Re: GG: Bringing Out Voices

[Bradley P Lehman <bpl@umich.edu>]

On Thu, 17 Dec 1998, John P. Hill wrote:

> Let's face it;  Gould had the *chops* to bring any voice he wanted to out
> of the texture.  He really didn't need separate tracks and faders to
> accomplish that end.  But your point is well-taken that GG was
> fascinated by the available technology and wanted to try all the inherent
> possibilities.  The multimic pair perspective experiments on the Sibelius
> recordings would be another example.

For somebody in the 1970's who did use multi-tracking of keyboard
extensively to get spatial and dramatic effects, check out the two volumes
of "Spaced-Out Bach" by Joseph Payne on RCA LP's.  It's all harpsichord,
but like no harpsichord ever heard live in captivity.  Same additive
technique as the Moog "Switched-On Bach" of Carlos, but with acoustic
inputs rather than electronic.  And from his other normal albums, it's
clear that Payne doesn't need the technical help; he really can play. 

And there's that E. Power Biggs quad album where he multi-tracks four
organs from different parts of a church.  Recently I picked up a
multi-tracked LP by The Chieftains' harpist, "Derek Bell Plays With
Himself."  (harps, keyboards, oboes)  Didn't Keith Jarrett also record
some things with sax and keyboards, playing all the parts?

Anybody know if GG had copies of any of the Bill Evans multi-tracked
albums in his collection?  As many notes as GG's version of the
Meistersinger Prelude!  (Did GG work from scratch on that arrangement, or
borrow textures from the Tausig/Horn version for piano duet?  I know, he
claimed it was his own, but the last few minutes sound remarkably similar. 
Molnar & Rezmuves, on Amadis 7152)

Bradley Lehman ~ Harrisonburg VA, USA ~ 38.45716N+78.94565W
bpl@umich.edu ~ http://www-personal.umich.edu/~bpl/