I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all th… - Glenn Gould

The mental imagery involved with pianistic tactilia is not related to the striking of individual keys but rather to the rites of passage between notes.

I tend to follow a very nocturnal sort of existence mainly because I don't much care for sunlight. Bright colors of any kind depress me, in fact. And my moods are more or less inversely related to the clarity of the sky, on any given day. A matter of fact, my private motto has always been that behind every silver lining there is a cloud.

I wasn't motivated to do it [re-record Bach's Goldberg Variations] until rather recently, when it occurred to me, on one of my rare relistenings to that early recording, that it was very nice, but that it was perhaps a little bit like thirty very interesting but somewhat independent-minded pieces, going their own way, and all making a comment on the ground bass on which they are all formed and to which they all conform. And I suddenly felt, not having played it in, well, since I stopped playing concerts, about 20 years, having not played it in all that time, that maybe I wasn't savaged by any over-exposure to it, and that if I looked at it again, I could find a way of making some sort of almost arithmetical correspondence between the theme and the subsequent variations, so that there would be some sort of temporal relationship, I don't want to say just exactly 2, 4, 8, 16, 32, that kind of correspondence, but, you know what I mean, there would be a sense in which, substituting for the fact that Bach had absolutely no melodic design that is continuous but rather a base harmonic design that is continuous, there would be at least a rhythmic design that is continuous, and the sense of pulse that went through it. And that seemed to me sufficient justification [...] to do it all over again.