The Tonight Show on multiple occasions.^[16] In 1975, Denver was awarded the Country Music Association's Entertainer of the Year award. At the ceremony, the outgoing Entertainer of the Year Charlie Rich presented the award to his successor, but in protest of what he considered the inappropriateness of Denver's selection, Rich set fire to the envelope containing the official notification of the award.^[17] However, Denver's music was defended by country singer Kathy Mattea, who told Alanna Nash of Entertainment Weekly, "A lot of people write him off as lightweight, but he articulated a kind of optimism, and he brought acoustic music to the forefront, bridging folk, pop, and country in a fresh way.... People forget how huge he was worldwide."

In 1977, Denver cofounded The Hunger Project with Werner Erhard and Robert W. Fuller. He served for many years and supported the organization until his death. Denver was also appointed by President Jimmy Carter to serve on the President's Commission on World Hunger, writing the song "I Want to Live" as its theme song. In 1979, Denver performed "Rhymes & Reasons" at the Music for UNICEF Concert. Royalties from the concert performances were donated to UNICEF.^[18] His father taught him to fly in the mid-1970s, which led to a reconciliation between father and son.^[8] In 1980, Denver and his father, Lt. Col. “Dutch” Deutschendorf, co-hosted an award winning television special, "The Higher We Fly: the History of Flight."^[3] It won the Osborn Award from the Aviation/Space Writers’ Association, and was honored by the Houston Film Festival.^[3]

Political activism[link]

Denver became outspoken in politics in the mid-1970s. In 1976, he campaigned for Jimmy Carter, who became a close friend and ally. Denver was a supporter of the Democratic Party and of a number of charitable causes for the environmental movement, the homeless, the poor, the hungry, and the African AIDS crisis. He founded the charitable Windstar Foundation in 1976, to promote sustainable living. His dismay at the Chernobyl disaster led to precedent-setting concerts in parts of communist Asia and Europe.^[8]

During the 1980s, Denver was critical of the Ronald Reagan Presidential Administration, but he remained active in his campaign against hunger, for which Reagan awarded Denver the Presidential World Without Hunger Award in 1985.^[8] Denver's criticism of the conservative politics of the 1980s was expressed in his autobiographical folk-rock ballad "Let Us Begin (What Are We Making Weapons For)." Denver was also critical of the Republican-dominated Congress and American Conservatism of the 1990s. He denounced the National Rifle Association (NRA) as a corrupt political machine that could buy off politicians, and in an open letter to the media, he wrote that he opposed oil drilling in the Arctic National Wildlife Refuge. Denver had battled to expand the refuge in the 1980s, and he praised President Bill Clinton for his opposition to the proposed drilling. The letter, which he wrote in the midst of the 1996 presidential election, was one of the last he ever wrote.^[8] Denver was also on the Board of Governors of the National Space Society for many years.

Later years and humanitarian work[link]

He had a few more U.S. Top 30 hits as the 1970s ended, but nothing to match his earlier success. He began to focus more on humanitarian and sustainability causes, focusing extensively on conservation projects. He made public expression of his acquaintances and friendships with ecological-design researchers such as Richard Buckminster Fuller and Amory Lovins, from whom he said he learned much. He also founded two environmental groups; the Windstar Foundation and Plant-It 2020 (originally Plant-It 2000). Denver had a keen interest in solutions to world hunger. He visited Africa during the 1980s to witness first-hand the suffering caused by starvation and to work with African leaders toward solutions.

John Denver testifies before the US Senate, 1985

Testimony continued

In 1983 and 1984, Denver hosted the annual Grammy Awards. In the 1983 finale, Denver was joined on stage by folk-music legend Joan Baez with whom he led an all-star version of "Blowin' in the Wind" and Let The Sunshine In, joined by such diverse musical icons as Jennifer Warnes, Donna Summer, and Rick James.

In 1984, Roone Arlidge, president of ABC Sports, asked Denver to compose and sing the theme song for the 1984 Winter Olympics in Sarajevo. Denver worked as both a performer and a skiing commentator (skiing was another avocation of Denver's). He had written "The Gold and Beyond", and sang it for the Olympic Games athletes, as well as local venues including many schools.^[3]

In 1985, Denver asked to participate in the singing of "We Are the World" but was turned down. According to Ken Kragen (who helped to produce the song), the reason that John Denver was turned down was that many people felt his image would hurt the credibility of the song as a pop-rock anthem. "I didn't agree" with this assessment, Kragen said, but reluctantly turned Denver down anyway.^[19]

For Earth Day 1990, Denver was the on-camera narrator of a well-received environmental TV program, "In Partnership With Earth," with then–EPA Administrator William K. Reilly.

With Denver's innate love of flying he was naturally attracted to NASA and became dedicated to America’s work in outer space. He conscientiously worked to help bring into being the “Citizens in Space” program. Denver received the NASA Public Service Medal, in 1985 for “helping to increase awareness of space exploration by the peoples of the world,” an award usually restricted to spaceflight engineers and designers. Also in 1985, Denver passed NASA’s rigorous physical exam and was in line for a space flight, a finalist for the first citizen’s trip on the Space Shuttle in 1986. He was not chosen. After the Challenger disaster with teacher Christa McAuliffe aboard, John dedicated his song “Flying for Me”, to all astronauts, and he continued to support NASA.^[3]

Denver testified before the Senate Labor and Commerce Committee on the topic of censorship during a Parents Music Resource Center hearing in 1985. Denver also toured Russia in 1985. His 11 Soviet Union concerts were the first by any American artist in more than 10 years, and they marked a very important cultural exchange that culminated in an agreement to allow other western artists to perform there.^[20] He returned two years later to perform at a benefit concert for the victims of the Chernobyl disaster. In October 1992, John undertook a multiple-city tour of the People's Republic of China. He also released a greatest-hits CD, "Homegrown," to raise money for homeless charities.

In 1994, he published his autobiography, Take Me Home, in which he candidly spoke of his marijuana, LSD, and cocaine use, his marital infidelities, history of domestic violence, and a suicide attempt in a London hotel room.^[21][22] In 1996, he was inducted into the Songwriters Hall of Fame.

In early 1997, Denver filmed an episode for the Nature series, centering on the natural wonders that inspired many of his best-loved songs. The episode contains his last song, "Yellowstone, Coming Home," which he composed while rafting along the Colorado River with his son and young daughter.^[23]

In the summer of 1997, Denver recorded a children's train album for Sony Wonder, entitled All Aboard!, produced by long-time friend Roger Nichols.^[24] The album consisted of old-fashioned swing, big band, folk, bluegrass, and gospel styles of music woven into a theme of railroad songs. This album won a posthumous Best Musical Album For Children Grammy for Denver, which was his only Grammy.^[25]

Personal life[link]

Denver's first marriage was to Annie Martell of St. Peter, Minnesota. Their wedding was held at the Christ Chapel at Gustavus Adolphus College. Annie was the subject of his hit Annie's Song, which he composed in only ten minutes while on a ski lift in 1974.^[8] The couple lived in Edina, Minnesota from 1968 to 1971. Following the success of "Rocky Mountain High," Denver purchased a residence in Colorado and owned one home in Colorado continuously until his death.^[26] He and Annie adopted a son, Zachary, and daughter, Anna Kate, who John would say were “meant to be” theirs.^[3] John once said, "I'll tell you the best thing about me. I'm some guy's dad; I'm some little gal's dad. When I die, Zachary John and Anna Kate's father, boy, that's enough for me to be remembered by. That's more than enough."^[27] Zachary was the subject of "A Baby Just Like You," a song that included the line "Merry Christmas, little Zachary" and which he wrote for Frank Sinatra. Denver and Annie Martell divorced in 1982 and the ensuing property settlement caused Denver to become so enraged he nearly choked his ex-wife, then used a chainsaw to cut the marital bed in half.^{[8][21][22][28]} Martell continues to live in Aspen, Colorado.

John Denver married Australian actress Cassandra Delaney in 1988, after a two-year courtship. Settling in Aspen, the couple had a daughter, Jesse Belle. Denver and Delaney separated in 1991 and divorced in 1993.^[8] Of his second marriage, Denver would later recall that "before our short-lived marriage ended in divorce, she managed to make a fool of me from one end of the valley to the other."^[22] In 1993, Denver pleaded guilty to a drunken driving charge, and was placed on probation.^[28] In August 1994, while still on probation, he was again charged with misdemeanor driving under the influence after crashing his Porsche into a tree in Aspen, Colorado.^[28] Though a jury trial in July 1997 resulted in a hung jury on the second DUI charge, prosecutors later decided to reopen the case, which was only closed after Denver's accidental death in October 1997.^[28][29] In 1996, the FAA decided that Denver could no longer fly a plane due to medical disqualification for failure to abstain from alcohol, a condition that the FAA had imposed in October 1995 after his prior drunk driving conviction.^[30][31]

Denver's talent extended beyond music. He was a painter as well but because of his limiting schedule, he pursued photography. He once said that "photography is a way to communicate a feeling." Denver was an avid skier and golfer. His love of flying was secondary only to his love for music.^[32] He collected vintage biplanes, and in 1974, he bought a Learjet, which he used to fly himself to concerts. He also bought a Christen Eagle aerobatic plane, two Cessna 210 and in 1997, an experimental, amateur-built Rutan Long-EZ.^[3][31][32]

A Long-EZ two seat canard plane similar to Denver's

Death[link]

On October 12, 1997, Denver was killed at the age of 53 when his experimental Rutan Long-EZ plane, aircraft registration number N555JD, crashed into the Pacific Ocean near Pacific Grove, California, while making a series of touch-and-go landings at the nearby Monterey Peninsula Airport.^[33] National Transportation Safety Board]] (NTSB) accident ID is LAX98FA008.^[34] As the crash badly disfigured Denver's head and body, making identification by dental records impossible, records of his fingerprints taken from his arrests for intoxicated driving were used to confirm that the fallen pilot was indeed the singer.^[35][36]

A pilot with over 2,700 hours of experience, Denver had single-engine land and sea, multi-engine land, glider, and instrument ratings. He also held a type rating in his Learjet. He had recently purchased the Long-EZ aircraft, and had taken a half-hour checkout flight with the aircraft the day before the accident.^[37] However, Denver did not possess a valid FAA medical certification.^[30][31] Denver was the sole occupant of the aircraft.^[38]

In 1996, nearly a year before the accident, the Federal Aviation Administration had learned of Denver's failure to abstain entirely from alcohol after his drunk driving arrests, and had previously revoked his medical certification.^[30][31] Since Denver was required by the FAA to have at least a third-class medical certification in order to exercise the privileges of his pilot certificate, he was not legally able to fly at the time of the accident. However, there was no trace of alcohol or drugs in Denver's body at autopsy.^[31]

Post-accident investigation by the NTSB showed that the experimental Rutan as built had an unusual reconfiguration of the fuel selector valve handle, which had been moved from the instrument panel to behind the left shoulder of the pilot.^[30][31] Wreckage examination by NTSB investigators revealed that the selector handle was not placarded or marked for any operating position.^[30][31] According to a pilot who had flown the aircraft in a prior checkout flight, the handle in the right position was for the left tank, the handle in the down position was for the right tank, and the off position was up.^[30][31] An NTSB interview with the aircraft mechanic servicing Denver's plane revealed that he and Denver had discussed the inaccessibility of the cockpit fuel selector valve handle and its resistance to being turned.^[30][31] Before the flight, Denver and the mechanic had attempted to extend the reach of the handle, using a pair of vice grip pliers.^[30][31] However, this did not solve the problem as the pilot could still not reach the handle while strapped into his seat.^[30][31] When investigators attempted to switch fuel tanks in a similar Long EZ, each time while an investigator turned his body the 90 degrees required to reach the valve, his natural tendency was to extend his right foot against the right rudder pedal to support his body as he turned in the seat, causing the aircraft to yaw and pitch up.^[30][31]

After the mechanic noted that the fuel sight gauges were only visible to the rear cockpit occupant, Denver asked him about the quantity of fuel shown.^[30][31] The mechanic told Denver that he had "less than half in the right tank and less than a quarter in the left tank".^[30][31] The mechanic then provided Denver with a shop inspection mirror so that he could look over his shoulder at the fuel sight gauges; the mirror was later recovered in the wreckage.^[30][31] Denver told the mechanic that he would use the autopilot inflight, if necessary, to hold the airplane level while he turned the fuel selector valve.^[30][31] Denver declined an offer to take on additional fuel, telling the mechanic that he would only be flying for about one hour.^[30][31]

Twenty witnesses to the accident were interviewed by the NTSB, some of whom observed the plane's crash into the ocean near Point Pinos.^[30][31] Four of the witnesses indicated that the airplane was originally heading west; five of them observed the airplane in a steep bank, with four of those five reporting the bank was to the right (north). Twelve witnesses saw the airplane in a steep nose-down descent, and 6 of them saw the airplane hit the water. Witnesses estimated the plane's height at 350 to 500 feet while heading toward the shoreline. Eight of the witnesses said that they heard a "pop" or "backfire," along with a reduction in the engine noise level just before the airplane descended into the water.

The National Transportation Safety Board determined the probable cause of the crash was the pilot's diversion of attention from the operation of the airplane and his inadvertent application of right rudder that resulted in the loss of airplane control while attempting to manipulate the fuel selector handle, resulting in a crash into the ocean.^[30][31] The Board also determined that the pilot's inadequate transition training, lack of total flight experience in type, and inadequate preflight planning and preparations, specifically his failure to refuel the airplane, were causal.^[30][31] The Board also singled out the aircraft builder's decision to locate the unmarked fuel selector handle in a hard-to-access position along with installing unmarked fuel quantity sight gauges as factors in the accident.^[30][31]

Upon announcement of Denver's death, Colorado governor Roy Romer ordered all state flags to be lowered to half staff in his honor. Funeral services were held at Faith Presbyterian Church in Aurora, Colorado, on October 17, 1997, being officiated by Pastor Les Felker, a retired Air Force chaplain. Later, Denver's ashes were scattered in the Rocky Mountains. Further tributes were made at the following Grammys and Country Music Association Awards. On September 23, 2007, nearly ten years after his death, his brother Ron witnessed the dedication of a plaque placed near the crash-site in Pacific Grove, California, commemorating the singer.

Posthumous recognition[link]

In 2000, CBS presented the television movie Take Me Home: The John Denver Story loosely based on his memoirs, starring Chad Lowe. Denver's brother, Ron Deutschendorf, voiced the feelings of many of the singer's fans when he wrote a letter to the Los Angeles Times criticizing the film's many inaccuracies: multiple chronological errors, exaggerated difficulties in his relationship with his father, and a completely superficial treatment of Denver's commitment to his various causes. As the New York Post observed, "An overachiever like John Denver couldn't have been this boring."^[39]

Denver's music remains extremely popular around the world. Previously unreleased and unnoticed recordings are now sought-after collectibles in pop, folk and country genres. Also in demand are copies of Denver's many television appearances, especially his one-hour specials from the 1970s and his six-part series for Britain's BBC, The John Denver Show. Despite strong interest in these programs, no sign of "official" release is evident for the vast majority of this material. An anthology musical featuring John Denver's music, Back Home Again: A John Denver Holiday, premiered at the Rubicon Theatre Company in November 2006.^[40]

On March 12, 2007, Colorado's Senate passed a resolution to make Denver's trademark 1972 hit "Rocky Mountain High" one of the state's two official state songs, sharing duties with its predecessor, "Where the Columbines Grow."^[41] The resolution passed 50–11 in the House, defeating an objection by Rep. Debbie Stafford (R-Aurora) that the song reflected drug use, most specifically the line, "Friends around the campfire and everybody's high." Sen. Bob Hagedorn, the Aurora Democrat who sponsored the proposal, defended the song as nothing to do with drugs, but everything to do with sharing with friends the euphoria of experiencing the beauty of Colorado's mountain vistas. Nancy Todd (D-Aurora) said that "John Denver to me is an icon of what Colorado is."^[42] Similar proposals have also been made to the West Virginia House of Delegates to make "Take Me Home Country Roads" the official song of that particular state, so far without success.

The lyrics to "Rocky Mountain High", one of Colorado's official state songs, in Rio Grande Park^[43] near Denver's hometown of Aspen, Colorado.

On September 24, 2007, the California Friends of John Denver and The Windstar Foundation unveiled a bronze plaque near the spot where his plane went down near Pacific Grove. The site had been marked by a driftwood log carved (by Jeffrey Pine of Colorado) with the singer's name, but fears that the memorial could be washed out to sea sparked the campaign for a more permanent memorial. Initially the Pacific Grove Council denied permission for the memorial, fearing the place would attract ghoulish curiosity from extreme fans. Permission was finally granted in 1999, but the project was put on hold at the request of the singer's family. Eventually, over 100 friends and family attended the dedication of the plaque, which features a bas-relief of the singer's face and lines from his song "Windsong": "So welcome the wind and the wisdom she offers. Follow her summons when she calls again."^[44]

To mark the 10th anniversary of Denver's death, his family released a set of previously unreleased recordings of Denver's 1985 concert performances in the Soviet Union. This two-CD set, John Denver – Live in the USSR, was produced by Denver's friend Roger Nichols, and released by AAO Music. These digital recordings were made during 11 concerts, and then rediscovered in 2002. Included in this set is a previously unpublished rendition of "Annie's Song" in Russian. The collection was released November 6, 2007.^[20]

On October 13, 2009, a DVD box set of previously unreleased concerts recorded throughout Denver's career was released by Eagle Rock Entertainment. "Around the World Live" is a 5-disc DVD set featuring three complete live performances with full band from Australia in 1977, Japan in 1981, and England in 1986. These are complemented by a solo acoustic performance from Japan in 1984, and performances at Farm Aid from 1985, 1987 and 1990. The final disc has two hour-long documentaries made by Denver.

On April 21, 2011, John Denver became the first inductee into the Colorado Music Hall of Fame. A benefit concert was held at Broomfield's 1STBANK Center and hosted by Olivia Newton-John. Other performers participating in the event included Nitty Gritty Dirt Band, Lee Ann Womack and John Oates. Both of his ex-wives were in attendance, and the award was presented to his three children.

Related artists[link]

Denver began his recording career with a group that had started as the Chad Mitchell Trio; his distinctive voice can be heard where he sings solo on Violets of Dawn, among other songs. He recorded three albums with the Mitchell Trio, replacing Chad Mitchell himself as high tenor.^[6] The group Denver, Boise and Johnson, which had evolved from the Mitchell Trio, released a single before he moved on to a solo career.^[7]

Bill Danoff and Taffy Nivert, credited as co-writers of Denver's song "Take Me Home, Country Roads", were close friends of Denver and his family, appearing as singers and songwriters on many of Denver's albums until they formed the Starland Vocal Band in 1976. The band's albums were released on Denver's Windsong Records (later known as Windstar Records) label. Denver's solo recording contract resulted in part from the recording by Peter, Paul and Mary of his song "Leaving on a Jet Plane", which became the sole number 1 hit single for the group.^[6] Denver recorded songs by Tom Paxton, Eric Andersen, John Prine, David Mallett, and many others in the folk scene. His record company, Windstar, is still an active record label today.^{[citation needed]} Country singer John Berry considers Denver the greatest influence on his own music and has recorded Denver's hit "Annie's Song" with the original arrangement.

Olivia Newton-John, an Australian singer whose across-the-board appeal to pop, MOR, and country audiences in the mid-1970s was similar to Denver's, lent her distinctive backup vocals to Denver's 1975 single "Fly Away"; she performed the song with Denver on his 1975 Rocky Mountain Christmas special. She also covered his "Take Me Home, Country Roads", and had a hit in the United Kingdom (#15 in 1973) and Japan (#6 in a belated 1976 release) with it.^{[citation needed]} In 1976, John Denver appeared as a guest star, along with Olivia Newton-John, who made a cameo appearance, on The Carpenters Very First Special, a one-hour TV special broadcast on the ABC television network. A highlight of the program was John singing a duet with Karen Carpenter of a medley of "Through the Rye" and "Good Vibrations", although the medley was never released commercially as a single or on an album.^{[citation needed]}

September 2008 saw the premiere of the musical Whisper the Wind in New Zealand, a tribute presentation covering highlights of Denver's life and career, with the younger Denver played by 21-year-old Dunedin musician Bevan Gardiner, whose vocal impersonation of the late singer was considered so accurate Denver's business manager Harold Thau could not tell them apart.^[45]

Awards and recognition[link]

Academy of Country Music

• 1974 Album of the Year for "Back Home Again"

American Music Awards

• 1975 Favorite Pop/Rock Male Artist
• 1976 Favorite Country Album for "Back Home Again"
• 1976 Favorite Country Male Artist

Country Music Association

• 1975 Entertainer of the Year
• 1975 Song of the Year for "Back Home Again"

Emmy Awards

• 1975 Emmy for Outstanding Variety, Music or Comedy Special for "An Evening With John Denver"^[3]

Grammy Awards

• 1997 Best Musical Album For Children for "All Aboard!"
• 1998 Grammy Hall of Fame Award for "Take Me Home, Country Roads"

Songwriters Hall of Fame

• Inducted in 1996

Other recognition[link]

• Poet Laureate of Colorado, 1977^[3]
• People's Choice Awards, 1977^[3]
• Ten Outstanding Young Men of America, 1979^[3]
• Carl Sandburg’s People’s Poet Award, 1982
• NASA Public Service Medal, 1985
• Albert Schweitzer Music Award, 1993
• "Rocky Mountain High" declared state song of Colorado, 2007

Discography[link]