Here are the visitors' comments for this page. He was three years my senior.
Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. Before his birth, his mother planned for him to become a successful musician, and thus exposed him to music during her pregnancy.
He learned to read music before he could read words. He would play his own little pieces for family, friends, and sometimes large gatherings, including, ina performance at the Emmanuel Presbyterian Church a few blocks from the Gould house of one of his own compositions.
This left a tremendous impression. He later described the experience: The photo was taken inbefore Gould fully developed this technique. As a young child, Gould was taught piano by his mother.
Gould's mother would urge the young Gould to sit up straight at the keyboard. The chair allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero. His manual practising focused on articulation, rather than basic facility.
He may have spoken ironically about his practising as there is evidence that, on occasion, he did practise quite hard, sometimes using his own drills and techniques.
It tends to have a mechanism which is rather like an automobile without power steering: This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things.
Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric. Gould had a pronounced aversion to what he termed a "hedonistic" approach to the piano repertoire, performance, and music generally.
The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected. He argued that public performance devolved into a sort of competition, with a non-empathetic audience musically and otherwise mostly attendant to the possibility of the performer erring or not meeting critical expectation.
He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices.
Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work. For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting.
Technology Edit The issue of "authenticity" in relation to an approach like Gould's has been a topic of great debate, although diminished by the end of the 20th century—a development that Gould seems to have anticipated. It asks whether a recording is less authentic or "direct" for having been highly refined by technical means in the studio.
Gould likened his process to that of a film director—one does not perceive that a two-hour film was made in two hours—and implicitly asks why the act of listening to music should be any different.
He went so far as to conduct an "experiment" with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points based on their relationship to music, but none successfully. While the conclusion was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".
If, instead, the same sonata had been attributed to a somewhat earlier or later composer, it becomes more or less interesting as a piece of music. Gould, therefore, prefers an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork:In a interview, Glenn Gould said.
I’m an addict of any crossword puzzle-like musical situation, because it’s fun to see what goes where. It’s fun to write in the style of the 14th. “So you want to write a fugue; you’ve got the urge to write a fugue; you’ve got the nerve to write a fugue. So go ahead!” So the pianist Glenn Gould, who wrote these words, took his own.
Glenn Herbert Gould[fn 1][fn 2] (25 September – 4 October ) was a Canadian pianist who became one of the best-known and most celebrated classical pianists of the 20th century.
He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. and So You Want to Write a Fugue? (SATB with piano or string. Glenn Gould-So You Want To Write A Fugue? (Hd) They say it takes 10, hours to master a skill (like playing the Piano).
I say people waste a LOT of time when they’re not efficient with their practice and they don’t understand diminishing returns. Get the guaranteed best price on SATB Choral Music O-U like the G. Schirmer So You Want To Write A Fugue? SATB Composed by G Gould at Musician's Friend. Get a .
Glenn Gould is the Best! This is a great fugue song,as a Gould fan I highly suggest buying caninariojana.com fun!
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