[f_minor] GG as fave pianist/movies

pzumst pzumst at bluewin.ch
Sun Sep 19 18:38:57 EDT 2010

Hi Mary and all

GG is mentioned in the Hannibal books by Thomas Harris several times (and just because I read them doesn't mean they are all good btw), so it was only logical to make a reference in the movie.

IMDB lists the GB aria being played by one Jerry Zimmerman on the movie soundrack CD. It might be interesting to check the end credits to see wether they did use a GG recording in the actual movie or not. 
(Interesting side note: Orion Pictures, the producers of this movie, went banca rotta shortly after SotL, were bought by MGM, which is now owned by, yes you guessed it, Sony. )

It might be interesting indeed to have a GG-themed movie, either something in the direction of Walk The Line or that Dylan movie or something similar to 32, which is a great movie but somehow failed to grasp the attention of critics and movie goers.

Hey, Sony, how about re-release on DVD or Blu-Ray ? This thing has become a Collector's Item, prices at eBay, prices are so high I could pay my deistist bill with that amount of money...


From: maryellen jensen 
Sent: Sunday, September 19, 2010 10:56 PM
To: f_minor at glenngould.org 
Subject: Re: [f_minor] GG as fave pianist/movies

Salut Elaine,


 Glad you brought that up. I also 'feel' uncomfortable or perhaps dismayed is a better word with the use of GG's Goldberg in a horror film and furthermore I have never understood the reverence afforded "The Silence etc" by what seems to be a rather sizeable swathe of the film watching public. On the other hand Bach's music is a regular feature of many horror films as we all know; let's face it, once the toccata and fugue in D minor begin blasting out of a pipe organ WE KNOW the house is haunted and the girl will fall down and lose consciousness while trying to escape the clutches of some mad scientist, werewolf, ghost, lesbian vampire, suave poisoner, flesh eating plant, lonely abductor, non-rhotic cannibal etc etc etc. It's known as KITSCH. Silence of the Lambs, KITSCH INCARNATE, simply switched the Bach score but the game is still the same.
 What I would like to know is how exactly does music copyright operate and who gave permission for the too many seconds of Gould's inimitable recording to be aired in a film that Gould himself would have found repugnant on all accounts? Lambs or no lambs, noone can doubt this.

Mary Jensen        



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