Bazzana (2003, p. 27) states, "Gould's first name is frequently misspelled as 'Glen' in documents (including official ones) dating back to the beginning of his life, and Gould himself used both spellings interchangeably throughout his life." Bazzana (2003, p. 24) further investigated the name-change records in Ontario's Office of the Registrar General and found only a record of his father Bert's name-change to Gould in 1979 (to be able to legally marry with that name); he concludes that the family's name-change was informal and "Gould was still legally 'Glenn Herbert Gold' when he died." Bazzana, Kevin (2003). Wondrous Strange: The Life and Art of Glenn Gould. Toronto: McClelland & Stewart. ISBN978-0-7710-1101-6. Bazzana, Kevin (2003). Wondrous Strange: The Life and Art of Glenn Gould. Toronto: McClelland & Stewart. ISBN978-0-7710-1101-6.
According to Bazzana (2003, p. 24), "[Gould's] birth certificate gave his name as 'Gold, Glenn Herbert.' The family name had always been Gold [...] All of the documents through 1938 that survive among Gould's papers give his surname as 'Gold,' but beginning at least as early as June 1939, the family name was almost always printed 'Gould' in newspapers, programs, and other sources; the last confirmed publication of 'Gold' is in the program for a church supper and concert on 27 October 1940. The whole family adopted the new surname." Bazzana, Kevin (2003). Wondrous Strange: The Life and Art of Glenn Gould. Toronto: McClelland & Stewart. ISBN978-0-7710-1101-6.
In a letter to cellist Virginia Katims in 1973, Gould said he had been vegetarian for about ten years (Glenn Gould: Selected Letters, John P. L. Roberts, Ghyslaine Guertin, 1992), but in his private notepads he wrote down some lists of foods he may have eaten, including chicken, Dover sole, roast beef and veal (Bazzana 2003, p. 325). Fran's Restaurant in Toronto was a regular haunt; a CBC profile noted that "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. Bazzana, Kevin (2003). Wondrous Strange: The Life and Art of Glenn Gould. Toronto: McClelland & Stewart. ISBN978-0-7710-1101-6.
Ostwald (1997, p. 329) specifies "No physical abnormalities were found in the kidneys, prostate, bones, joints, muscles, or other parts of the body that Glenn so often had complained about." Ostwald, Peter F. (1997). Glenn Gould: The Ecstasy and Tragedy of Genius. New York: W. W. Norton. ISBN978-0-393-04077-7. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
The claim that Gould "never shook hands" is exaggerated. Friedrich (1990, p. 267) quotes Timothy Findley: "Everybody said you never touched his hands, you never try to shake hands with him, but the first thing he did to me was to offer to shake hands. He offered me his hand in a very definite way, none of this tentative, 'don't-touch-me' stuff." Friedrich, Otto (1990) [1989]. Glenn Gould: A Life and Variations. New York: Random House. ISBN978-0-679-73207-5. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
These include his famous "self-interview", his book review of a biography written about him (in which he refers to himself in the third person)—not to mention the various appearances of his "alter egos" in print, radio, or TV, including an "extended and rather strained radio joke show", ("Critics Callout Corner" on the Silver Jubilee Album, 1980) which Kingwell (2009, p. 180) comments: "The humour is punishing... There can be no excuse for it, and the one clear lesson of the recording is that it could exist only because of the stature of its creator. Gould in effect called in twenty-five years of chits from Columbia when he got them to release this embarrassing piece of twaddle." Kingwell, Mark (2009). Glenn Gould. Extraordinary Canadians. Toronto: Penguin Canada. ISBN978-0-670-06850-0. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
These comments can be found in essays in Gould (1987). Gould, Glenn (1987). Page, Tim (ed.). The Glenn Gould Reader. Boston: Faber and Faber. ISBN0-571-14852-2. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
The Schubert can be seen briefly in the film Hereafter (Monsaingeon 2006). The transcription of Bruckner's 8th symphony Gould alludes to in an article (Gould 1987) where he deprecates its "sheer ledger-line unplayability"; the Strauss opera playing can be seen in one of the Humphrey Burton conversations and is referred to by almost everyone who saw him play in private. — (2006) [2005]. Glenn Gould: Au delà du temps [Glenn Gould: hereafter] (DVD. Original release 2005) (in English, Italian, Russian, French, German, Spanish, and Japanese). Paris: Idéale Audience and Rhombus Media. OCLC612160794. Retrieved 23 December 2011. Gould, Glenn (1987). Page, Tim (ed.). The Glenn Gould Reader. Boston: Faber and Faber. ISBN0-571-14852-2. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
During Gould's 1957 concert performances in Moscow, Vladimir Ashkenazy labelled him a phenomenon (Till & Tovell 1985). Till, Eric (Producer / Director / Narrator) & Tovell, Vincent (Producer / Director / Narrator) (1985) [First published as Documentary film in 1985]. Evans, Wayne (ed.). Glenn Gould: A Portrait (VHS Videotape released 22 October 1991). West Long Branch: CBC Enterprises; Kultur International Films (Distributor). OCLC22897163. Retrieved 23 December 2011.
In their documentary film Glenn Gould: A Portrait (Till & Tovell 1985), Glenn Gould's father recalled that Glenn "would not come out [of his bedroom] until he memorized the whole music" [regarding one of Beethoven's piano concertos]. Till, Eric (Producer / Director / Narrator) & Tovell, Vincent (Producer / Director / Narrator) (1985) [First published as Documentary film in 1985]. Evans, Wayne (ed.). Glenn Gould: A Portrait (VHS Videotape released 22 October 1991). West Long Branch: CBC Enterprises; Kultur International Films (Distributor). OCLC22897163. Retrieved 23 December 2011.
There are two other Gould recordings of the Goldberg Variations. One is a live recording from 1954 CBC Records(PSCD 2007); the other is live recorded in Moscow on 7 May 1957, and in Salzburg on 25 August 1959 (Sony SRCR 9500). It is part of The Glenn Gould edition and has been re-released on CD on Sony Classical Records(SMK 52685).
Gould discusses this in the 1974 Bruno Monsaingeon film series Chemins de la Musique(Ways of the Music). His 24 part series features Gould in four of those parts: La Retraite (The Retreat), L'Alchimiste (The Alchemist), 1974, Partita No. 6 (Bach's Partita No 6).[1]Archived 11 June 2013 at the Wayback Machine The four parts on Gould were re-released in 2002 on DVD as Gould: the alchemist (Monsaingeon 2002). Monsaingeon, Bruno (2002). Glenn Gould: the alchemist (DVD) (in English, French, German, and Spanish). ORTF; EMI Classics (Distributor). OCLC52719241. Retrieved 23 December 2011.
The Schubert can be seen briefly in the film Hereafter (Monsaingeon 2006). The transcription of Bruckner's 8th symphony Gould alludes to in an article (Gould 1987) where he deprecates its "sheer ledger-line unplayability"; the Strauss opera playing can be seen in one of the Humphrey Burton conversations and is referred to by almost everyone who saw him play in private. — (2006) [2005]. Glenn Gould: Au delà du temps [Glenn Gould: hereafter] (DVD. Original release 2005) (in English, Italian, Russian, French, German, Spanish, and Japanese). Paris: Idéale Audience and Rhombus Media. OCLC612160794. Retrieved 23 December 2011. Gould, Glenn (1987). Page, Tim (ed.). The Glenn Gould Reader. Boston: Faber and Faber. ISBN0-571-14852-2. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
Ostwald (1997, p. 329) specifies "No physical abnormalities were found in the kidneys, prostate, bones, joints, muscles, or other parts of the body that Glenn so often had complained about." Ostwald, Peter F. (1997). Glenn Gould: The Ecstasy and Tragedy of Genius. New York: W. W. Norton. ISBN978-0-393-04077-7. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
The claim that Gould "never shook hands" is exaggerated. Friedrich (1990, p. 267) quotes Timothy Findley: "Everybody said you never touched his hands, you never try to shake hands with him, but the first thing he did to me was to offer to shake hands. He offered me his hand in a very definite way, none of this tentative, 'don't-touch-me' stuff." Friedrich, Otto (1990) [1989]. Glenn Gould: A Life and Variations. New York: Random House. ISBN978-0-679-73207-5. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
These include his famous "self-interview", his book review of a biography written about him (in which he refers to himself in the third person)—not to mention the various appearances of his "alter egos" in print, radio, or TV, including an "extended and rather strained radio joke show", ("Critics Callout Corner" on the Silver Jubilee Album, 1980) which Kingwell (2009, p. 180) comments: "The humour is punishing... There can be no excuse for it, and the one clear lesson of the recording is that it could exist only because of the stature of its creator. Gould in effect called in twenty-five years of chits from Columbia when he got them to release this embarrassing piece of twaddle." Kingwell, Mark (2009). Glenn Gould. Extraordinary Canadians. Toronto: Penguin Canada. ISBN978-0-670-06850-0. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
These comments can be found in essays in Gould (1987). Gould, Glenn (1987). Page, Tim (ed.). The Glenn Gould Reader. Boston: Faber and Faber. ISBN0-571-14852-2. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
Gould discusses this in the 1974 Bruno Monsaingeon film series Chemins de la Musique(Ways of the Music). His 24 part series features Gould in four of those parts: La Retraite (The Retreat), L'Alchimiste (The Alchemist), 1974, Partita No. 6 (Bach's Partita No 6).[1]Archived 11 June 2013 at the Wayback Machine The four parts on Gould were re-released in 2002 on DVD as Gould: the alchemist (Monsaingeon 2002). Monsaingeon, Bruno (2002). Glenn Gould: the alchemist (DVD) (in English, French, German, and Spanish). ORTF; EMI Classics (Distributor). OCLC52719241. Retrieved 23 December 2011.
The Schubert can be seen briefly in the film Hereafter (Monsaingeon 2006). The transcription of Bruckner's 8th symphony Gould alludes to in an article (Gould 1987) where he deprecates its "sheer ledger-line unplayability"; the Strauss opera playing can be seen in one of the Humphrey Burton conversations and is referred to by almost everyone who saw him play in private. — (2006) [2005]. Glenn Gould: Au delà du temps [Glenn Gould: hereafter] (DVD. Original release 2005) (in English, Italian, Russian, French, German, Spanish, and Japanese). Paris: Idéale Audience and Rhombus Media. OCLC612160794. Retrieved 23 December 2011. Gould, Glenn (1987). Page, Tim (ed.). The Glenn Gould Reader. Boston: Faber and Faber. ISBN0-571-14852-2. Archived from the original on 4 September 2023. Retrieved 23 September 2016.
During Gould's 1957 concert performances in Moscow, Vladimir Ashkenazy labelled him a phenomenon (Till & Tovell 1985). Till, Eric (Producer / Director / Narrator) & Tovell, Vincent (Producer / Director / Narrator) (1985) [First published as Documentary film in 1985]. Evans, Wayne (ed.). Glenn Gould: A Portrait (VHS Videotape released 22 October 1991). West Long Branch: CBC Enterprises; Kultur International Films (Distributor). OCLC22897163. Retrieved 23 December 2011.
In their documentary film Glenn Gould: A Portrait (Till & Tovell 1985), Glenn Gould's father recalled that Glenn "would not come out [of his bedroom] until he memorized the whole music" [regarding one of Beethoven's piano concertos]. Till, Eric (Producer / Director / Narrator) & Tovell, Vincent (Producer / Director / Narrator) (1985) [First published as Documentary film in 1985]. Evans, Wayne (ed.). Glenn Gould: A Portrait (VHS Videotape released 22 October 1991). West Long Branch: CBC Enterprises; Kultur International Films (Distributor). OCLC22897163. Retrieved 23 December 2011.
Gould discusses this in the 1974 Bruno Monsaingeon film series Chemins de la Musique(Ways of the Music). His 24 part series features Gould in four of those parts: La Retraite (The Retreat), L'Alchimiste (The Alchemist), 1974, Partita No. 6 (Bach's Partita No 6).[1]Archived 11 June 2013 at the Wayback Machine The four parts on Gould were re-released in 2002 on DVD as Gould: the alchemist (Monsaingeon 2002). Monsaingeon, Bruno (2002). Glenn Gould: the alchemist (DVD) (in English, French, German, and Spanish). ORTF; EMI Classics (Distributor). OCLC52719241. Retrieved 23 December 2011.
The Schubert can be seen briefly in the film Hereafter (Monsaingeon 2006). The transcription of Bruckner's 8th symphony Gould alludes to in an article (Gould 1987) where he deprecates its "sheer ledger-line unplayability"; the Strauss opera playing can be seen in one of the Humphrey Burton conversations and is referred to by almost everyone who saw him play in private. — (2006) [2005]. Glenn Gould: Au delà du temps [Glenn Gould: hereafter] (DVD. Original release 2005) (in English, Italian, Russian, French, German, Spanish, and Japanese). Paris: Idéale Audience and Rhombus Media. OCLC612160794. Retrieved 23 December 2011. Gould, Glenn (1987). Page, Tim (ed.). The Glenn Gould Reader. Boston: Faber and Faber. ISBN0-571-14852-2. Archived from the original on 4 September 2023. Retrieved 23 September 2016.