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Re: landowska

Just flipping through Bazzana's book on Gould.

On pages 54-55, he talks about the connection between Gould and Landowska,
such as, a shared romanticism and belief in the authority of the pianist to
make (re)creative use of an original score.  He even says "Gould's creative
rendering of the arpeggios in his performances of Bach's Chromatic Fantasy
has much more in common with Landowska's famous example than with the
literalism advocated in most modern editions and performances."

Never a dull moment, in other words.

Let's also not forget that Gould, like Landowska, loved strange-sounding
instruments.  The Wittmayer, closely miked organ, the harpsipiano, and even
his own CD 318 (at least the recorded sound) are all special.

My own feeling about the Chromatic Fantasy is that Gould takes great
creative license to make fun of the piece (Bach for people who don't much
like Bach, I think he calls it) and Landowska takes a similar freedom to
indulge the inherent "romanticism" or drama of the piece.  Not being much of
a fan of high keyboard drama like that (though I do love Richter's Gates of
Kiev and some of Horowitz's Scriabin) I'd rather listen (but only
occasionally) to Gould's parady.