Liner notes, program notes, book reviews, interviews, lectures,
radio-talks, essays, and articles: a generous selection of the late
pianist's challenging, idiosyncratic critical writings. First, in
roughly historical order, come over 40 pieces - many of them highly
technical - on individual composers and compositions: quick praise
for "favorite composer" Orlando Gibbons; rich analysis of Bach's
"Goldbergs," of course (their "virile ego," with "that curious
hybrid of clement composure and cogent command"); the notorious,
unconvincing scorn for late Mozart, much Beethoven, the first half
of the 18th century, and that "grotesque hybrid" known as the
Romantic piano concerto; a brief defense of the controversial Gould
approach to Brahms' D-minor; and, at greater length, appreciations
of two favorites among the moderns - Richard Strauss (above all,
for "the superbly filigreed texture of his inner voices") and
Schoenberg. A section on "Performance" then follows, featuring
Gould's distaste for applause, for critics, for competitions (the
emphasis on consensus and competence, resulting in "spiritual
lobotomy"); it also includes a vivid memoir of Leopold Stokowski (a
soulmate in Gould's love of technology), a half-persuasive paean to
Barbra Streisand, and the famous, totally unpersuasive one to
Petula Clark and songwriter Tony Hatch (preferring them to the
Beatles). The "Media" section, along with reflections of Gould's
work in radio-collage and film-documentary, presents "The Prospects
of Recording," with vigorous arguments for Gould's splice-happy
approach to perfection in recording - as well as his thoughts on
the power of background music (in movies, in Musak). And a final,
miscellaneous group ranges from musicology-parody to film-criticism
to a personal view of Toronto. Stylish (if often a bit arch),
erudite, and sometimes edgily intense: a worthwhile gathering -
largely for pianists and scholars, but with occasional rewards for
any musically sophisticated browser. (Kirkus Reviews)
When Glenn Gould died in 1982 at the age of 50, he left behind a
legacy of 26 years not only as a remarkable pianist, but as an
outstanding music critic. His writing, which appeared primarily in
music journals and on record sleeves, was often as provocative as
his performances. This book contains essays on composers such as
Bach, Mozart, Beethoven, Mahler, Schoenberg and Strauss, which
challenge virtually every tenet of accepted taste and opinion.
Gould inveighs against concert-giving and competitions, and
enthuses about recording and its associated technology. He writes
on Leopold Stokowski and Barbra Streisand, on Petula Clark and
Ernst Krenek, on P.D.Q. Bach in fact and fancy, and even in
interview with himself.
General
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