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Dear fminors there is the final part of the GG Article by Giuseppe Montesano. Is my translation is not perfect please have understanding the article was beautiful but hard. Thanks Valeria Massari The boundless Gould Variations By Giuseppe Montesano (part 2) From an adventurous session of recording in which Gould recorded with Elizabeth Schwarzkopf the miraculous "Ophelialieder" of Strauss, the big singer went out amazed: "In a study overheated Gould had begun to improvise something of 'straussiano.' We thought that he wants to practice a little bit, but no, also during the recordings played as, like if he takes the notes of Strauss which pretext for improvise almost deliberately. Gould invented very simply of the new notes. " at the end of her sat the pianist continued to play and didn’t hears the recording. Eccentricity as a spoiled little boy? Rudeness? Pure folly? Once Gould had explained that that the crisis of the music initiated era from the moment in which interpreter and author were not more in the same body: from that separation the virtuoso had born, the being that like a taught seal has only the metronome and the applause of the ladies in his head.Instead the impervious way for which Gould wanted to find again the origins, was the restoration of an ideal epoch in which the music had performed like if been bearing in the moment in which she became. All what it was repetition and mechanism , annoyed him up to the depression. He was against to romanticism but because he knew to have inside the fertile illness, and under his fingers also the English composers of 16°/17° century became the decadent. Perhaps he was also geometric and analytical, at times dry up to the aridity but it was an exorcism for to control the abysses that attracted him: " The fact of play exclusively for the recording, and therefore of know that I in line of beginning won't return more on the work that I am recording, does that it becomes for a period relatively brief a time madly intense of my existence." The explorer from speculative labyrinths of Bach didn't contemplate to segregate in the consolation of a perennial order, but to show from which unbridled current secret had sprung that symmetry, perhaps the same ‘ terrifying symmetry’ that William Blacke glances in his vision of the archetype of the tiger. But for reach his purpose, iconoclast toward an interpretative consolidated tradition, to Gould served many disguises: "I don't have nothing against the orthodoxy , that despite I retain main point to contribute to a new vision of the things, in substance recreate the work, transform the interpretative action in creative action" .The rigour won't stay more then in the rite of the concert, in the philology of the traditional instruments for performing Bach or Byrd, but it will change in a kind of ascetic process: like a mystical, the interpreter will try to become the same thing, disappear like public figure and change in the other. And in a self interview Gould confessed that the place more suitable for the change would have stayed the jail: " The liberty of movement is reduced generally to the mobility and the liberty of word turns almost always in an oral aggressiveness sanctioned from the society: would jail be therefore a bench of ideal proof for our internal mobility and for the energies that could allow us of escape in creative manner from the human condition." Was not it perhaps an imprisonment what did Gould look for sleeping in the daytime and frequenting his friends on the telephone? No, it was not for confine inside the appearances of the world that Gould kept to itself, but for try the exact contrary: escape from the appearances. To a certain point of his life the relentless reader that Gould was told to don't believe to the linear narration, and he was built of the broadcast programs in unstable balance between the' Imaginary Landscape ' for twelve radio and twenty-four performers of John Cage and most tangled counterpoints of J.S. Bach. But the passion for the assemblage, broadcast and record , it was not the search of a collage surrealist applied to the sounds. In the technique of the 'montage' Gould experimented the breakup of the narrative linear time and the entry of the time freed in the creative action. The times of the executions of Gould are not ever obvious and not rarely begins to hard try the patience of the listener: unbelievable accelleration,exasperating slowness, immense pauses. "L'Allegro assai" of Beethoven's 'Appassionata' performed by Askenazij is 9 minutes and 34 seconds; by Horowitz 9 and 57; by Schnabel 8 and 56; by Backahaus 9 and 27; by RIchter 11 and 39: by Gould stretches immoderate for 15 minutes. What does happen with once so peaceful? Everything stops being predictable, the whole structure of the passage is designed like a landscape that the light of a lightning has immobilized in the eternity, and in the slowness the single sonorous instants stand out unreal, almost isolated the one from the other. But quite like the monad of Leibnitz, somehow sonorous separate these moments has organized in a same order, they point to an invisible sketch of gotten out of the time.: until in the final 'Presto,' the time returns all of hit in a frantic flow, like an uncontrollable run that wants to condense it again in his point of origin. But is it beautiful that execution? Or is it only amazing ? ABSOLUTE LIBERATION after many years and many listen to, I must confess that I don't know still exactly if 'I like' what I listen to when Gould plays ,often seem me absurd and childish, and thick also if absurd cut me the breath., like the attack gone mad of the K Sonata 310 of Mozart: but I feel each time that I am doing an experience of the music that doesn't want to be satisfied of the surface, like if forced ditches to listen to the lesson of a teacher obsessed from the eroticism of the detail and in the same time I'm to drive out by a solitary that pursuing his logic has forgotten the world: " I Think that to the artist the benefit of the anonymity must be granted.He needs to allow him to operate secretly: to this point the artist would free itself from his misunderstanding sense of 'pubblica' responsibility, while his 'pubblico' would be freed from the own servile subjection." Like the disciple of a nonexistent ' zen' teacher, Gould pursued his attempt of liberation until after all, with each half. That's why he sang during the executions: Not only because he had dragged him from the music, but for do the void inside himself, for don't think: "While sound doesn't want to reflect too, for fear of become like the millepede that, when they asked him in which order moves the legs,it stayed paralyzed." Did be possible the escape of the time through the time that Glenn Gould dreamed? In certain evenings the furious hypnosis of the 'Third Sonata' of Skrjabin or the geometry red hot of Bach's 'The well tempered clavier" seems to tell of yes, and evoke the elsewhere in which he/she/it/you will become real that provision without fear that we once have dreamed all. Is only the illusion of a moment, the effect of the tiredness and of at night? It don't matter, and is not always necessary have an answer. Now that they restart the ' Goldberg Variations,' the time is again clement with us, and that's why along instant could think that everything is still possible for the intoxicated lovers of Baudelaire: "In a parallel delirium, swimming side to side, we will run away without rest and without truce toward the heaven of my dreams.
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