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Re: GG : About Authenticity
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
>
>