Re: g minor sinfonia bwv797

[Jim Morrison <jim_morrison@sprynet.com>]

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From: "Juozas Rimas"

concerning the 15th sinfonia in b minor bwv801

> in the 1964 recording Gould plays *the last note before the pause* more
softly
> compared to the vigorous and strong notes elsewhere in the piece. As if he
used
> the sword all the time and then switched to a twig for one second. His
faster
> rendition of the sinfonia doesn't have the soft note if I remember
correctly and
> the whole composition is performed in a steady, strong way.
>

Hey, Juozas, I'm impressed with your musical memory.

 You're right.  That note in question in the live recording is treated just
like one note among many.  Gould doesn't single it out like he does in the
64 studio version. As a matter of fact, he hardly pauses at all after that
note and rushes through what should be a break in the music quicker than any
of the other versions (Rubsam, Hewitt, Leonhardt, Kahane) that I have.  (By
the way, Gould, compared to those other players seems to be either
streamlining the music by omitting notes, or simply showing restraint and
not making as many ornaments as they are, though it's admittedly hard for a
non-musician like myself to tell about such things, esp at the tempo Gould's
playing at.)

In the longer 55 CBC broadcast recording of that sinfonia, however, he
places heavy emphasis on this note.  It's played *more* loudly than the
others, and he holds the pause for a bit longer than the 64 studio
recording.  This is my least favorite of his three versions.

Without a doubt the 64 version is my  favorite (heck, I sure come clean and
say I like that quiet note and none of the other performers play it that
way) and more so than the other two Gould discs, this recording seems to
capture a greater vitality and musical concentration.  This recording, in
its own special way, and like much of the 55-65 Gould discs, is joyous, yet
intimate, full of energy, yet delicate, the workings, to paraphrase an old
post on a different subject, of a sensual intellect.  (Some Gould-detractors
like to talk about his "cold" and "dry" playing, but I'm constantly amazed
and moved by what I hear as his deep tenderness (listen to the d minor or f
minor sinfonias) a deepness, that quite frankly can often make other
performers seem shallow.)

In my mind the 1964 performance is enhanced by the hiccuping CD 318 and all
that Gould noise, which adds to the aliveness and specialness of the moment.
Like I said before, it's one of my favorite Gould discs.

Jim

PS: track 23, the D major invention, has a lot of noise on it that I haven't
been able to identify.  Is it gould sliding on a seat, wood creaking?)