maryellenjensen28 at hotmail.com
Thu Oct 21 19:49:19 EDT 2010
The "Wanda" hampering Gould's work getting out certainly is not The Toronto Humane Society nor is it Sally Ann (The Salvation Army). When one goes back through the archives of F Minor on the subject there is indeed a name that appears over and over again, so much so that one could reasonably infer that if it looks like a $ony and quacks like a $ony it probably is a $ony.
Gould is just another product among hundreds - nay, thousands - over which $ony has "vault control". Now why on earth, you may ask, would valuable material sit in vaults (and rot on shelves) instead of circulate in a welcoming world amongst a free and democratic people as Gould would have preferred?
Ask Sony. Ask The Glenn Gould Estate. If anyone from that two-headed hydra would like to add their 2 cents to this recurring discussion we would be most attentive.
I assume that most F Minor members are aware of this:
"The Glenn Gould Estate is controlling and stifling the image of the great artist. Canada must open the door to the world and allow a more cosmopolitan approach to Glenn Gould. His fame is not private property to which every interested individual would be a trespasser. The Estate cannot be the private business of a group of people but an open and objective forum. We owe that to Glenn Gould who struggled all his life to shrug off a number of insensitive rules and practices."
- (1992) Sylvia Kind, harpsichordist and friend of Glenn Gould.
and try to BBC this:
Just Gould being Gould? (Who else could he have been anyway)? "Pay no attention to that man behind the curtain!" is precisely what Gould was asking us to do musically - at least heuristically. In that short excerpt from a 4 part series (1966) which I have been as unsuccessful as you at watching in its entirety, Gould says and offers more than I have ever heard from any other pianist to date. The man dared to speak of the artistic situation, the long history and the fake history and the imponderables of music in which he found himself. That's a lot, it's enough for me to listen. Perhaps for some he 'banged on' too much.
Furthermore, the question of Bach and dance music - the Partitas - which some people find unacceptable (undanceable?) when played by Gould: if Bach wasn't aware that his 'dance music' wasn't much much more than music to dance to then there's a bridge in Brooklyn I'd like very much to sell you an ALT-A mortgage for. Contact Goldman Sachs for the details.
Date: Tue, 19 Oct 2010 17:33:02 -0700
From: mmacelletti at sbcglobal.net
To: f_minor at glenngould.org; gmadoodat at hotmail.com
Subject: [f_minor] cbc
just finished listening to an early ( early 50's ) cbc bach recording. there aren't many of these cbc recordings, but they're worth more than all the so-called " great recordings of the century " combined. -- too bad that conversation about getting the gg hidden vault recordings released ended. that would be definitely worth the effort. years ago there used to be an " arturo toscanini society." we would pay our yearly dues, then be able to purchase non-public issues of the symphonies or missa of beethoven, and concert recordings of works of other composers recorded by a.t. . the sound was terrible but it was worth it just to have them. the live london recordings of the brahms symphonies where the speeds got so fast , he almost lost it. wow !-- then wanda came along and closed us up.
too bad, it was good while it lasted. but with gg, there is no wanda to stop us. just the humane society and salvation army. and they would appreciate the money. oh well, just a hopeful thought.
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