[f_minor] Gould Meets Haydn / Streisand
afrench6 at cox.net
Mon Jul 19 15:29:26 EDT 2010
You do seem like a bit of an elitist, Dr. Wright. Barbra Streisand's
voice is not meant to be compared with Maria Callas. It is what it is.
And I can think of NO ONE whose opinion is of "utterly no
significance," about anything. Not even yours!
Utterly insignificant member of this list
On Sun, Jul 18, 2010 at 7:33 AM, michael macelletti
<mmacelletti at sbcglobal.net> wrote:
> 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 response.
> 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
> 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? Fulfillment.
> 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
> Mary Jensen
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