[f_minor] Gould Meets Haydn / Streisand

michael macelletti mmacelletti at sbcglobal.net
Sun Jul 18 10:33:17 EDT 2010

frankly, what streisand has to say about gg is of utterly no significance. and 
what he could have possibly seen in her voice, which is supposedly lacking in 
the really great singers, only God knows. 

From: James Wright <gzarlino at hotmail.com>
To: f_minor list <f_minor at glenngould.org>
Sent: Sun, July 18, 2010 7:28:25 AM
Subject: Re: [f_minor] Gould Meets Haydn / Streisand

 The question was not when and where GG wrote about Streisand (the High Fidelity 
piece is well known), but rather when and where Streisand commented on Gould, in 

James K. Wright, Ph.D. 
Associate Professor &
Supervisor of Performance Studies
School for Studies in Art & Culture: Music
A917 Loeb Building, Carleton University
1125 Colonel By Drive
Ottawa, Ontario, Canada  K1S 5B6
Email: James_Wright at carleton.ca
Telephone : (613) 520-2600 (ext. 3734)
Fax : (613) 520-3905

 From: maryellenjensen28 at hotmail.com
To: f_minor at glenngould.org
Date: Sat, 17 Jul 2010 01:47:43 +0200
Subject: [f_minor] Gould Meets Haydn / Streisand

Oh what a relief that someone else gives a flying ----  about Gould's Haydn. I 
have already begged anyone here who can get their hands on a copy of "Gould's 
Remarkable Haydn Series" Piano Quarterly Vol. 31 no. 121 Winter 1982-83 by 
Joseph Banowetz to please send me a photocopy. I'll pay postage...I'll send you 
a free cd of whatever you want (within reason) in return. No, that's going too 
far. I offer a free cd of Gerard Lesne and Ensemble Il Seminario musicale 
recorded at Basilique Saint-Hippolyte, Thonon-les-Bains, Haute-Savoie, France, 
April 1988 "Musique Sacree pour Contralto, Cordes et Basse Continue" in fair 
trade for a copy of the Joseph Banowetz article. You'll just have to twig the 
composer and the compositions. 

 People crow and crow ('cause it's facile?) that Gould rerecorded The Goldberg 
Variations ... well hang on "just a doggone minute" (Gouldian speak); Gould 
revisited Haydn first with his "slowhand" technique and I'm so glad that he did. 
What gorgeous play he has to offer; this is really a sublime Gould who feels at 
home with the composer. Haydn had all the moves that Gould could respect and 
bounce off of. It sort of drives me crazy with jealousy. I have to laugh out 
loud in pleasure and utter ... what is it exactly? Agreement? Amusement? 


  As for what Gould had in mind for "Barbra", he laid his cards on the table: 
from High Fidelity Magazine May 1976 "Streisand As Schwarzkopf" by Glenn Gould:


This is the second time I have submitted the Gould-Streisand article to F Minor.

Mary Jensen 


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