[f_minor] On Some Faraway Beach Nfld
fred.houpt at rbc.com
Fri Jul 2 09:30:49 EDT 2010
Don't make the mistake of believing that GG was stuck on counterpoint
like a fly on sticky paper. Listen then to his sumptuous and very
rarely played by anyone G. Bizet, which is just dripping wet
romanticism. GG had a wider palette than mere architecture. However,
having said that I will add that his mind had the blessing of a deeper
than "normal" perception of musical structures and he was able to use
this preternatural gift in the interpretive arts. What we hear then is
GG's profound sense of how sounds in a piece connect with each other
through thematic roads and motifs. The music he plays is all of a
wholeness rather than fragmented...and that was a gift he used to great
success, in my view.
Who knows what he might have felt about musical experimenters.....being
one himself, he might have been quite tickled by the boldness expressed
by people like Eno, and especially by Phillip Glass. We can only
From: f_minor-bounces at glenngould.org
[mailto:f_minor-bounces at glenngould.org] On Behalf Of Brett Allen-Bayes
Sent: Wednesday, June 30, 2010 8:27 PM
To: 'Discussion of the Canadian pianist Glenn Gould.'
Subject: Re: [f_minor] On Some Faraway Beach Nfld
As Brian Eno has come up with his own play on minimalism (and we all
know that GG detested it as much as he detested rock music), somehow I
don't think that Gould would have been an Eno fan at all! Where in Eno's
work do you find any sort of complex counterpoint of the type that he
relished? No doubt he may have displayed some interest in Eno's use of
electronics etc; but his music? I don't think so.
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