Re: [F_MINOR] Brahms #1

[barbara stagno <bstagno@OPTONLINE.NET>]

You've nailed something there. True artistry is fundamentally tied up with
being original, so why don't critics get it? We can forget lawyers and
politicians, but anyone claiming a full understanding of art should know
that breaking the mold is part of it.

N.B.- Glenn was very much a romantic. Though he was critical of most
romantic music, the Strauss and Wagner that he loved is some of the most
romantic music ever composed. I believe he once described himself as "an
incurable romantic." I would have to check my books, but I'm quite sure he
readily acknowledged his emotional/sentimental side even if he eschewed the
typical romantic composers. Glenn was very much a man of contradictions.

Barbara

----- Original Message -----
From: "lstanwyk" <lstanwyk@ryerson.ca>
To: "barbara stagno" <bstagno@optonline.net>
Cc: <F_MINOR@EMAIL.RUTGERS.EDU>
Sent: Tuesday, June 22, 2004 4:30 PM
Subject: Re: [F_MINOR] Brahms #1


> I've always believed a true artist IS a person who defies convention,
> thinks outside the box and hopes to transcend people's thinking to a
> higher place - to a place where critic's, politician's and lawyer's
> minds will never reside.  Glenn's genius represents the top 0.00002
> percentile of the population, so how can anyone relate, wholly
> understand and thus pidgeon-hole the interpretations of such a
> singularly gifted talent? It would be interesting to find out the
> background, or level of musical education, of these critics.  An
> argument against their panning of Glenn could easily be found: Critic,
> you're an idiot... stop pretending you're an expert when all you've got
> is grade 8 RCM?  Critic, you're a fool since you're a faithful lover of
> Brendel and could never possibly accept anything outside of this
> style... etc etc etc.  Glenn never considered himself a romantic (he
> certainly was in my opinion :o))  and even admitted in interview he
> never felt comfortable playing the romantics - hmmm... Brahms was a
> romantic...  His interpretation of the concerto was not for me, as
> faithful as I am to the man and his music.  I'm from the
> Ashkenazy/Perahia camp of enthusiasts when it comes to the likes of
> Johannes and his compadres....  but bless Glenn for giving a romantic
> composer a go, regardless of his reluctance to delve into the music of
> the early 19th century.
>
> Leah
>
> barbara stagno wrote:
> >
> > I was not aware of the BBC music mag aspect but it doesn't surprise me,
much
> > as it does dismay me. The media has always liked to type-cast people and
> > once done, they keep at it .. apparently ad infinitum. It seems Glenn
has
> > become sort of the whipping boy for unconventional artist personas. It's
> > still fashionable to tear apart his interpretations, along with his
personal
> > qualities.
> >
> > Fragile as Glenn was, we have to give him credit for sticking to his
ideas
> > and his ideals because he paid a high price for that. I believe that was
the
> > cause of his departure into seclusion for the second half of his life.
The
> > only way he could continue to do what he wanted, and survive, was to
> > construct a wall of protection around himself and his art. It's a shame,
> > really.
> >
> > That doesn't say much for our societal conception of art. There should
be
> > room for an artist to deviate from the norm without being shredded to
bits.
> >
> > ----- Original Message -----
> > From: <fred.houpt@rbc.com>
> > To: <bstagno@optonline.net>; <F_MINOR@EMAIL.RUTGERS.EDU>
> > Sent: Tuesday, June 22, 2004 2:47 PM
> > Subject: RE: [F_MINOR] Brahms #1
> >
> > > You know Barbara,
> > >
> > > Glenn still gets treated with disdain by journalists.  I read the BBC
> > music
> > > mag each month and it's a good deal with the CD they provide as well.
On
> > > each occasion that one of their writers refers to Gould it's like they
> > were
> > > talking about a freak.  I hate it and have complained in letters to
them.
> > > It is unfair and snotty and snobby.  I agree with your impressions.
Gould
> > > approached the somewhat stiff nature in Brahms with a loving but
strongly
> > > probing mind.  He certainly knew full well the depth of Brahms
technical
> > > prowess, being only second to Bach or Beethoven in architectural
acumen
> > and
> > > ability.  He loved the depth of Brahms musical lines and similar to
his
> > > approach to Bach, he dug  out the inner textures, no matter that his
> > > approach was new.  Gould took too many lumps for his musical
excavations
> > > (and extravagances) and received far too few plaudits for his
discoveries.
> > > I have argued before that Gould is easily misunderstood as a crank or
> > maybe
> > > a nut.  In judging his interpretive foibles we miss his inner targets
and
> > > these shed light and insights far beyond the scope of any
contemporary.
> > It
> > > is here that I still revere his towering intellect and I forgive and
allow
> > > his foibles in style.
> > >
> > > regards,
> > >
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