Sinking into warm bath of emotions is one way of listening to music: that is, appreciating how music makes us feel. However, and congruent with these feelings, is another way of listening to music: with cool detached intellect. Listening for patterns, inner voices, structures, variations and repetitions, for example. Gould's renditions of Bach's music allow appreciation of the music, for me, on both levels. He understands and makes clear the structural genius of Bach. Mad appreciation.
I love your pfp. Do you think gg owned a walkman, or was that a little after his time? We can know in our hearts that if it was possible for him to own a new music related gadget or piece of equipment like that, he would have gotten one. He managed to get a cell phone for his car back then, for instance.
@@KKIcons я убеждена, что Гленн был бы в восторге от современных технологий, завел бы себе аккаунты в соцсетях, активно продвигал свои мысли и, конечно, вовсю резвился бы и шутил. Мы сейчас для него - идеальная публика. А хейтеров можно было бы забанить 😁.
@@romulo560 We are not in a bad situation now having access to basically all his output on CD and or streamed. But I agree, it would have been thrilling knowing that he was alive and releasing new records now and then!
@@cristianjohansson6040 I remember what an important day it was for me when I was able to bring home Gould's 1982 Goldbergs. I was amazed at how the record's fidelity was so greatly improved from previous. On first listening, it seemed a "slower" pace, but it turns out that the overall length wasn't really much more. Of course, when I put the first scratch on that disc, I was perturbed, and knew I couldn't just keep buying new LPs whenever I was careless. Later, when Gould died, I was numb for weeks. Never have I been so affected by someone's death as his. It was the end of excellence in the piano world, for me.
There's nothing like doing your business on the interweb while Gould plays in the background. Until, suddenly, you feel your heart seize in your chest, pulled towards the music, and you have to stop whatever you're doing and just LISTEN. Oh Glenn....
Yeah! I've recently been emotionally beat down by a successful concert pianist who HATES Glenn Gould, so it's so nice to hear from people who do recognize Gould's wonderful talent.
@@romulo560 Some of them have to hate him. Their ego cannot admit his enormous unique talent otherwise they would become paralyzed in their own. I'm not saying this as a criticism, it is more like self protection.
Just like Sviatoslav Richter said “Every five hundred years God puts someone like Glenn Gould on earth like Glenn Gould”. There will never be another Glenn Gould.
I have never seen any quote from Richter like that and these are the two pianists I follow the most. Where did you find this. Would be interested to know.
Arthur Dubois Believe Ashkenazy said something like that - never read that Richter said that til now. On the other hand, Gould had mad respect for Richter. There’s an interview on UA-cam with Ashkenazy talking about Gould. Also one of Gould talking about Richter. None of Gould talking about Ashkenazy.
What's so amazing to me is that the French Overture is not one of my favorite Bach compositions (except the Echo), but when I hear Gould I'm just memorized. It's a testament to brilliance of Gould and the unequivocal genius of JSBach.
Thank you for this wonderful recording. I am not a pianist, but I have the score and love following along as Gould dissects and clarifies each strand and then makes a complete and beautiful whole of each piece which then, in turn, contributes to the larger story of Bach's harmonic mastery. True unequivocal geniuses, these two.
It's such a shame that Gould's improvisations were never recorded! He often played impromptu for friends but even Bruno Monsaigenon didn't turn on the recorder when he could have, as conveyed to Otto Friedrich in "Glenn Gould: A Life and Variations" p 309. Bruno: ". . . Glenn, instead of playing the [Goldberg] variation, made an improvisation on [a] Chopin theme. And played for about 20 minutes. It was absolutely unbelievable. Interviewer: In the manner of Bach? Bruno: No, no no . . . The Chopin theme was there, but he twisted it to all kinds of degrees and made it into a very chromatic piece. And when he finished, he just roared with laughter . . . and said to me, "Bruno, I hope you taped that." And, of course, I didn't, so it's gone forever."
Блииииин!.... Бруно, нееет!.. Бруно, как и все, не знал, что часы тикают, иначе ходил бы с включенным диктофоном постоянно. Спасибо ему огромное в любом случае. Он настоящий друг Гленна и много для него сделал.
The most stunning, the most profound rendition of this piece of music that has ever existed. Gould = Bach, Bach = Gould. My own personal opinion please. You are entitled to yours.
Вы правы. Слова выходят неловкими и.. вообще не выходят. Но вот слезы у меня идут охотно, от нереальной красоты этой музыки. Гленн Гульд - инопланетянин.
Listening for structure, continuity throughout, patterns and relatedness. Reading Aaron Copeland's book "What to Listen For in Music" deepens my appreciation.
I love that a 20th century genius was honest enough to see that the best he could do was serve a greater 18th century genius. Except for advances in technology, we're all pale shadows of the past 5 million years.
Glenn Gould interprets the Echo as a multi-chambered piece. One voice echos another, sure, but also multiple voices break apart then reference (and mirror) each other. Left hand 20 - 30.
Если бы человечество смогло так глубоко проникать в божественную среду, отвечая Ему взаимностью, как это делал Гульд в своём творчестве, то мы бы жили в другом Мире!
I have just begun to listen to him: this is my second piece and I just knew that - that each thing, each note was a personal, ephemeral, unique communion.
@@RebekahCurielAlessi Are you continuing to listen? Gould is amazing. He never disappoints. Here, with Gould, is an entire world musical and beautiful.
I find it fascinating that this is the only overture that Gould plays so slowly and with such grandiosity. With all other overture or overture style pieces I’ve heard him play (Partita 4, Goldberg Variation 16, English Suite 6, etc.) he tends towards much faster tempos. I wonder what caused him to slow down for the French Overture.
Pianists like Glenn Gould are giants. This version is particularly phantastic and if I am not mistaken not the one he played in his 3 part interview with Bruno Monsaignon.
@francescaemc2 Pianists like Samuil Feinberg, Cyprien Katsaris, João Carlos Martins (his recordings from the 60s), Alexis Weissenberg, just for J.S. Bach.
Very thrilling definitive performance of one of Bachs best and most expressive pieces (b minor!). Behaves all the time except for the climactic circle of fifths passage near the end of the first movement. A small price to pay. The last movement, the echo, is nuclear powered. Oppenheimer and Szilard would have approved
The booklet as quoted says, "One interesting similarity between these performances of the Overture should be noted. In both Gould blatantly ignores the indicated alternations of piano and forte dynamics that are the raison d'etre of the last movement"... But J.S. Bach wrote for harpsichord since pianoforte (piano) had not yet been invented in his time. Given this fact, what "alternations of piano and forte" could there have been in his original sheet music?
One way of doing it would be to alternate between one registration (forte) and a weaker one (piano) in the harpsichord. This probably assumes a two keyboard instrument, but not necessarily.
From Wikipedia, "along with the French Overture and some of the Goldberg Variations, this [the Italian Concerto] is one of the few works by Bach which specifically require a 2-manual harpsichord."
and Horowitz didn't? Rubinstein didn't? Pogorelich doesn't? Hoffman didn't? Rachmaninoff didn't? Pollini doesn't? Are there no prisons, are there no workHOUSES?? It's called the art of interpretation, if you don't like it, that's ok, but don't try to rationalize "ifs, ands or buts", it makes you sound jealous.
Not surprising. Gould often said that if you don't have a unique interpretation, why record it? To show the world you can copy someone else? To stroke your own ego? Love him or hate him, you have to respect him. His interpretations are all his own.
Every performer has a personal style, and this is one of the reasons why they are great interpreters. Furthermore, we will never know how a Bach piece should really sound, because no one of us ever heard him playing it.
Glenn Gould alle Aufnahmen von ihm sind in einem unerträglichen schlechtem Studio eingespielt worden. Da kann er noch so Genial eingespielt haben wenn die Aufzeichnung Absolut schlecht sind. Es ist tragisch komisch das er die Einspielungen unter miserablen Techniker vollzogen hat.
La Libertà di espressione é una cosa sacrosanta, ma prima di parlare dovresti conoscere e sapere tante cose che ti sfuggono, presumo che non sei un'artista e non conosci la storia della musica o l'etnomusicologia comparata...quindi fatti prima un corso per poi commentare in modo meno opinabile e discutibile....Ad esempio, può piacere o non piacere tale esecuzione, si può preferire un'incisione rispetto all'altra, perché la varietà e le differenze arricchiscono l'EGO, ma prima di commentare da "mero esperto", dovresti sapere tutte le problematiche e conoscere il contesto storico attraverso il quale si é optato per una scelta del genere, così come, nella fattispecie, la scelta di tale registrazione in uno studio del genere... Hai un'idea di come, ai tempi di Bach, gli Artisti suonavano e su quali strumenti? Sai cosa si intende per "Purity Style"? Beh, quando assimilerai tutte queste nozioni saprai anche cosa scrivere nei commenti...dimostrando una maggiore conoscenza, saggezza, competenza, così anche le opinioni avranno anche il sapore di qualcosa di piu' interessante su cui commentare noi tutti. Grazie
comunque è l'unico pezzo che secondo me GLEN GOULD non ha capito per niente, non sono io a dirlo, per esempio SCOTT ROSS, ho il mio orecchio, non penso che si tratti di avere molte nozioni
Ok, fly in the ointment here. To my ears this just doesn’t sound “French”. Where are the ‘notes inegales’? Where is the slowing of the music for proper performance of ornamentations? Both of these are absolute “requirements” if one is to play a French Suite, of course, in the French style. And perhaps Gould plays ‘style brise’ when instead he should be playing ‘style antico’. And as far as the ‘p’ and ‘f’ in The Echo go, this is either indications for a softer registered 2nd manual on the harpsichord, with the louder registration on the 1st manual. Also, Bach being the consummate and virtuosic organist that he was, is this French Overture necessarily only for harpsichord/cembalo? Bach was taught early on by Georg Böhm of Lüneburg and in Bach’s teacher’s time period Suites were not mutually exclusive when it came to playing on the harpsichord or organ. It was never implied either way, and in fact, the performer of this time was expected to “adapt” his playing depending on the instrument at hand. Also, I admire Gould, but do not “love” him, and when he goes off in that rapid set-to-a-clock fugal playing style of his I yawn, honestly. Improvisation was “the thing” in Bach’s time and was expected of any musician worth their salt (again, implied) and Gould never strays often from the beaten path. In this sense I’d rather hear Bill Evans try his hand at Bach than Gould. In short, Gould is very predictable. So, there you go, fly in the ointment. Please refrain from crude, partisan and nasty replies to this. I know what I’m talking about as I’ve researched the “French style” considerably. If one wants a robust discussion civilly I’m all ears. Thank you if you’ve bothered to read this.
Rosemary Wild sure to each his taste, but when you praise any artist unconditionally as if they were perfect you don’t listen critically, at least the way I do.
You come off as a pompous ass in your comment. Your ego is gigantic and you bulge with pride from your vast knowledge of the French style. Haha. Fankly, no one gives a fuck about the French style or how much you know about it. Gould was a genius. If he didn't follow your strictures too bad for you.
Gould is laughing in his immortal paradise over this absurd comment about ornamentation. What a chuckle! Gould couldn't have cared less about ornamentation, detested "pianism," and loved to provoke critics. He was interested in the *structure* of Bach's music. His pointillistic technique brought out the pervading voice with clinical accuracy. Gould was attracted to people with what he called a "synoptic view". That is, people who don't get stuck like a fly in irrelevant details.
arjens0 Reckon his virtuosity demanded a certain action of the keys & he cared more about executing his architecture of the work at whatever tempo & whatnot than the imperfections in tone that were secondary to him.
Nobody has ever captured the joy and exuberance of Bach like Glenn Gould.
Mr. Gould and Herr Bach, you make me happy. Bless you.
Sinking into warm bath of emotions is one way of listening to music: that is, appreciating how music makes us feel. However, and congruent with these feelings, is another way of listening to music: with cool detached intellect. Listening for patterns, inner voices, structures, variations and repetitions, for example. Gould's renditions of Bach's music allow appreciation of the music, for me, on both levels. He understands and makes clear the structural genius of Bach. Mad appreciation.
Beautifully and profoundly expressed.
Прекрасно и точно сказано.
I love your pfp. Do you think gg owned a walkman, or was that a little after his time? We can know in our hearts that if it was possible for him to own a new music related gadget or piece of equipment like that, he would have gotten one. He managed to get a cell phone for his car back then, for instance.
@@KKIcons я убеждена, что Гленн был бы в восторге от современных технологий, завел бы себе аккаунты в соцсетях, активно продвигал свои мысли и, конечно, вовсю резвился бы и шутил. Мы сейчас для него - идеальная публика. А хейтеров можно было бы забанить 😁.
Imagine in Canada in the 60's and 70's you had the luxury of hearing Glenn performing live on CBC radio every now and then.
What a treat indeed!
Ah! Lucky! Must have been so thrilling.
@@romulo560 We are not in a bad situation now having access to basically all his output on CD and or streamed. But I agree, it would have been thrilling knowing that he was alive and releasing new records now and then!
@@cristianjohansson6040 I remember what an important day it was for me when I was able to bring home Gould's 1982 Goldbergs. I was amazed at how the record's fidelity was so greatly improved from previous. On first listening, it seemed a "slower" pace, but it turns out that the overall length wasn't really much more. Of course, when I put the first scratch on that disc, I was perturbed, and knew I couldn't just keep buying new LPs whenever I was careless. Later, when Gould died, I was numb for weeks. Never have I been so affected by someone's death as his. It was the end of excellence in the piano world, for me.
Is this God speaking to me? Glenn Gould and JS Bach touch my soul. No other ha ever been able to do that.
This happened to me. There weren't any words, but then I wrote a hundred poems🙄
Me too bro
There's nothing like doing your business on the interweb while Gould plays in the background. Until, suddenly, you feel your heart seize in your chest, pulled towards the music, and you have to stop whatever you're doing and just LISTEN. Oh Glenn....
why even try to do anything else... there is nothing else.
Yeah, I know. Everything becomes background noise when Gould's Bach is playing
Trying to work with Glenn in the background is like trying to watch a movie with the sun shining directly into your eyes.
Yeah! I've recently been emotionally beat down by a successful concert pianist who HATES Glenn Gould, so it's so nice to hear from people who do recognize Gould's wonderful talent.
@@romulo560 Some of them have to hate him. Their ego cannot admit his enormous unique talent otherwise they would become paralyzed in their own. I'm not saying this as a criticism, it is more like self protection.
Спасибо, Гленн, что Вы жили на этой грешной Земле! Слушая Вас, как-то становится легче...
С любовью из России!
С любовью из Белоруссии! 😍 Приятно видеть комментарии наших гульдоманов))
Just like Sviatoslav Richter said “Every five hundred years God puts someone like Glenn Gould on earth like Glenn Gould”. There will never be another Glenn Gould.
Michael Cappette Did he really say that?
I have never seen any quote from Richter like that and these are the two pianists I follow the most. Where did you find this. Would be interested to know.
Arthur Dubois Believe Ashkenazy said something like that - never read that Richter said that til now. On the other hand, Gould had mad respect for Richter. There’s an interview on UA-cam with Ashkenazy talking about Gould. Also one of Gould talking about Richter. None of Gould talking about Ashkenazy.
リヒテルがパルティータの一番の演奏に関して、グールドの演奏よりも、リッパッティの演奏に自分は惹かれると言ったという話は聴いた事がある。
“Don’t believe every quote you read on the internet”
-Isaac Newton
What a sensational pianist at such a young age. Congratulations!
What's so amazing to me is that the French Overture is not one of my favorite Bach compositions (except the Echo), but when I hear Gould I'm just memorized. It's a testament to brilliance of Gould and the unequivocal genius of JSBach.
Thank you for this wonderful recording. I am not a pianist, but I have the score and love following along as Gould dissects and clarifies each strand and then makes a complete and beautiful whole of each piece which then, in turn, contributes to the larger story of Bach's harmonic mastery. True unequivocal geniuses, these two.
It's such a shame that Gould's improvisations were never recorded! He often played impromptu for friends but even Bruno Monsaigenon didn't turn on the recorder when he could have, as conveyed to Otto Friedrich in "Glenn Gould: A Life and Variations" p 309.
Bruno: ". . . Glenn, instead of playing the [Goldberg] variation, made an improvisation on [a] Chopin theme. And played for about 20 minutes. It was absolutely unbelievable.
Interviewer: In the manner of Bach?
Bruno: No, no no . . . The Chopin theme was there, but he twisted it to all kinds of degrees and made it into a very chromatic piece. And when he finished, he just roared with laughter . . . and said to me, "Bruno, I hope you taped that." And, of course, I didn't, so it's gone forever."
I’m more curious about that theme on Chopin, I think Chopin might’ve been rather pleased.
nooooooo BRUNOOOOO WHYYYYYYYY
Bruno was like : I forgor ._.
Bruno: whoopsy
Блииииин!.... Бруно, нееет!.. Бруно, как и все, не знал, что часы тикают, иначе ходил бы с включенным диктофоном постоянно. Спасибо ему огромное в любом случае. Он настоящий друг Гленна и много для него сделал.
WOW!!! I am on a cloud with Glenn and Bach. I am moved emotionally with this piano music.
The most stunning, the most profound rendition of this piece of music that has ever existed. Gould = Bach, Bach = Gould. My own personal opinion please. You are entitled to yours.
Golden words! 💛
Whoa I must be hearing things...Glenn Gould taking repeats!!
Maybe he needed the time to add up to fit for the live program. It is a treat though.
He said “it has to justify going for the repeat!” A fine example is the first partita . Gould plays it in less than 12 minutes while others 25!?!
Не слов, чтобы передать то ощущение, когда слушаешь Гульда- гений❤️
Вы правы. Слова выходят неловкими и.. вообще не выходят. Но вот слезы у меня идут охотно, от нереальной красоты этой музыки. Гленн Гульд - инопланетянин.
Thank you so much for posting this beautiful beautiful thing.
Listening for structure, continuity throughout, patterns and relatedness. Reading Aaron Copeland's book "What to Listen For in Music" deepens my appreciation.
GG is amazing in every respect - mechanics, execution, musical sympathy and understanding.
Its too good to be true
Heart and mind always connected and fused into harmony.this is bach by glenn
Bach és l'antidot al patiment. Grande Bach, Grande Glenn!.
Прекрасное исполнение,,,
I love that a 20th century genius was honest enough to see that the best he could do was serve a greater 18th century genius. Except for advances in technology, we're all pale shadows of the past 5 million years.
When I listen to Glenn playing JSBach, I feel transported to the time of Bach, as by no other interpreter. I feel spoiled.
Delightful, Glenn!
thanks a million for every touch of piano GG
Sublime glorioso...te sacude hasta las lágrimas...JSB&GG...imbatible duo....
Glenn Gould interprets the Echo as a multi-chambered piece. One voice echos another, sure, but also multiple voices break apart then reference (and mirror) each other. Left hand 20 - 30.
Immenso,insuperabile,irraggiungibile❤
Amen❤
Thanks very much for sharing this fine gem with us!
Live broadcast version, very nice...pure
Ах Глен, как я люблю тебя слушать, так как ты играл Баха больше никому недано.
grazie ancora
Time that I want to hold goes very fast.But this moment I am happy, thanks to Bach.
You said this so beautiful, so true. Thank you
Nicely said!
The rare pieces of Bach's that have more passion are truly the gems of Baroque music
pas que de la musique baroque....
KING
Если бы человечество смогло так глубоко проникать в божественную среду, отвечая Ему взаимностью, как это делал Гульд в своём творчестве, то мы бы жили в другом Мире!
Gràcies per compartir tan maagnífic album.
Merci!
unfassbar schön
4:10 - 4:31 the bliss of Bach
The way he transforms the B thematic in the Fugue to create the finale is just amazing. 4:19 simply beautiful
grazie
Muchas gracias!!
Love his version. Take it just slightly slower and it is perfect. I can't help imitate him every time I play it too.
good luck
francescaemc2 😁
You can imitate this playing? Wow! What accomplishment, what mastery!
@@francescaemc2 LOL
I also try to imitate him, he's the best
He never plays anything one piece of music the same twice. I was so used to the other recording.
Even when he was in the recording studio he would play a piece in several different ways, and then select what was to be issued.
there a couple he does. but yeah, rare
Was thinkin the same. Am used to his studio recording of this.
I have just begun to listen to him: this is my second piece and I just knew that - that each thing, each note was a personal, ephemeral, unique communion.
@@RebekahCurielAlessi Are you continuing to listen? Gould is amazing. He never disappoints. Here, with Gould, is an entire world musical and beautiful.
Una belleza
Thanks for sharing!
Звук чистый, как родниковая вода.
Grazie
grazie di nuovo
ЭХ, ГЛЕНН, ЧТО Ж ТЫ ТАК МАЛО ПОЖИЛ! КАК ЖЕ ТЕБЯ НЕХВАТАЕТ НА НАШЕЙ СУМАСШЕДШЕЙ ЗЕМЛЕ.
Que maravilha !
I find it fascinating that this is the only overture that Gould plays so slowly and with such grandiosity. With all other overture or overture style pieces I’ve heard him play (Partita 4, Goldberg Variation 16, English Suite 6, etc.) he tends towards much faster tempos. I wonder what caused him to slow down for the French Overture.
Gould slows down Goldberg Variation 16 on his 1981 recording, his 1955 version is quite fast, the 1981 version is perfect to me.
Pianists like Glenn Gould are giants. This version is particularly phantastic and if I am not mistaken not the one he played in his 3 part interview with Bruno Monsaignon.
what do you mean, "pianists?"
@francescaemc2 Pianists like Samuil Feinberg, Cyprien Katsaris, João Carlos Martins (his recordings from the 60s), Alexis Weissenberg, just for J.S. Bach.
Echo 23:43
Very thrilling definitive performance of one of Bachs best and most expressive pieces (b minor!). Behaves all the time except for the climactic circle of fifths passage near the end of the first movement. A small price to pay. The last movement, the echo, is nuclear powered. Oppenheimer and Szilard would have approved
❤❤❤❤❤❤❤❤❤
🇹🇷😍🤗 Türkiyede n SEVGİLER Şartların uygun lu ğ u....Duyguların en güzel sürpriz i ni yaratıyor...😍😍😍😍 Teşekkürler...
I'm so glad Glenn Gould survived getting shot 9 times and then got signed by Dr. Dre!
The last music I want to hear on earth is Bach.
And the first thing you'll probably hear in eternity, because that's where it comes from.
Divine exaltation and the joy of being
Elizabeth Linsay How very ambiguous!
Aight
E PENSARE...CHE DA RAGAZZO...TANTO MI PIACEVA...ED ORA...TANTO.POCO MI PIACE...ALTRI SONO GLI INARRIVABILI...INTERPRETI...
The booklet as quoted says, "One interesting similarity between these performances of the Overture should be noted. In both Gould blatantly ignores the indicated alternations of piano and forte dynamics that are the raison d'etre of the last movement"...
But J.S. Bach wrote for harpsichord since pianoforte (piano) had not yet been invented in his time. Given this fact, what "alternations of piano and forte" could there have been in his original sheet music?
One way of doing it would be to alternate between one registration (forte) and a weaker one (piano) in the harpsichord. This probably assumes a two keyboard instrument, but not necessarily.
For those using a 2 clav harpsichord (there are other piano/forte markings in the piece too) or a clavichord.
From Wikipedia, "along with the French Overture and some of the Goldberg Variations, this [the Italian Concerto] is one of the few works by Bach which specifically require a 2-manual harpsichord."
@@angryjalapeno interestingly he also defies such markings in the 3rd movement of the italian concerto but produces a nevertheless beautiful clarity
Хотелось бы услышать ХТК сГ Гульдом....а так за все спасибо
ПРИСОЕДИНЯЮСЬ
I'll admit Glenn Gould is a great pianist. But he transforms this piece in an overture in the Gould style, as he does with any piece he plays.
and Horowitz didn't? Rubinstein didn't? Pogorelich doesn't? Hoffman didn't? Rachmaninoff didn't? Pollini doesn't? Are there no prisons, are there no workHOUSES?? It's called the art of interpretation, if you don't like it, that's ok, but don't try to rationalize "ifs, ands or buts", it makes you sound jealous.
Not surprising. Gould often said that if you don't have a unique interpretation, why record it? To show the world you can copy someone else? To stroke your own ego? Love him or hate him, you have to respect him. His interpretations are all his own.
Every performer has a personal style, and this is one of the reasons why they are great interpreters. Furthermore, we will never know how a Bach piece should really sound, because no one of us ever heard him playing it.
Мне думается, когда Глен Гульд исполняет Баха - это , как будто диалог человека с Богом...
Аминь, аминь, аминь+........душа летит ввысь и устремляется к Нему - Создателю Своему+++
Послушайте Гришу Соколова...нечто новое о Боге познаете...
If you are going to play 25 minutes of Bach for a live audience, there is no better example with respect to the Slaughterhouse 5 Soundtrack of course.
1:23
1970年代の価値感の変化に対して、音楽家では作曲家が、最も素早く反応する。ブーレーズの様な、指揮も作曲もする男が最も鋭敏だった。ケージは別格だ。作曲技術と言う意味では拙い彼は、捨てる物が無かった。素のままで良かった。指揮者は、考えれば良いのだから、次に早かった。カラヤンの70年代のベートーベンのスタイルは、モノラル時代の古典主義とはキッパリ切れている。その次は、ピアニストで、作曲家に近いタイプだ。グールドと高橋悠治がそうだ。グールドの方が伝統的だ。比べればだが・・・。ある意味では、彼の限界だが、分かりやすい。高橋の凄さを世の中が知るには時間が掛かる。価値観の転換を伝統の外から刻印し続けている。弦や管、声楽は最も遅かった。皆さんはどう思われますか？
How funny that I actually can understand some Japanese!
mmm is that really gould ????
It`s great. But piano is out of tune in the middle register! It embarrass me a little..
Glenn Gould alle Aufnahmen von ihm sind in einem unerträglichen schlechtem Studio eingespielt worden. Da kann er noch so Genial eingespielt haben wenn die Aufzeichnung Absolut schlecht sind. Es ist tragisch komisch das er die Einspielungen unter miserablen Techniker vollzogen hat.
La Libertà di espressione é una cosa sacrosanta, ma prima di parlare dovresti conoscere e sapere tante cose che ti sfuggono, presumo che non sei un'artista e non conosci la storia della musica o l'etnomusicologia comparata...quindi fatti prima un corso per poi commentare in modo meno opinabile e discutibile....Ad esempio, può piacere o non piacere tale esecuzione, si può preferire un'incisione rispetto all'altra, perché la varietà e le differenze arricchiscono l'EGO, ma prima di commentare da "mero esperto", dovresti sapere tutte le problematiche e conoscere il contesto storico attraverso il quale si é optato per una scelta del genere, così come, nella fattispecie, la scelta di tale registrazione in uno studio del genere...
Hai un'idea di come, ai tempi di Bach, gli Artisti suonavano e su quali strumenti? Sai cosa si intende per "Purity Style"? Beh, quando assimilerai tutte queste nozioni saprai anche cosa scrivere nei commenti...dimostrando una maggiore conoscenza, saggezza, competenza, così anche le opinioni avranno anche il sapore di qualcosa di piu' interessante su cui commentare noi tutti. Grazie
comunque è l'unico pezzo che secondo me GLEN GOULD non ha capito per niente, non sono io a dirlo, per esempio SCOTT ROSS, ho il mio orecchio, non penso che si tratti di avere molte nozioni
@@andreainzaghi7373 ah, be... se Scott Ross lo dice.... ma come fai a dire che Glenn Gould non lo abbia capito? Presuntuoso!
@@riccardoleone3180 blablabla...uff
@@andreainzaghi7373 Scott who?...
Ok, fly in the ointment here. To my ears this just doesn’t sound “French”. Where are the ‘notes inegales’? Where is the slowing of the music for proper performance of ornamentations? Both of these are absolute “requirements” if one is to play a French Suite, of course, in the French style. And perhaps Gould plays ‘style brise’ when instead he should be playing ‘style antico’. And as far as the ‘p’ and ‘f’ in The Echo go, this is either indications for a softer registered 2nd manual on the harpsichord, with the louder registration on the 1st manual. Also, Bach being the consummate and virtuosic organist that he was, is this French Overture necessarily only for harpsichord/cembalo? Bach was taught early on by Georg Böhm of Lüneburg and in Bach’s teacher’s time period Suites were not mutually exclusive when it came to playing on the harpsichord or organ. It was never implied either way, and in fact, the performer of this time was expected to “adapt” his playing depending on the instrument at hand. Also, I admire Gould, but do not “love” him, and when he goes off in that rapid set-to-a-clock fugal playing style of his I yawn, honestly. Improvisation was “the thing” in Bach’s time and was expected of any musician worth their salt (again, implied) and Gould never strays often from the beaten path. In this sense I’d rather hear Bill Evans try his hand at Bach than Gould. In short, Gould is very predictable. So, there you go, fly in the ointment. Please refrain from crude, partisan and nasty replies to this. I know what I’m talking about as I’ve researched the “French style” considerably. If one wants a robust discussion civilly I’m all ears. Thank you if you’ve bothered to read this.
Carl Bowlby Sheeeeeeeeeeeeeeeit.
à chacun son goût - for me, Glenn opens the windows to my soul and gives me wings to fly high
Rosemary Wild sure to each his taste, but when you praise any artist unconditionally as if they were perfect you don’t listen critically, at least the way I do.
You come off as a pompous ass in your comment. Your ego is gigantic and you bulge with pride from your vast knowledge of the French style. Haha. Fankly, no one gives a fuck about the French style or how much you know about it. Gould was a genius. If he didn't follow your strictures too bad for you.
Gould is laughing in his immortal paradise over this absurd comment about ornamentation. What a chuckle! Gould couldn't have cared less about ornamentation, detested "pianism," and loved to provoke critics. He was interested in the *structure* of Bach's music. His pointillistic technique brought out the pervading voice with clinical accuracy.
Gould was attracted to people with what he called a "synoptic view". That is, people who don't get stuck like a fly in irrelevant details.
I never understood why he used such bad sounding piano's and sound-engineers.
arjens0 Reckon his virtuosity demanded a certain action of the keys & he cared more about executing his architecture of the work at whatever tempo & whatnot than the imperfections in tone that were secondary to him.
uh, yeah, right, thats why certain pianists spend over $! million having their D's tuned to sound the same.... hurr durr
❤❤❤❤❤❤❤❤❤
❤❤❤