[f_minor] Gould Meets Haydn / Streisand

Houpt, Fred fred.houpt at rbc.com
Mon Jul 19 09:26:10 EDT 2010

Correction: not what God only knows.  How about her MILLIONS of fans?
Something there is in that voice that many enjoy.  That you do not enjoy
is quite understandable as there is room for personal tastes that differ
from anyone else's.  For example I am a huge fan of Tom Waits who does
not possess a normal human voice.  Rather it is a hundred mile stretch
of bad roads, full of pot holes and dark whiskey as well as too many
cigarettes.  Call me crazy, but I love his art, voice and all.  Ditto
for Randy Newman.
Fred Houpt


From: f_minor-bounces at glenngould.org
[mailto:f_minor-bounces at glenngould.org] On Behalf Of michael macelletti
Sent: Sunday, July 18, 2010 10:33 AM
To: Discussion of the Canadian pianist Glenn Gould.; gail paynter
Subject: Re: [f_minor] Gould Meets Haydn / Streisand

frankly, what streisand has to say about gg is of utterly no
significance. and what he could have possibly seen in her voice, which
is supposedly lacking in the really great singers, only God knows. 


From: James Wright <gzarlino at hotmail.com>
To: f_minor list <f_minor at glenngould.org>
Sent: Sun, July 18, 2010 7:28:25 AM
Subject: Re: [f_minor] Gould Meets Haydn / Streisand

The question was not when and where GG wrote about Streisand (the High
Fidelity piece is well known), but rather when and where Streisand
commented on Gould, in response.

James K. Wright, Ph.D. 
Associate Professor &
Supervisor of Performance Studies
School for Studies in Art & Culture: Music
A917 Loeb Building, Carleton University
1125 Colonel By Drive
Ottawa, Ontario, Canada  K1S 5B6
Email: James_Wright at carleton.ca <mailto:James_Wright at carleton.ca> 
Telephone : (613) 520-2600 (ext. 3734)
Fax : (613) 520-3905


From: maryellenjensen28 at hotmail.com
To: f_minor at glenngould.org
Date: Sat, 17 Jul 2010 01:47:43 +0200
Subject: [f_minor] Gould Meets Haydn / Streisand

Oh what a relief that someone else gives a flying ----  about Gould's
Haydn. I have already begged anyone here who can get their hands on a
copy of "Gould's Remarkable Haydn Series" Piano Quarterly Vol. 31 no.
121 Winter 1982-83 by Joseph Banowetz to please send me a photocopy.
I'll pay postage...I'll send you a free cd of whatever you want (within
reason) in return. No, that's going too far. I offer a free cd of Gerard
Lesne and Ensemble Il Seminario musicale recorded at Basilique
Saint-Hippolyte, Thonon-les-Bains, Haute-Savoie, France, April 1988
"Musique Sacree pour Contralto, Cordes et Basse Continue" in fair trade
for a copy of the Joseph Banowetz article. You'll just have to twig the
composer and the compositions. 

 People crow and crow ('cause it's facile?) that Gould rerecorded The
Goldberg Variations ... well hang on "just a doggone minute" (Gouldian
speak); Gould revisited Haydn first with his "slowhand" technique and
I'm so glad that he did. What gorgeous play he has to offer; this is
really a sublime Gould who feels at home with the composer. Haydn had
all the moves that Gould could respect and bounce off of. It sort of
drives me crazy with jealousy. I have to laugh out loud in pleasure and
utter ... what is it exactly? Agreement? Amusement? Fulfillment.


  As for what Gould had in mind for "Barbra", he laid his cards on the
table: from High Fidelity Magazine May 1976 "Streisand As Schwarzkopf"
by Glenn Gould:


This is the second time I have submitted the Gould-Streisand article to
F Minor.

Mary Jensen 



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