The section that I chose from the Glenn Gould performances of the Goldberg Variations is the second variation (or first variation, assuming the first section is the statement of the theme).  I chose this section not because it was my favourite section, but rather that I felt it was representative of Gould’s growth through the stylistic change it underwent during the time between the recordings.  In his 1955 recording, the second variation was light and fast, and Gould’s performance lent itself to the style of the piece more so than his own interpretation.  This may be due to the rather hasty tempo he chose; however, the 1981 recording gives the sense that there is more Gould behind the keyboard.  In both recordings, the opening section of this variation is stately, grand and buoyant – not much to be played with stylistically, but in the later more quiet and calm section, it feels as though Gould leans into what the style calls for in his early recording, and pours his emotion into the music for his second recording. The rubato and thoughtful placement of the notes gives the listener the sense that Gould himself is trying to communicate an emotion, as is simply using the music as a vessel for an unspoken meaning. In the ’55 recording, the listener gets the sense that the roles are reversed, and that Bach is speaking through Gould.  It appears as though Gould gains his sense of identity as an artist some time between the two recordings, as is evident through what he chooses to say through the music.