More comments on Kazdin

[Eugene Selig <aq094@lafn.org>]

There is a telling exchange between AK and GG involving absolute pitch.
GG had stated in another book with another interviewer that the two most
important gifts required for one aspiring to become a concert pianist
were the ability to concentrate intensely, and the possession of absolute
pitch. As for concentration, we know GG had a photographic memory, and
his musical memory was remarkably reliable. Kazdin had a layman's awe
on the subject of absolute pitch. I think GG enjoyed touting his gift
before this man. The one thing GG could not abide was the company of a
lesser intellect. The fact remains that Wagner, Schumann, Berlioz, and
Tchaikowsky did NOT have absolute pitch. Modern research has shown that
there are various reasons why otherwise highly gifted musical persons
may not possess it. Some people have it through heredity (K. Flagstad),
while in most cases it comes merely as the result of starting training
at an early age, say before the age of six. It seems that the capacity
to "memorize" sounds while identifying their pitch diminishes greatly
after early childhood. The composers mentioned got relatively late starts 
before launching themselves totally into a career in music.

I think that part of Kazdin's problem is that his idol had the proverbial
feet of clay, and as such K. felt that his admiration (adoration) was
misplaced and unappreciated, and as a result felt deprived a position
of special closeness to an non-existent hero. And, as I said before, GG
seemed to harbor contempt for anyone who behaved like a toady.