I surmised she would open it, and she started [singing florid coloratura passage] or something like that. But back in the Forties, when I was a teenager, she was the first person who played Bach in what seemed to me a sensible way. Gould’s retirement, in fact, has allowed him to make good his claim that the functions of concerts have now been taken over by electronic media — that it is the recording medium itself that allows for an unparalleled analytic clarity, immediacy, tactile proximity, and catholicity of repertoire. The block was gone. In any event, one day I was switching programs, which was a real problem, because up till then I’d coasted on a kind of tactile memory based on the experience of playing the earlier repertoire, and now suddenly I had to change, I had to do a little practicing, and it was at that moment that things began to run downhill. We began filming in the summer of 2008, and to date have over 70 wonderful people who have participated in this archive. With his oeuvre so far comprising 85 films, he is one of the foremost directors of music documentaries in the world today. There is, as you know, a long tradition in Mozart-playing, and you hit upon it beautifully with the word “emotive,” and it described a tradition in which one played with the masculine-feminine “opposites” of the first and usually last movements of the sonatas, in the sense that one had that which was stern, that which was melting, that which was commanding, that which was seductive — in opposition to each other. Not that it wasn’t great playing — it was fantastic playing; perhaps, as playing, better than the people we’ve been talking about — but nevertheless it, to me, was not really Bach. To give you another example of the same differentiation: Years ago I was playing for the first time in my life Beethoven’s Sonata no. He was a student in Film at the time and after seeing this, he was very affected by the portrayal of Glenn by Colm Feore in this masterpiece. This is your perfect opportunity to view new material and participate in celebrating the artist Glenn Gould. 5 Books About America's Most Memorable Music Venues (Back When Live Shows Were Still a Thing), Dolly Parton Made Stephen Colbert Cry With an Old Folk Song on ‘The Late Show’. Now the result at first for about two lines really scared me, because what was happening was that it was coming out with an almost minimal amount of sound — it really felt as though I were playing only with the soft pedal down, which at times I often was, but in any event I didn’t mean it to sound quite so fainthearted as the result indicated. We are committed to bringing you interviews of individuals who have been touched by his artistry and personality. First of all, those who commented on the things that I added are just plain wrong: It’s documentable fact that Mozart himself made it up as he went along, we know that. Now, there are certain places where the drum is a theatrical instrument, as in the beginning of the Rhine Journey, where you just can’t avoid it. As Gould’s performances demonstrate, structural clarification always releases new energy. And in my own case my means toward this is to spend most of the time away from the piano, which is very difficult because you really want to hear what it sounds like. Two piano greats, Gary Graffman and Leon Fleisher, approached Gould to introduce themselves. Lorne worked closely with Glenn, recording, and editing both radio documentaries, and recorded music. Maybe it does. . In those days, being 14, 15, 16, I was fighting a battle in which I was never going to get a surrender flag from my teacher on the way in which Bach should go, and this was the first evidence that came along that said, “Yeah, you know, that is,” because it was playing of such uprightness, to put it into the moral sphere. I remember one in which I was in an opera house. Mozart’s nonpolyphonic style would seem to be least suited to your temperament, and in fact your version of the C Minor Piano Concerto has been criticized for your addition of embellishments and a number of continuo passages. Because it’s a drier hall we decided to capitalize on its quality, and we’ve gone in very close — we always did, it was never your ideal Deutsche Grammophon distant pickup — even closer to maximize the effect of this rather mellow place, which I think gives it a very lovely sound, but it does necessarily augment the voice a little, so there has been a slight increase in the vocal disturbance the last two years [laughing], but it would still not be up to the great old days of pre-1967. But the point is, I think, that if you examine Haydn about the same period, you find that Haydn — who was after all Mozart’s god in many ways, certainly in instrumental writing — was not developing this idea as a consistent phenomenon, but in fact toward the end of his life he’s getting further away from it, such that the second theme is also the first theme — there’s a kind of Lisztian consistency in the later Haydn sonatas, as indeed in the earlier ones, in that a rhythmic configuration will be lifted, will be simply put into another key, just as Bach would do it, in a rondo or something like that. “Unheard Notes, glenngouldinterviews.com goes way beyond biographical events and offers insights into Glenn Gould’s talent, heart and mind with these priceless interviews. Perhaps the greatest expression of his humour is the alter egos he created to lampoon the absurdities, pretensions, fads, and fustiness of contemporary classical musical life. But the Mozart textures haven’t freed themselves from the preconception that there would be a harmonic foundation in addition to that which the orchestra is supplying, and supportive of it, but supportive also of the solo textures. Here is the multi-faceted Gould as, German musicologist and avant-garde composer, Dr. Karlheinz Klopweiser, Brando-esque New York pianist and critic Theodore Slutz, and Sir Nigel Twitt-Thornwaite, the “dean of British conductors.”, The Glenn Gould Guide to Social Distancing. Knappertsbusch — which fits the piano… well, can be made to fit the piano, rather as if it had been thought of by Scriabin in his earliest years. Send us a tip using our anonymous form. I once talked about such a “set,” it was a time in Tel Aviv — this was in 1958 — and I was giving a series of concerts on an absolutely rotten piano, the manufacturer of which shall be left unnamed [laughing], but in any event it was after all a desert country, as they kept explaining to me, and they had desert pianos, understandably enough.

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