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Re: F_MINOR Digest - 28 May 2002 to 29 May 2002 (#2002-86)

Dear Vincent,
I fully agree with you saying that Glenn's playing has astrong romantic character! Even in his most pointillistic interpretations eg: the 17th Var. of his '81' Goldbergs you can find that romantic essence. I believe that romanticism in a broader sense is expressing emotions which overpower the strict mental "muscological" and contrapunctual approach. And I truly believe that more than 70% of his interpretations are like that. Of course the presence of a tremendous mental structure and, in a way,  of a strategic,very precise interpretational plan is obvious. But he goes beyond that: he breathes into this enormous structure life! And suddenly it is being transformed to a "living" one!
----- Original Message -----
From: "Vincent Vo" <Govincevo@AOL.COM>
Sent: Friday, May 31, 2002 9:40 AM
Subject: Re: F_MINOR Digest - 28 May 2002 to 29 May 2002 (#2002-86)

> Gould not a romantic?!?  I'm one of the few admirers of Gould who probably
> like his recordings of Brahms and Beethoven a lot more than his Bach. I do
> prefer piano music of the 19th century more than any other, so I think it
> would take a very romantic style of playing to convince me of the music's
> interpretation. Glenn Gould probably recorded the most romantic of ANY
> recording that I ever heard when he recorded the Brahms Intermezzi.
> He even takes composers from the 18th century and makes them seem like
> romantic composers. Take for instance the adagio from Mozart's c-minor
> sonata, its the slowest version that I ever heard and almost sounds like a
> Chopin nocturne.
> But going back to Bach, I personally find Gould's most moving Bach
> interpretations arises when he plays them romantically, i.e. puts a
> de-emphasis on staccato, more use of the pedal, and (yikes!) a greater sense
> of rubato. Does any f-minors remember his playing of the Contrapunctus 14 and
> the Toccata from the 6th Partita? Thank goodness he didn't play those
> staccato!