[f_minor] Gould Meets Haydn / Streisand

[Anne French]

You do seem like a bit of an elitist, Dr. Wright. Barbra Streisand's
voice is not meant to be compared with Maria Callas. It is what it is.
 And I can think of NO ONE whose opinion is of "utterly no
significance," about anything.  Not even yours!

Anne French,
Utterly insignificant member of this list

On Sun, Jul 18, 2010 at 7:33 AM, michael macelletti
<mmacelletti at sbcglobal.net> wrote:
> 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
> 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.
>
>  http://www.youtube.com/watch?v=hfu5VDjRKmA&NR=1
>
>   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:
>
>   http://barbra-archives.com/bjs_library/70s/high_fidelity_1976.html
>
> This is the second time I have submitted the Gould-Streisand article to F
> Minor.
>
> Mary Jensen
>
>
>
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>