Gould on Music

2017-10-31 看过

法国导演Bruno Monsaingeon拍的音乐家纪录片都很喜欢,尤其讲里赫特和古尔德的这两部,从拍摄到选曲和剪辑都很诗意。这篇摘录一些古尔德对演奏,创作,录音和演出的看法和心态,以及对巴赫的钟爱。


I really thank God that I'm able to sit in a studio with enormous concentration, doing things many times if necessary, and taking - what is more important - a view of the work that I'm recording which lets me in on the composing sequence of the work.

I think it is important, especially in making recordings, that one actually contributes a totally new view, one in fact recreates the work, one turns performance into composition, I think this is the key to it.


There have been many occasions when I've recorded something and have come into the studio at 10 o'clock on a Monday morning and really been in 16 -- not just 2 different minds but 16 different minds as to how it should go.
And this sense of options is really quite a marvelous luxury. It's a luxury that you cannot permit yourself in the concert. You would be dead if you walked on stage not being quite certain.

In fact what happens is that by 1 o'clock in the afternoon, having given it 3 hours of work, I may not have come to any definitive conclusions, but I will have finanlly selected one of these options and made it my priority, and out of this create a viable performance.


Perhaps the most important thing that technology does is that it frees the listener to participate in ways that all earlier periods were governed by the performer, it gives certain options that you didn't have before.


I detest audiences. Not in their individual segments but en masse, I detest audiences. I think they are a force of evil."


My favorite composer: Bach was the reason I became a musician I think, and it has permitted me everything else.


My private motto has always been that behind every silver lining there is a cloud.


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