[f_minor] On Some Faraway Beach Nfld

[Robert Merkin]

Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Knock Knock
Who's there?
Philip Glass.


  ----- Original Message ----- 
  From: Houpt, Fred 
  To: Discussion of the Canadian pianist Glenn Gould. 
  Sent: Friday, July 02, 2010 9:30 AM
  Subject: Re: [f_minor] On Some Faraway Beach Nfld


  Don't make the mistake of believing that GG was stuck on counterpoint like a fly on sticky paper.  Listen then to his sumptuous and very rarely played by anyone G. Bizet, which is just dripping wet romanticism.  GG had a wider palette than mere architecture.  However, having said that I will add that his mind had the blessing of a deeper than "normal" perception of musical structures and he was able to use this preternatural gift in the interpretive arts.  What we hear then is GG's profound sense of how sounds in a piece connect with each other through thematic roads and motifs. The music he plays is all of a wholeness rather than fragmented...and that was a gift he used to great success, in my view. 

  Who knows what he might have felt about musical experimenters.....being one himself, he might have been quite tickled by the boldness expressed by people like Eno, and especially by Phillip Glass.  We can only guess...

  Regards,

  Fred Houpt

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