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Column: 60 years ago in Los Angeles, piano virtuoso Glenn Gould revolutionized the music industry by ending his concert career
On the evening of April 10, 1964 — that is, 60 years ago Wednesday — the Canadian virtuoso Glenn Gould stepped away from the piano at the end of his concert at the Wilshire Ebell Theatre in Los Angeles and revolutionized the recording industry.
There was no announcement at that landmark moment in L.A.; only the ensuing circumstance would tell the story. For the Wilshire Ebell recital marked the end of the 31-year-old star’s performing career. He would never play another note in public.
He was the first — and possibly the only — classical musician to shun public performances entirely. Henceforth, his entire output would be heard only via records and videos.
Dial twiddling … is an interpretive act.
— Glenn Gould grants listeners the right to manipulate recorded sound
Gould was then a world-famous exponent of the music of J.S. Bach. His debut recording on Columbia, released in 1956, was an electrifying performance of Bach’s Goldberg Variations, which had been consigned to academic obscurity.
The album was a monster hit and established Gould’s worldwide reputation. In a doleful irony, his digital rerecording of the piece, taken at a more stately tempo and with other changes, would be the last Gould album released by Columbia before his untimely death at age 50 in 1982.
At the time Gould shifted to a recording-only career, his fellow artists doubted that he would stand by his decision. As late as 1971, Arthur Rubinstein told him, “You will come back to it, you know.” Gould replied, “If this is a bet, maestro, you will lose it.”
Gould demonstrated that recording technology need not come between artists and their listeners; in fact, it could enhance their relationship. His fans, of which I am one, find themselves in a uniquely intimate connection with the artist, in part because his astonishing technique and superb musical intelligence comes through so vividly in his recordings.
Gould in effect turned the economics of the music industry upside-down. Rather than seeing records as marketing adjuncts to concert tours, he showed that recordings could be the principal point of contact — in his case, the only point — between musicians and their fans.
Gould became the chief herald of the new era of digital recording, and of the power it gave artists — and audiences — to reconfigure even the most familiar classical warhorses to their individual tastes.
He foresaw that new technologies — including those not yet invented — could put creative decisions in listeners’ hands, allowing them to adjust the tempi and mixes of recorded pieces in the home, adjust the sound mix to individual preference and even splice a section from one conductor’s performance of a familiar piece into another’s. “Dial twiddling,” he wrote, “is an interpretive act.”
Recording could rescue whole musical genres from oblivion; Gould pointed out that recordings were a major factor in the postwar restoration of baroque music, especially on original instruments, to the marketplace.
“This repertoire — with its contrapuntal extravaganzas, its antiphonal balances, its espousal of instruments that chuff and wheeze and speak directly to a microphone — was made for stereo,” he wrote. Only after that pre-classical repertoire established its popularity in records did it find its way to the concert stage.
Gould was not exactly a pioneer in what his longtime producer, Andrew Kazdin, termed “creative lying.” The most famous early case involved a 1952 recording of Wagner’s “Tristan und Isolde” in which the aging soprano Kirsten Flagstad was unable to hit a high C.
The producer, Walter Legge, called on his wife, soprano Elisabeth Schwarzkopf, to record the note, which was dubbed in. The subterfuge was made public only years later.
Before Gould, such splices, inserts, dubbings and other tools of the recording engineers were generally seen as remedies for brief mistakes, sometimes of a single note. But he used them to fashion something new.
In 1966 he wrote of overcoming his dissatisfaction with two takes of a fugue from Book 1 of Bach’s Well-Tempered Clavier, one take he considered “rather pompous” and the other overly jubilant — and both “monotonous.”
He solved the problem by using the first for the fugue’s opening and conclusion, and splicing in the second for the midsection, producing a version “far superior to anything we could at the time have done in the studio.”
Gould’s decision to abandon public recitals was brewing for years, possibly since the launch of his international performing career, which began in January 1955 with concerts in Washington and New York and would carry him across the U.S. and to Europe.
He had always detested traveling except by train, but hated even more what he saw as a “blood sport” pitting performer against audience. He saw concerts as “the frantic pursuit of a succession of daily events, momentary, ephemeral,” forcing performers to “calcify” their interpretations so they could be repeated over and over.
The recording studio, he felt, afforded artists the opportunity to perfect their vision of a piece in splendid isolation, and to rectify any flaws — and not only technical mistakes — in post-production.
Even while he was still giving concerts, Gould was known as an unreliable booking, prone to last-minute cancellations — he skipped a 1964 concert in Chicago three times before finally showing up. (It was his final public performance other than the Los Angeles recital.)
Indeed, when Leonard Bernstein came out on stage alone at the start of a performance with the New York Philharmonic on April 8, 1962, he felt constrained to notify the audience, “Don’t be frightened — Mr. Gould is here.”
The event became the most famous of Gould’s performing career. Bernstein’s purpose was to disavow Gould’s “unorthodox” interpretation of their program piece, Brahms’ Piano Concerto No. 1, though he said Gould was so important a musical thinker that he would perform it to Gould’s specified tempi anyway.
(Bernstein later revealed that when Gould visited him at his New York apartment before the performance, his appearance was so slovenly — another personal quirk — that his then-wife, Felicia Montealegre, pulled him into the bathroom to shampoo his matted hair and give it a trim. Moviegoers might recognize Montealegre as the character portrayed by Carey Mulligan in the 2023 Bernstein biopic “Maestro.”)
Gould’s onstage behavior tended to provoke controversy. He slouched at the piano, left leg crossed over the right, seated on an ancient piano chair that his father had built, which placed him so low that he almost had to stretch his hands higher to reach the keyboard.
During a concerto performance, when not actually playing he waved his hands about as though conducting the piece, enraging music critics accustomed to a more solemn bearing from tuxedo-clad soloists. Ever willing in his earlier years to critique himself with a self-effacing grin, he referred in a 1959 documentary by the Canadian Broadcasting Corp. to “the justifiable complaints that I sometimes hear about my platform manner.”
As it happens, some of those tics transferred themselves to his recordings. On many albums one can hear the creaking of his chair, or a “hiccup” in some notes produced by the tight keyboard action he demanded from his pianos to produce the percussive, almost harpsichord-like sound that was his hallmark. Above all, there is his humming and singing audible in the background.
Columbia technicians spent years trying to suppress these artifacts in post-production, without notable success. In another 1959 CBC documentary, Columbia recording director Howard Scott is seen pleading with Gould before a take of Bach’s Italian Concerto for “a straight piano solo, without vocal obbligato.” A hearing of the recording proves that he didn’t get it.
But those were all part of the Gould mystique, accepted and appreciated by his listeners as though they brought them face-to-face with the artist himself. When they were heard on a Gould take, Kazdin reported, “Glenn always greeted them as one would long-lost friends.”
The influence Gould exerted on his fellow artists and the recording industry generally is incalculable. Columbia and its successors have never let the Gould library go out of print; with every advance in technology, the company remasters the recordings (most recently in 2015) and they always sell.
It’s as if by forswearing the evanescent experience of real-life performing, Glenn Gould gave himself eternal fame. And it happened in Los Angeles, where he ended one chapter of his career so he could embark on the next.
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Scott Bessent, the billionaire hedge fund manager whom President-elect Donald J. Trump picked to be his Treasury secretary, plans to divest from dozens of funds, trusts and investments in preparation to become the nation’s top economic policymaker.
Those plans were released on Saturday along with the publication of an ethics agreement and financial disclosures that Mr. Bessent submitted ahead of his Senate confirmation hearing next Thursday.
The documents show the extent of the wealth of Mr. Bessent, whose assets and investments appear to be worth in excess of $700 million. Mr. Bessent was formerly the top investor for the billionaire liberal philanthropist George Soros and has been a major Republican donor and adviser to Mr. Trump.
If confirmed as Treasury secretary, Mr. Bessent, 62, will steer Mr. Trump’s economic agenda of cutting taxes, rolling back regulations and imposing tariffs as he seeks to renegotiate trade deals. He will also play a central role in the Trump administration’s expected embrace of cryptocurrencies such as Bitcoin.
Although Mr. Trump won the election by appealing to working-class voters who have been dogged by high prices, he has turned to wealthy Wall Street investors such as Mr. Bessent and Howard Lutnick, a billionaire banker whom he tapped to be commerce secretary, to lead his economic team. Linda McMahon, another billionaire, has been picked as education secretary, and Elon Musk, the world’s richest man, is leading an unofficial agency known as the Department of Government Efficiency.
In a letter to the Treasury Department’s ethics office, Mr. Bessent outlined the steps he would take to “avoid any actual or apparent conflict of interest in the event that I am confirmed for the position of secretary of the Department of Treasury.”
Mr. Bessent said he would shutter Key Square Capital Management, the investment firm that he founded, and resign from his Bessent-Freeman Family Foundation and from Rockefeller University, where he has been chairman of the investment committee.
The financial disclosure form, which provides ranges for the value of his assets, reveals that Mr. Bessent owns as much as $25 million of farmland in North Dakota, which earns an income from soybean and corn production. He also owns a property in the Bahamas that is worth as much as $25 million. Last November, Mr. Bessent put his historic pink mansion in Charleston, S.C., on the market for $22.5 million.
Mr. Bessent is selling several investments that could pose potential conflicts of interest including a Bitcoin exchange-traded fund; an account that trades the renminbi, China’s currency; and his stake in All Seasons, a conservative publisher. He also has a margin loan, or line of credit, with Goldman Sachs of more than $50 million.
As an investor, Mr. Bessent has long wagered on the rising strength of the dollar and has betted against, or “shorted,” the renminbi, according to a person familiar with Mr. Bessent’s strategy who spoke on condition of anonymity to discuss his portfolio. Mr. Bessent gained notoriety in the 1990s by betting against the British pound and earning his firm, Soros Fund Management, $1 billion. He also made a high-profile bet against the Japanese yen.
Mr. Bessent, who will be overseeing the U.S. Treasury market, holds over $100 million in Treasury bills.
Cabinet officials are required to divest certain holdings and investments to avoid the potential for conflicts of interest. Although this can be an onerous process, it has some potential tax benefits.
The tax code contains a provision that allows securities to be sold and the capital gains tax on such sales deferred if the full proceeds are used to buy Treasury securities and certain money-market funds. The tax continues to be deferred until the securities or money-market funds are sold.
Even while adhering to the ethics guidelines, questions about conflicts of interest can still emerge.
Mr. Trump’s Treasury secretary during his first term, Steven Mnuchin, divested from his Hollywood film production company after joining the administration. However, as he was negotiating a trade deal in 2018 with China — an important market for the U.S. film industry — ethics watchdogs raised questions about whether Mr. Mnuchin had conflicts because he had sold his interest in the company to his wife.
Mr. Bessent was chosen for the Treasury after an internal tussle among Mr. Trump’s aides over the job. Mr. Lutnick, Mr. Trump’s transition team co-chair and the chief executive of Cantor Fitzgerald, made a late pitch to secure the Treasury secretary role for himself before Mr. Trump picked him to be Commerce secretary.
During that fight, which spilled into view, critics of Mr. Bessent circulated documents disparaging his performance as a hedge fund manager.
Mr. Bessent’s most recent hedge fund, Key Square Capital, launched to much fanfare in 2016, garnering $4.5 billion in investor money, including $2 billion from Mr. Soros, but manages much less now. A fund he ran in the early 2000s had a similarly unremarkable performance.
When devastating wildfires erupted across Los Angeles County this week, David Torgerson’s team of firefighters went to work.
The thousands of city, county and state firefighters dispatched to battle the blazes went wherever they were needed. The crews from Torgerson’s Wildfire Defense Systems, however, set out for particular addresses. Armed with hoses, fire-blocking gel and their own water supply, the Montana-based outfit contracts with insurance companies to defend the homes of customers who buy policies that include their services.
It’s a win-win if the private firefighters succeed in saving a home, said Torgerson, the company’s founder and executive chairman. The homeowner keeps their home and the insurance company doesn’t have to make a hefty payout to rebuild.
“It makes good sense,” he said. “It’s always better if the homes and businesses don’t burn.”
Torgerson’s operation, which has been contracting with insurance companies since 2008 and employs hundreds of firefighters, engineers and other staff, highlights a lesser-known component of fighting wildfires in the U.S. Along with the more than 7,500 publicly funded firefighters and emergency personnel dispatched to the current conflagrations, which have burned more than 30,000 acres and destroyed more than 9,000 structures, a smaller force of for-hire professionals is on the fire lines for insurance companies, wealthy individual property owners or government agencies in need of additional hands.
Their presence isn’t without controversy. Private firefighters hired by homeowners directly have drawn criticism for heightening class divides during disasters. This week, a Pacific Palisades homeowner received backlash for putting a call out on X, the social media site formerly named Twitter, for help finding private firefighters who could save his home.
“Does anyone have access to private firefighters to protect our home in Pacific Palisades? Need to act fast here. All neighbors houses burning,” he wrote in the since-deleted post. “Will pay any amount.”
“The epitome of nerve and tone deaf!” someone replied.
In 2018, Kim Kardashian and Kanye West credited private firefighters for saving their $60-million home in the Santa Monica mountains during a wildfire. But those who serve wealthy clients make up only a small fraction of nonpublic firefighters, according to Torgerson.
“Contract firefighters who are hired by the government are the vast majority,” he said. The federal government has been hiring private firefighters since the 1980s to support its own forces. According to the National Wildfire Suppression Assn., there are about 250 private sector fire response companies under federal contract, adding about 10,000 firefighters to U.S. efforts.
Some private firefighting companies, including Wildfire Defense Systems, are known as Qualified Insurance Resources and are paid by insurance companies to protect the homes of their customers. Wildfire Defense Systems refers to its on-the-ground forces as private sector wildfire personnel.
Wildfire Defense Systems only works with the insurance industry, but other privately held firefighting companies contract with industrial clients such as petrochemical facilities and utility providers. Wildfire Defense Systems declined to disclose company revenue or what it charges for its services.
Allied Disaster Defense, a company that has sent personnel to the fires in Los Angeles, offers services to both property owners and insurance companies. Its website says its services will “enhance the insurability of properties” and “contribute to reduced claims.”
The website also has a page dedicated to services for private clients, which include emergency response and assistance with insurance claims for “high net-worth and celebrity” customers. The company does not list prices for its services and has nondisclosure agreements with its private clients.
Several other private firefighting companies are based in California, including Mt. Adams Wildfire, which contracts with government agencies, and UrbnTek, which serves Los Angeles, Orange County and San Diego among other areas. Along with spraying fire retardant on trees and brush to stop an advancing fire, the company offers “a double layer of protection by wrapping a structure with our fire blanket system.”
Torgerson, a civil engineer with 34 years in emergency services, said he has been struck by the speed of the current wildfires. While typically it takes two to 10 minutes for a fire to sweep through a home, he said, the Palisades fire is traveling at higher speeds.
“It’s moving so fast, it’ll likely take one to two minutes for these fires to pass over the properties,” he said.
He said his company responded to all 62 of the wildfires that threatened structures in California in 2024 and didn’t lose a property.
This year just got started, but it is already shaping up nicely for U.S. airlines.
After several setbacks, the industry ended 2024 in a fairly strong position because of healthy demand for tickets and the ability of several airlines to control costs and raise fares, experts said. Barring any big problems, airlines — especially the largest ones — should enjoy a great year, analysts said.
“I think it’s going to be pretty blue skies,” said Tom Fitzgerald, an airline industry analyst for the investment bank TD Cowen.
In recent weeks, many major airlines upgraded forecasts for the all-important last three months of the year. And on Friday, Delta Air Lines said it collected more than $15.5 billion in revenue in the fourth quarter of 2024, a record.
“As we move into 2025, we expect strong demand for travel to continue,” Delta’s chief executive, Ed Bastian, said in a statement. That put the airline on track to “deliver the best financial year in Delta’s 100-year history,” he said.
The airline also beat analysts’ profit estimates and said it expected earnings per share, a measure of profitability, to rise more than 10 percent this year.
Delta’s upbeat report offers a preview of what are expected to be similarly rosy updates from other carriers that will report earnings in the next few weeks. That should come as welcome news to an industry that has been stifled by various challenges even as demand for travel has rocketed back after the pandemic.
“For the last five years, it’s felt like every bird in the sky was a black swan,” said Ravi Shanker, an analyst focused on airlines at Morgan Stanley. “But it appears that this industry does have its ducks in a row.”
That is, of course, if everything goes according to plan, which it rarely does. Geopolitics, terrorist attacks, air safety problems and, perhaps most important, an economic downturn could tank demand for travel. Rising costs, particularly for jet fuel, could erode profits. Or the industry could face problems like a supply chain disruption that limits availability of new planes or makes it harder to repair older ones.
Early last year, a panel blew off a Boeing 737 Max during an Alaska Airlines flight, resurfacing concerns about the safety of the manufacturer’s planes, which are used on most flights operated by U.S. airlines, according to Cirium, an aviation data firm.
The incident forced Boeing to slow production and delay deliveries of jets. That disrupted the plans of some airlines that had hoped to carry more passengers. And there was little airlines could do to adjust because the world’s largest jet manufacturer, Airbus, didn’t have the capacity to pick up the slack — both it and Boeing have long order backlogs. In addition, some Airbus planes were afflicted by an engine problem that has forced carriers to pull the jets out of service for inspections.
There was other tumult, too. Spirit Airlines filed for bankruptcy. A brief technology outage wreaked havoc on many airlines, disrupting travel and resulting in thousands of canceled flights in the heart of the busy summer season. And during the summer, smaller airlines flooded popular domestic routes with seats, squeezing profits during what is normally the most lucrative time of year.
But the industry’s financial position started improving when airlines reduced the number of flights and seats. While that was bad for travelers, it lifted fares and profits for airlines.
“You’re in a demand-over-supply imbalance, which gives the industry pricing power,” said Andrew Didora, an analyst at the Bank of America.
At the same time, airlines have been trying to improve their businesses. American Airlines overhauled a sales strategy that had frustrated corporate customers, helping it win back some travelers. Southwest Airlines made changes aimed at lowering costs and increasing profits after a push by the hedge fund Elliott Management. And JetBlue Airways unveiled a strategy with similar aims, after a less contentious battle with the investor Carl C. Icahn.
Those improvements and industry trends, along with the stabilization of fuel, labor and other costs, have created the conditions for what could be a banner 2025. “All of this is the best setup we’ve had in decades,” Mr. Shanker said.
That won’t materialize right away, though. Travel demand tends to be subdued in the winter. But business trips pick up somewhat, driven by events like this week’s Consumer Electronics Show in Las Vegas.
The positive outlook for 2025 is probably strongest for the largest U.S. airlines — Delta, United and American. All three are well positioned to take advantage of buoyant trends, including steadily rebounding business travel and customers who are eager to spend more on better seats and international flights.
But some smaller airlines may do well, too. JetBlue, Alaska Airlines and others have been adding more premium seats, which should help lift profits.
While he is optimistic overall, Mr. Shanker acknowledged that the industry was vulnerable to a host of potential problems.
“I mean, this time last year you were talking about doors falling off planes,” he said. “So who knows what might happen.”
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