@CaramelMarshmallow Seems a pretty shallow response. Counterpoint is the ability to express different voices. if you express none it is nothing. What Gould did was to master absolute control in expression, matched with ideas beyond any other. Listen to Barenboim WTC, it is bloody Excellent. The counterpoint is beautiful. Listen to Gould. Some would say pure Genius ( me included ), others may say idiocy. He is Marmite
I can listen to Glenn speaking and playing all day long and often do. During our recent trying times here in Japan it gives me clarity and calm. He was the man!
Glenn did not force Page to say things that he didn't want to say. He simply worked with him in advance on the interview. This was confirmed by Page in 2008 (2009?) when he said ".. He was a real perfectionist when it came down to those things, as I know, because we worked on a script for my interview with him on the Goldberg Variations. This was something rather different from the interview I did with him over the phone, where we talked quite freely about a number of things...."
As for the scripting issue . . . like the singing, the movements, the chair, etc. it is Glenn Gould. I mean, once you live with those recordings for a while (any or all of them), you realize that you accept, with no criticism, diagnosis, or questioning of motive, Glenn Gould as a whole, and kind of assume it all makes some contribution to his art, in some, perhaps not understandable, way.
And when you think about it, it works in a way no real interview, or for that matter essay, could.
The 1981 recording is so emotive, until I heard Gould I never knew baroque could be so emotional. Who cares whether he scripted it, we all know that Gould was extremely intelligent, both musically and generally. xXx
yes I heard that - a wildly odd trait of GG (apparently) that he liked to write 'naturalised' dialogue - although he's clearly pretending the interview is spontaneous. Creepy - especially if he's writing the interviewer's compliments and quasi-acting his responses. I'm a radio producer, and it's a genuinely strange MO.
I'm not sure it's creepy, it's merely a desire for control over what the outside world knows about oneself and a desire to present opinions that are thought-out and definitive.
This recording (the 1981 Goldberg) was my introduction to Glenn Gould and will forever hold a special place in my heart...
The "Aria" alone is worth so very much to me - magical...
Argentino246 1 month ago
Comment removed
CaramelMarshmallow 7 months ago
@CaramelMarshmallow Seems a pretty shallow response. Counterpoint is the ability to express different voices. if you express none it is nothing. What Gould did was to master absolute control in expression, matched with ideas beyond any other. Listen to Barenboim WTC, it is bloody Excellent. The counterpoint is beautiful. Listen to Gould. Some would say pure Genius ( me included ), others may say idiocy. He is Marmite
kinkokonko 5 months ago
I can listen to Glenn speaking and playing all day long and often do. During our recent trying times here in Japan it gives me clarity and calm. He was the man!
cliffworks4321 10 months ago
Glenn did not force Page to say things that he didn't want to say. He simply worked with him in advance on the interview. This was confirmed by Page in 2008 (2009?) when he said ".. He was a real perfectionist when it came down to those things, as I know, because we worked on a script for my interview with him on the Goldberg Variations. This was something rather different from the interview I did with him over the phone, where we talked quite freely about a number of things...."
sandeepmdath 1 year ago
it's weird how this is all scripted by gould. maybe not weird, but humourous/playful
yoboss1049 1 year ago
Fantastic, I am delighted to have the opportunity to hear this.
Ravel87 1 year ago
so the old version is more spontaneous and the new is more deliberate?
interestng. every pieces, doesn't matter how long it is, must have a tempo reference point
what's the "pulse"??
charmingemily 2 years ago
Although I do agree with sibonic. It is kind of . . . strange.
pdf1056 2 years ago
Comment removed
pdf1056 2 years ago
As for the scripting issue . . . like the singing, the movements, the chair, etc. it is Glenn Gould. I mean, once you live with those recordings for a while (any or all of them), you realize that you accept, with no criticism, diagnosis, or questioning of motive, Glenn Gould as a whole, and kind of assume it all makes some contribution to his art, in some, perhaps not understandable, way.
And when you think about it, it works in a way no real interview, or for that matter essay, could.
pdf1056 2 years ago 10
what's "scripting"?
thanks
charmingemily 2 years ago
This 'interview' is on a cd packaged with both Goldberg recordings, "A State of Wonder." which is certainly a worthy investment.
pdf1056 2 years ago
The 1981 recording is so emotive, until I heard Gould I never knew baroque could be so emotional. Who cares whether he scripted it, we all know that Gould was extremely intelligent, both musically and generally. xXx
curzmg 2 years ago
Why isn't Gould's take-off on "Bridge on the River Hudson" included?
weikko79 3 years ago
Wish I had the opportunity to watch Gould perform live, my generation doesn't know what it's missing.
mycroftc 3 years ago 17
The interview is scripted anyway and is exactly how gould wanted it to be.
ComeLeVent 3 years ago
yes I heard that - a wildly odd trait of GG (apparently) that he liked to write 'naturalised' dialogue - although he's clearly pretending the interview is spontaneous. Creepy - especially if he's writing the interviewer's compliments and quasi-acting his responses. I'm a radio producer, and it's a genuinely strange MO.
sibionic 3 years ago
I'm not sure it's creepy, it's merely a desire for control over what the outside world knows about oneself and a desire to present opinions that are thought-out and definitive.
ComeLeVent 3 years ago