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[F_minor] GOULDSPOTTING ON "LA TOILE"
CA ALORS !!! QUEL TRAVAIL DE TITAN !!! !!! HAVE YOU SEEN IT???
Philippe Sollers: French author, editeur, essayist, prayzumay bon vivant IS GOULD SMITTEN. Mais alors completement BESOTTED. Voici les directions to GOULD CENTRAL A LA FRANCAIS:
The first page: Glenn Gould, un aventurier du Temps:
http://www.pileface.com/sollers/article.php3?id_article=593
Scroll about halfway down the page, in the chapter titled "Adieu. Variations Goldberg" you will find the entire 1982 Goldberg Variations on audio plus nearly 20 minutes of the film of the same. Scroll down 3/4 of the page to the chapter "Liens documentaires"; of the nine, the first selection "Gould Vivant" is the entire 1959 film "On and Off The Record" with French subtitles or just go to:
http://parolesdesjours.free.fr/gould.htm
Nice little screens too, bigger than youtube.
Mais ce n'est pas tout!!! "H comme Haydn" offers you Sonata 31 played by Rudolf Buchbinder and then by Glenn Gould, plus Sonata 52 played by Glenn Gould, 1981, plus a marvellous essay on Haydn/Mozart.
http://www.pileface.com/sollers/article.php3?id_article=596
"H comme Haydn" is also accessible directly from the first page; in the right hand column is Sollers' rubrique musicale. If any of this has made you curious about Sollers "l'homme" allez voir: http://www.pileface.com/
While there, in the right hand column "DICO SOLLERSIEN", NOMS PROPRES A-J, Gould (Glenn) et le voila Bob's yer uncle. Gould Galore, veritablement.
My sincere apologies for 'hyperliens' that don't connect when clicked on. I am trying, believe me I am. Perhaps it's necessary to copy and paste all those liens.
A note of thanks to Fred Houpt for writing that brilliant, engaging commentary (dd 22/07) on 'the authenticity argument' by way of reply (I think) to my 'Bellyaching' contribution. To reiterate briefly; I queried the ultimate artistic value and artistic validity and even the serious existence of the 'question of instrument' as concerns interpretative integrity and then ventured an exasperated comment on the dubious taste of the Kahn's weird journalism. Please nota bene: There is not one single piano god to be found among my verbs, mate, and NO intimation of. The talking point may not have been new but the Kahn's article had never been discussed. I had merely assumed that a published article entitled "In Your Face, Glenn Gould" would be of some interest here at F minor.
Mary Jensen
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