Thirty Two Short Films About Glenn Gould

Glenn Gould recalls a childhood decision to become a concert pianist at age five, a choice he believes his mother had already made for him. He remembers being able to read music before he could read words and learning the music of Bach from his mother. This early memory frames his lifelong relationship with music and the influence of his mother.

His early musical education emphasizes innate talent and maternal guidance. He could read music before words and learned Bach directly from his mother, shaping his distinctive approach to performance. These childhood lessons established the foundation for his later career.

Gould imagines interviewing himself, confronting why he chose to quit live concert performances. He questions his own motivations and the appeal of communicating through other media. The scene reveals his habit of self-scrutiny and manipulation of his public image.

He quits giving concerts at the age of 32 and turns to communicating with audiences through media instead. He notes that the musician is inescapably an autocrat, a tension he cannot fully escape no matter how benign. The change marks a major transition in how he engages with listeners.

In crafting radio documentaries, Gould works on a piece called The Idea of North. The work examines how the environment shapes solitude and isolation among people in Northern Canada. The project reflects his interest in using sound and narrative to explore social landscapes.

In a media interview, Gould reveals that The Idea of North is one of only five documentaries about isolation. He says he intends to make a comedy next because he is tired of serious expression. The remark exposes his awareness of tone and his willingness to shift genres.

Interviews push him to explain how he achieves musical perfection without being overly technical in his piano playing. They ask why he insists on being interviewed only over the telephone. Others question if Gould's obsession with technology is a smokescreen to keep his distance from real people.

As the markets plummet, Gould receives word from the bodyguard of visiting Sheik Yamani to invest in an obscure company called Sotex Resources. He becomes the only client to profit in the wake of the financial meltdown. The move illustrates his willingness to take risks and the odd windfalls that can follow.

Margaret Pacsu, a friend, notices Gould's bathroom is stocked with various pills, including Valium, Trifluoperazine and Librax. He laughs off the suggestion that he is taking them all at once, and Pacsu does not observe any personality changes. The moment hints at underlying anxieties without explicit symptoms.

As his birthday approaches, Gould worries that no one will attend his funeral, despite strong record sales in Central Europe and Japan. He remains aware of his public success while facing personal anxieties about being remembered. The tension underscores the fragile boundary between fame and mortality.

Gould dies at the age of 50 from a stroke, bringing his remarkable career to an abrupt close. The summary notes his fame, genius, and complex public persona in the wake of his death. The ending emphasizes the paradox of a life spent shaping others' perception of music.

His cousin Jessie Greig says Gould's funeral was heavily attended, contradicting earlier fears of isolation. She notes that the turnout reflected his enduring legacy. The summary also mentions that Voyager I and Voyager II carry Bach's music as played by Gould, extending his influence beyond Earth.