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  • richardmitnick 3:01 PM on November 4, 2018 Permalink | Reply
    Tags: GLENN GOULD, Glenn Gould’s Bach Score Surfaces Scrawls and All, Goldberg Variations,   

    From The New York Times: “Glenn Gould’s Bach Score Surfaces, Scrawls and All” 

    New York Times

    From The New York Times

    Nov. 2, 2018
    Michael Cooper

    1
    Glenn Gould’s heavily marked-up score for Bach’s “Goldberg” Variations, used in his 1981 recording, will be sold at auction. Credit Bonhams

    Pianist Glenn Gould Photo by Fred Plaut-Sony Music Entertainment

    Few classical recordings have aroused as much fascination as Glenn Gould’s 1981 take on Bach’s “Goldberg” Variations.

    Gould, whose first major-label recording was a classic 1955 account of the “Goldbergs,” rerecorded them more than 25 years later. He then died, at 50, just after the release — leaving the two Bach statements as bookends to his career.

    Now the score he used while making the 1981 recording has resurfaced, offering clues about the creative process of one of the most original pianists of the 20th century. The heavily marked-up score — which will be offered at auction on Dec. 5 at Bonhams in New York — shows the nearly obsessive attention to detail Gould was famous for, especially after he stopped giving live performances in order to focus entirely on making recordings.

    “I would call this the equivalent of a shooting script of a movie,” said the critic Tim Page, a professor of music and journalism at the University of Southern California and the editor of The Glenn Gould Reader. “He keeps track of which takes he likes, and how long they are.”

    Gould’s jottings, mostly in black felt-tip pen, are not always legible. They mostly appear to be notes he made to himself as he assembled takes of the recording. He calls for a “wee shade less” in one section, regularly marks the timings of various takes, and seems to refer to a film he was shooting at the time of himself playing the “Goldbergs.” There are few obvious interpretive notes, but he does circle the rests in one variation, as if for emphasis.

    2
    Gould’s score for the ninth and 10th variations. Credit Bonhams

    Mr. Page, who discussed the differences between the 1955 and the 1981 recordings in an interview with Gould that is included in the boxed set Glenn Gould: A State of Wonder, said that after examining the score earlier this year, he had no doubts as to its authenticity. (The seller has asked to remain anonymous.)

    Nicholas Hopkins, whose painstaking transcription of Gould’s 1981 recording was published in 2015, said that he had believed that Gould only used Ralph Kirkpatrick’s edition of the “Goldberg” score, because there were three copies of it in Gould’s archive in Canada. So when he was told that another score had surfaced — and that it was a different edition, published by C.F. Peters — he was surprised.

    “That’s fascinating,” he said in an interview. “I’m anxious to see it.”

    Mr. Page said that he had asked Bonhams to make a high-quality copy of the newly rediscovered score, which the auction house estimates could sell for $100,000 to $150,000, to offer to the National Arts Center in Ottawa. There, he said, “it will be available to scholars, and anyone who wants to see it.”

    See the full article here .

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    For new music by living composers

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  • richardmitnick 1:26 PM on May 26, 2018 Permalink | Reply
    Tags: , , GLENN GOULD   

    From Ethan Iverson – DO THE M@TH: “Glenn Gould plays William Byrd and Orlando Gibbons (and Sweelinck)” 

    From From Ethan Iverson – DO THE M@TH

    Ethan Iverson 2016 photo by Jimmy Katz at http://www.jimmykatz.com, with permission

    1
    No image caption or credit

    A CONSORT OF MUSICKE BYE WILLIAM BYRDE AND ORLANDO GIBBONS: PARTE THE FIRSTE, PARTE THE SECONDE; RENDERED BY THEIR DEVOTED SERVANT GLENN GOULD

    See the full article here.

    Ethan Iverson is a pianist, composer, and critic best known for his work in the avant-garde jazz trio The Bad Plus with bassist Reid Anderson and drummer Dave King.

    Iverson was born in Menomonie, Wisconsin. Before The Bad Plus, he was musical director for the Mark Morris Dance Group and a student of both Fred Hersch and Sophia Rosoff. He has worked with artists such as Billy Hart, Kurt Rosenwinkel, Tim Berne, Mark Turner, Ben Street, Lee Konitz, Albert “Tootie” Heath, Paul Motian, Larry Grenadier, Charlie Haden and Ron Carter.

    He currently studies with John Bloomfield and serves on the faculty at New England Conservatory.

    Please help promote STEM in your local schools.

    stem

    Stem Education Coalition

    John Schaefer


    For new music by living composers

    newsounds.org from New York Public Radio


    https://www.wnyc.org/
    93.9FM
    https://www.wqxr.org/
    105.9FM
    http://www.thegreenespace.org/

    For great Jazz

    88.3FM http://wbgo.org/

    WPRB 103.3FM

    Dan Buskirk Spinning Jazz Mondays 11:00AM-1:00PM
    Will Constantine Jr, Blues Bop and Beyond Thursdays 11:00-2:00 featuring Latin Jazz
    Jerry Gordon Serenade to a Cookoo Frdays 11:00AM-2:00PM with Jerry’s Room at 1:00Pm
    Jeannie Becker Sunday Jazz 10:00AM-1:00Pm


    Please visit The Jazz Loft Project based on the work of Sam Stephenson
    Please visit The Jazz Loft Radio project from New York Public Radio

     
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