Song | Excerpt of intermission radio interview with Glenn Gould |
Artist | Glenn Gould |
Album | Glenn Gould, Leonard Bernstein -Brahms Piano Concerto No 1 |
Download | Image LRC TXT |
[00:00.000] | 作词 : Spoken Word |
[00:00.000] | 作曲 : Spoken Word |
[00:00.01] | There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year, |
[00:07.12] | when the...eh...when you played d minor Brahms with Leonard Bernstein. |
[00:11.04] | And there is a...eh...people were record Bernstein made a speech before the audience, |
[00:18.38] | saying that his conception and your conception collided more or less and he wanted to... |
[00:23.65] | well I wouldn't say disassociate himself |
[00:26.93] | Now it has interested me to find a explanation, |
[00:31.63] | in what way two musicians, two artists of the caliber of you and of Mr. Bernstein |
[00:39.13] | can approach a standard symphonic work like the d minor Brahms concerto |
[00:45.57] | and have such diverse conceptions of the piece |
[00:49.29] | that Bernstein in this case felt that he had to disassociate himself from... |
[00:53.35] | I don't know that there's a satisfactory explanation. As far as what actually transpired last year, |
[00:58.57] | I seemed to be the only person around who felt that Mr. Bernstein's speech was full of the best of good spirits, and great charm, |
[01:07.71] | and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started. |
[01:13.60] | I thought it was delightful. |
[01:15.62] | But there is no solution to this sense of collaboration that's demanded by a concerto. |
[01:21.69] | Part of the concerto idea is of course the sense of non-collaboration, |
[01:25.92] | the sense of willingness of the virtuoso, so called, to show off. |
[01:32.47] | And I think it's this, it's the traditions that emanate out of that that prompted me to do what I did |
[01:38.98] | because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto |
[01:45.97] | except for one factor, and that was that our proportions of tempi |
[01:51.14] | and our proportions of dynamics tended to be scaled closer together than is usually the case |
[01:55.27] | There was less, if I say exaggeration, I don't mean it critically of other people's performances, |
[01:59.97] | but there was less exaggeration in that sense of the word, |
[02:02.71] | there was less divergence between what could be called the masculine-feminine approach of the piano concerto between first theme and second theme, ( |
[02:09.94] | between the barking of the orchestra and the placidity of the piano. |
[02:13.51] | It was a much more tightly welded unit, what I wanted to do. |
[02:17.84] | Now, Lenny felt that in order to preserve the antagonism of orchestra for piano |
[02:24.10] | there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi |
[02:29.66] | and I was at that time, and still am, I must say, |
[02:33.81] | in a Baroquish mood as far as even the nineteenth century concerto is concerned. |
[02:39.64] | I was trying to bring a common pulse to the movements and to hold things together in that |
[02:44.01] | if rather arbitrary, nevertheless for me very convincing way. |
[02:47.60] | And this is what happened it was simply the meeting at two points of our particular metamorphosis |
[02:56.11] | at which he was more in favor of the tradition which has accrued around the concerto style |
[03:01.81] | and I wished at that moment to break with it. |
[03:04.84] | You say at that moment? |
[03:05.98] | I may change, I only imply that I |
[03:08.08] | No, have you always felt that way? |
[03:09.53] | About that particular piece I have. |
[03:11.39] | I have not applied quite as extreme an analysis to other works of the same genre, |
[03:16.11] | but I have about that particular work. |
[03:19.08] | And... so I was very grateful for the chance to do this for the chance to exhibit it nationally, |
[03:23.83] | so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this, |
[03:28.21] | I've only write that he should get off the hook himself. |
[03:31.63] | Right. I want to come and hear you play in the 1970s see what happened. |
[03:35.73] | Great I hope you can. |
[03:36.60] | We've talked long time and I've enjoyed it very much. I hope you come again. |
[03:40.46] | I will indeed. |
[03:41.43] | Thank you, thank you Gleen Gould. |
[00:00.000] | zuo ci : Spoken Word |
[00:00.000] | zuo qu : Spoken Word |
[00:00.01] | There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year, |
[00:07.12] | when the... eh... when you played d minor Brahms with Leonard Bernstein. |
[00:11.04] | And there is a... eh... people were record Bernstein made a speech before the audience, |
[00:18.38] | saying that his conception and your conception collided more or less and he wanted to... |
[00:23.65] | well I wouldn' t say disassociate himself |
[00:26.93] | Now it has interested me to find a explanation, |
[00:31.63] | in what way two musicians, two artists of the caliber of you and of Mr. Bernstein |
[00:39.13] | can approach a standard symphonic work like the d minor Brahms concerto |
[00:45.57] | and have such diverse conceptions of the piece |
[00:49.29] | that Bernstein in this case felt that he had to disassociate himself from... |
[00:53.35] | I don' t know that there' s a satisfactory explanation. As far as what actually transpired last year, |
[00:58.57] | I seemed to be the only person around who felt that Mr. Bernstein' s speech was full of the best of good spirits, and great charm, |
[01:07.71] | and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started. |
[01:13.60] | I thought it was delightful. |
[01:15.62] | But there is no solution to this sense of collaboration that' s demanded by a concerto. |
[01:21.69] | Part of the concerto idea is of course the sense of noncollaboration, |
[01:25.92] | the sense of willingness of the virtuoso, so called, to show off. |
[01:32.47] | And I think it' s this, it' s the traditions that emanate out of that that prompted me to do what I did |
[01:38.98] | because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto |
[01:45.97] | except for one factor, and that was that our proportions of tempi |
[01:51.14] | and our proportions of dynamics tended to be scaled closer together than is usually the case |
[01:55.27] | There was less, if I say exaggeration, I don' t mean it critically of other people' s performances, |
[01:59.97] | but there was less exaggeration in that sense of the word, |
[02:02.71] | there was less divergence between what could be called the masculinefeminine approach of the piano concerto between first theme and second theme, |
[02:09.94] | between the barking of the orchestra and the placidity of the piano. |
[02:13.51] | It was a much more tightly welded unit, what I wanted to do. |
[02:17.84] | Now, Lenny felt that in order to preserve the antagonism of orchestra for piano |
[02:24.10] | there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi |
[02:29.66] | and I was at that time, and still am, I must say, |
[02:33.81] | in a Baroquish mood as far as even the nineteenth century concerto is concerned. |
[02:39.64] | I was trying to bring a common pulse to the movements and to hold things together in that |
[02:44.01] | if rather arbitrary, nevertheless for me very convincing way. |
[02:47.60] | And this is what happened it was simply the meeting at two points of our particular metamorphosis |
[02:56.11] | at which he was more in favor of the tradition which has accrued around the concerto style |
[03:01.81] | and I wished at that moment to break with it. |
[03:04.84] | You say at that moment? |
[03:05.98] | I may change, I only imply that I |
[03:08.08] | No, have you always felt that way? |
[03:09.53] | About that particular piece I have. |
[03:11.39] | I have not applied quite as extreme an analysis to other works of the same genre, |
[03:16.11] | but I have about that particular work. |
[03:19.08] | And... so I was very grateful for the chance to do this for the chance to exhibit it nationally, |
[03:23.83] | so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this, |
[03:28.21] | I' ve only write that he should get off the hook himself. |
[03:31.63] | Right. I want to come and hear you play in the 1970s see what happened. |
[03:35.73] | Great I hope you can. |
[03:36.60] | We' ve talked long time and I' ve enjoyed it very much. I hope you come again. |
[03:40.46] | I will indeed. |
[03:41.43] | Thank you, thank you Gleen Gould. |
[00:00.000] | zuò cí : Spoken Word |
[00:00.000] | zuò qǔ : Spoken Word |
[00:00.01] | There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year, |
[00:07.12] | when the... eh... when you played d minor Brahms with Leonard Bernstein. |
[00:11.04] | And there is a... eh... people were record Bernstein made a speech before the audience, |
[00:18.38] | saying that his conception and your conception collided more or less and he wanted to... |
[00:23.65] | well I wouldn' t say disassociate himself |
[00:26.93] | Now it has interested me to find a explanation, |
[00:31.63] | in what way two musicians, two artists of the caliber of you and of Mr. Bernstein |
[00:39.13] | can approach a standard symphonic work like the d minor Brahms concerto |
[00:45.57] | and have such diverse conceptions of the piece |
[00:49.29] | that Bernstein in this case felt that he had to disassociate himself from... |
[00:53.35] | I don' t know that there' s a satisfactory explanation. As far as what actually transpired last year, |
[00:58.57] | I seemed to be the only person around who felt that Mr. Bernstein' s speech was full of the best of good spirits, and great charm, |
[01:07.71] | and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started. |
[01:13.60] | I thought it was delightful. |
[01:15.62] | But there is no solution to this sense of collaboration that' s demanded by a concerto. |
[01:21.69] | Part of the concerto idea is of course the sense of noncollaboration, |
[01:25.92] | the sense of willingness of the virtuoso, so called, to show off. |
[01:32.47] | And I think it' s this, it' s the traditions that emanate out of that that prompted me to do what I did |
[01:38.98] | because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto |
[01:45.97] | except for one factor, and that was that our proportions of tempi |
[01:51.14] | and our proportions of dynamics tended to be scaled closer together than is usually the case |
[01:55.27] | There was less, if I say exaggeration, I don' t mean it critically of other people' s performances, |
[01:59.97] | but there was less exaggeration in that sense of the word, |
[02:02.71] | there was less divergence between what could be called the masculinefeminine approach of the piano concerto between first theme and second theme, |
[02:09.94] | between the barking of the orchestra and the placidity of the piano. |
[02:13.51] | It was a much more tightly welded unit, what I wanted to do. |
[02:17.84] | Now, Lenny felt that in order to preserve the antagonism of orchestra for piano |
[02:24.10] | there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi |
[02:29.66] | and I was at that time, and still am, I must say, |
[02:33.81] | in a Baroquish mood as far as even the nineteenth century concerto is concerned. |
[02:39.64] | I was trying to bring a common pulse to the movements and to hold things together in that |
[02:44.01] | if rather arbitrary, nevertheless for me very convincing way. |
[02:47.60] | And this is what happened it was simply the meeting at two points of our particular metamorphosis |
[02:56.11] | at which he was more in favor of the tradition which has accrued around the concerto style |
[03:01.81] | and I wished at that moment to break with it. |
[03:04.84] | You say at that moment? |
[03:05.98] | I may change, I only imply that I |
[03:08.08] | No, have you always felt that way? |
[03:09.53] | About that particular piece I have. |
[03:11.39] | I have not applied quite as extreme an analysis to other works of the same genre, |
[03:16.11] | but I have about that particular work. |
[03:19.08] | And... so I was very grateful for the chance to do this for the chance to exhibit it nationally, |
[03:23.83] | so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this, |
[03:28.21] | I' ve only write that he should get off the hook himself. |
[03:31.63] | Right. I want to come and hear you play in the 1970s see what happened. |
[03:35.73] | Great I hope you can. |
[03:36.60] | We' ve talked long time and I' ve enjoyed it very much. I hope you come again. |
[03:40.46] | I will indeed. |
[03:41.43] | Thank you, thank you Gleen Gould. |