Hi
Jonathan,
Interesting to think that Perahia would be critical of Gould. They
certainly don't sound much alike. I'll see if I can track down anything
he has said on Gould. I seem to remember some comment made during last
year when Sony released his rendition of the Goldbergs.
You also wrote
They played a small
clip from the Dm concerto for keyboard as played by
Perahia. It felt
weak next to Gould's.
To which I reply that I've yet to
hear anything to make me think this album is anymore than some kind of side
project that didn't get Perahia's full attention. Pleasant Bach (they
played a clip during the interview with Gross) but nothing more. And
yes, Perahia, though good, can seem weak next to Gould, but then again, many
players of Bach on the piano can, so singular was Gould's
achievement. It's funny, a few years ago when I first really
started to branch out a try to understand other people who play Bach on the
piano I was a bit nervous that they would lesses my appreciation for Gould,
that is, that they would make me become more aware of Gould's
limitations. HA! I can't tell you how many times I've bought on
one of these recently bought CDs and thought immediately, "boy does this
recording every sound predictable and lack soul." Weak-hearted you might
say. Perfunctory. Look out, tempo is increasing, let's roll out
the crescendo. Uh oh, tempo decreasing, let's play softer. Here's
the head of the fugal subject; let's play the first few notes louder than the
rest and loss focus on what my other hand is playing. Here's come the
coda, let's play really loudly. Here's a repeat, let's play it exactly
and as boringly as I did the first time. Let's play really fast with a
very even touch and put all the notes in the right place. That will be
great. Etc, etc. Guys, I know we all think it, but sometimes it's
a lot of fun to say it to people who understand, so here I go again:
Gould *is* phenomenal. He had his own special vision of what Bach
should sound like on the piano, and I love it.
Jim