GG: Letter to Krastins (Jan. 3, 1963)

["Junichi Miyazawa" <walkingtune@bigfoot.com>]

Dear fmns,

I am now polishing my Japanese translation of
the GG letter to V. Krastins dated January 3, 1963 
(English edition, pp.68-69).  
This is one of the most interesting letter where 
GG explains the necessity of playing Bach on the piano.

Here, I have a question.  Does anyone explain the phrase
"the plateau concept of Bach's music"?

It appears in the fourth paragraph:
"I suppose that the logical extension of my attitude 
would be to simply play the works on the harpsichord
and yet I cannnot help feeling that in many ways the 
piano, with its range of sonority and the possibilities 
it provides for effects of registration which are 
quite within the plateau concept of Bach's music, 
                   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
but for purely mechanical reasons are impossible 
on the harpsichord, is a perfectly sensible alternate;
and in so many ways the most practical keyboard 
instrument for the performance of his music.  I do 
feel it requires a willingness to surrender what you 
might call the glamour qualities of the piano and this, 
it seems to me, happily is now being accepted more 
and more widely in the present generation of musicians."

Does it simply describe Bach's music as a plateau,
a large area of flat land, that is,
a music which progresses without dynamics?
Does GG think all the Bach's music are like plateaus
or some of them are like plateaus?
Does he think registration is effective for such music?

Thank you in advance.

Regards,

Junichi

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  Junichi Miyazawa, Tokyo 
  walkingtune@bigfoot.com
  (alias for: farnorth@mbc.sphere.ne.jp)
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  http://www.geocities.com/Vienna/3739