Re: GG: Die Kunst der Fuge

["John P. Hill" <jphill@frank.mtsu.edu>]

On Fri, 3 Jul 1998, pat.zumstein@bluewin.ch wrote:

> I think I read somewhere that Bach rarely or never gave specific
> instructions on sound, volume, speed or the choice of instrument, which
> sounds quite unusual for works of such a complex mathematical structure.

Not really.  The case has been made (and GG was a strong supporter) that
Bach's music is largely *instrumentally indifferent*, because what Bach
was about was counterpoint (the math) and that he was not overly concerned
about what specific instrument things got played upon.  I find this
argument convincing, particularly with regard to the Art of Fugue.  One
could point to any number of other Bach compositions (like the cantatas,
for example) which borrow *heavily* from materials he used in other
places.  And, there is one keyboard concerto (D major) that is a direct
re-working of the same materials used in one of the violin concertos (E
major).  It's a cliche to be sure, but I really do think that Bach would
have *loved* a Steinway D grand piano like CD318 and you *know* he would
have written some amazing stuff for it.

There are some pieces in the Bach keyboard literature that *do* seem to
lean heavily towards a specific instrument and there are some examples
where Bach specified dynamic contrasts and general tempo indications.
But these seem to be the exception, not the rule.

> If this is true then I bet that this subject is the matter of an endless
> (?) debate among musicians and experts alike on how Bach should be
> played, which at some point will lead to Gould.

Oh yeah!  Witness the kinds of discussions we have here on this list.

> I bought GG's Art of Fuge a few weeks ago, liked it, read the booklet
> and wondered why the critics hated it.They said it is "unmusical", and
> it sounds "like a trained seal playing "God Save The Queen" on car
> horns"  So I went to a public library and got a different recording to
> compare.
> I couldn't find anything unusual.

It's perfectly fine for you to like whatever you like.  There is *no*
argument for someone who says, "I like x,y,z...".  But the more you learn
about specific composers, their music, the historical context and the
various performances out there, the more your likes and dislikes can
change.  I think most of us come to GG through an appreciation of his
stunning technical mastery and ability to reveal aspects of the
composition that others miss or just didn't consider.

Incidentally, the question of whether a performer *should* be trying to
recreate exactly what a composer intended in any given work is a *whole*
'nuther kettle of aesthetic quicksand (GG would have said "NO").

> What is wrong or what is supposed to be wrong with Gould's recording ?
> Is it because Gould played it on an organ ? If Bach rarely gave
> instructions why blame Gould for his (sometimes though eccentric)
> interpretation(s)?

That recording of the first nine parts to the Art of Fugue was released
in the early 60s and it's one of those weird "islands" in the GG oeuvre
that stands on it's own and really doesn't connect to anything else.

The critics panned it (I think) because GG was not an organist and
consequently he didn't "bring to the table" things that most organists
would have.  His registrations were apparently simplistic (GG admitted to
working them out very quickly right before the session) and many felt that
he basically translated a very superficial pianistic approach directly
over to the organ.  Organists didn't like it.  Harpsichordists,
incidentally, don't seem to be too wild about what GG brought to that
instrument either (see Bradley's earlier posts in the archives!).

Interestingly, GG stopped playing the organ altogether shortly after this
recording.  The set was left unfinished;  GG *never* recorded the entire
work for album release, which is a great mystery to me.  Later, the church
where the original recording was made burned down, which presented some
logistical problems to finishing the rest of the AoF.

Personally, I find GG's piano renditions of the AoF to be absolutely
gorgeous.  Have a look at the version he does on the old Chickering on the
OFF THE RECORD video.  Also, have a look at the Sony video/laserdisc
called A QUESTION OF INSTRUMENT.  In that one, GG plays and discusses a
number of different Bach pieces and addresses the whole issue of piano
performance of this repertoire versus some aspects of the HIP discussion
we'ver currently had here.  I think you'll find it interesting!

jh