Re: GG : About Authenticity

["C. Dunne" <cdunne@u.washington.edu>]

Salut, Michel!

J'ai des pensees et questions sur votre lettre e-mail.  

> 
>         Always about authenticity : the Prelude n°2 C minor (W.T.K. vol I;
>   recordset  63/64/65) is particularly amazing. Gould takes there a lot of 
>   liberties  in tempo :  slowing, accelerating,... but the most disturbing 

But there are indications in the score (at least in the Urtext edition
which I have) to accelerate and slow down in the last 12-16 bars of the
Prelude.  One section is marked Presto, the next Adagio, the last Allegro.  
Or does he slow down and speed up throughout the prelude?


>   (from an  academical point of view) is that way of picking all the notes,  
>   and  playing the whole piece much slower than most pianists. But, as far 
>   as I'm concerned, the genius of Gould appeares clearly  when  he  puts a 
>   light  on the  melody  of  the  bassest  notes,  often  away from other
> performances.

Something I've been thinking about (and tell me if this is just too
absurd): could Gould's preference for the bass line be somewhat related to
the fact that he was left-handed?  Or here's another potentially absurd
connection:  could his preference for the bass line reflect the fact that 
his own voice which was a bass or baritone?  So that when playing an
ensemble of voices on the piano he gave his own voice (or its
equivalent) the spotlight? :)

Colleen

> ___________________________________________________
> Michel Crucifix , etudiant en physique, Courriere, Belgique
> Eudora 1.5.2 (attached files ; quoted printable)
> << Wallon et fir di l'esse >>
> Interests : Piano (Practice & listening Glenn Gould) ; Astronomy
> 
>