It all began when I stumbled upon a surprising revelation—some people, including legendary pianist Glenn Gould, weren’t fans of Mozart. I was skeptical and maybe a little defensive at first—like come on, how dare him? Ready to sabotage his argument and him, I decided to first watch his infamous television lecture, How Mozart Became a Bad Composer. But instead of finding material for a rebuttal, I discovered Gould’s opinion was a nuanced, masterful analysis—a critical gem in musical discourse.

This led to a deep dive into Gould’s perspectives on Mozart, resulting in this blog series. Below, you’ll find each entry with a brief description and links to explore Gould’s complex and often controversial ideas on music.

I. The Original Words

Gould’s 1968 broadcast, How Mozart Became a Bad Composer, was a 40-minute monologue brimming with sharp wit and technical insights. I’ve compiled a transcript and linked the original show for you to experience firsthand. Read more…

II. Commentaries

Beneath Gould’s seemingly harsh critique lies an admiration for Mozart’s genius. This post delves into Gould’s eloquence and the challenges of fully grasping his argument in an age of shrinking attention spans. Read more…

III/IV. The Piano Concerto That Glenn Criticized (K.491) and Praised (K.333)

Mozart’s Piano Concerto No. 24 (K.491) is regarded as one of his greatest piano concerto works, but Gould dismissed it as nonchalantly uninspired. Listen to a performance to judge for yourself. Read more…

And despite his criticisms, Gould praised Mozart’s early works—this post presents Gould’s performance of Piano Sonata No. 13 in B-flat Major, K.333 and Glenn’s commentary. Read more…

V. Bonus Episode with Bernstein

Gould’s unconventional views extended beyond Mozart. This post features his infamous collaboration—and clash—with Leonard Bernstein over a Brahms concerto. Listen to Bernstein’s pre-concert speech that charmingly addressed the conflict. Read more…

The Lesson in Iconoclasm

Gould is undeniably an iconoclast. Many disagreed with his perspectives and artistic choices (e.g. “I never heard him playing anything that was beautiful, even the Bach.” Seymour Bernstein, source). Gould’s unconventional ideas sparked both admiration and controversy. Yet, what stands out is how the classical music world then—at least through mass media and critical discourse—granted him space to articulate, broadcast and defend those views. This openness to engage with challenging, dissenting opinions is something that feels rare today and offers a valuable lesson on how we might approach intellectual diversity in the modern era.