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contradictions. It approaches the perfunctory conventions of the classical sonata structure and its inherent and largely stereotyped plan with a naiveté which accepts the masculine–feminine contrast of theme as an end in itself. Alternatively, one can read the future into Brahms. One can see it as
Schoenberg would have seen it: a sophisticated interweaving of a fundamental motivic strand; one can read into it the analytical standpoints of our own day.
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that because of the sportsmanship element in music I would like to go along with your tempo and try it." It wasn't to be a disclaimer; I was very much interested in the results—particularly the audience reaction to it. I wrote down a couple of notes on the back of an envelope and showed them to Glenn: "Is this okay?" And he said, "Oh, it's wonderful, what a great idea."
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the chance for a new look at this much-played work. Because, what's more, there are moments in Mr. Gould's performance that emerge with astonishing freshness and conviction. Thirdly, because we can all learn something from this extraordinary artist, who is a thinking performer, and finally because there is in music what
231:, runs to 54 minutes (although the first movement, at 24:32 vs. 25:37, and third movement, at 13:00 vs. 13:34, are considerably shorter), and other recordings are of comparable length. Gould, for his part, is said to have thoroughly enjoyed the proceedings, especially the fact that he had provoked some
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But the age-old question still remains: "In a concerto, who is the boss; the soloist or the conductor?" The answer is, of course, sometimes one, sometimes the other, depending on the people involved. But almost always, the two manage to get together by persuasion or charm or even threats to achieve
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Don't be frightened. Mr. Gould is here. He will appear in a moment. I'm not, um, as you know, in the habit of speaking on any concert except the
Thursday night previews, but a curious situation has arisen, which merits, I think, a word or two. You are about to hear a rather, shall we say, unorthodox
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But, but this time the discrepancies between our views are so great that I feel I must make this small disclaimer. Then why, to repeat the question, am I conducting it? Why do I not make a minor scandal – get a substitute soloist, or let an assistant conduct it? Because I am fascinated, glad to have
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had planned to release a recording of the concerto, as part of its agreement with the
Philharmonic and with Bernstein. Both he and Gould were on contract to the company; it had further been expected that he would record most of the orchestra's concert repertory for distribution. Nevertheless, after
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from the audience; he held that some controversy was better than quiet complacence with the performance. He also allowed some leeway; before the Sunday afternoon concert, at
Bernstein's request, he allowed the conductor more freedom with the orchestra, and as a consequence the speech was not given.
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Given the unusual nature of Gould's conception of the piece, Bernstein determined that he would make a few remarks from the podium to better prepare the audience for the performance to come. He did this at the
Thursday concert, widely seen as a "preview" of the rest of the run, to which critics did
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of the orchestra, standing by backstage to see if he would be needed for the symphony. Only when the concerto, for which he was not required, actually began did he leave the hall. In the event, Gould did perform, choosing to work from the orchestral score, which had been affixed to large pieces of
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So I said to Glenn backstage, "You know, I have to talk to the people. How would it be if I warned them that it was going to be very slow, and prepare them for it? Because if they don't know, they really might leave. I'll just tell them that there is a disagreement about the tempi between us, but
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Gould was averse to the "drama" that he found inseparable from the
Romantic concerto tradition, in which he viewed the soloist as in competition with the orchestra. He wanted to subordinate and thereby "integrate" the soloist's role. He said that there were two ways to perform a concerto like the
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Gould's performance, too, came in for a great deal of criticism. Clocking in at just over 53 minutes long, it was seen at the time to be far too slow. Gould was also criticized for taking excessive liberties with score markings. More recent research has, to a point, validated Gould's ideas, with
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I cannot say I am in total agreement with Mr. Gould's conception and this raises the interesting question: "What am I doing conducting it?" I'm conducting it because Mr. Gould is so valid and serious an artist that I must take seriously anything he conceives in good faith and his conception is
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One can stress its drama, its contrasts, its angularities, and can treat the opposition of thematic tonal relations as a coalition of inequalities. This is the fashionable way to interpret romantic music these days. This way reads into it a plot full of surprises, a moral position full of
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He finished with a swipe at Gould's technique. Reviews were also printed in most New York City newspapers, and in some others around the world. In a later writing, Bernstein maintained that his comments were an explanation, not a disclaimer, and that he had pre-approval from
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prior to the concerto. Before Gould performed, Bernstein disassociated himself from the interpretation that was to come, describing it as "unorthodox" and departing from Brahms' original tempi. Gould, for his part, claimed publicly to be in favor of
Bernstein's remarks.
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used to call "the sportive element", that factor of curiosity, adventure, experiment, and I can assure you that it has been an adventure this week collaborating with Mr. Gould on this Brahms concerto and it's in this spirit of adventure that we now present it to you
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You know what, Ossip? I think that even though the conductor made this big disclaimer, he should not be allowed to wiggle off the hook that easy. I mean, who engaged the Gould boy in the first place? Who is the musical director? Somebody has to be
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performance of the Brahms D Minor
Concerto, a performance distinctly different from any I've ever heard, or even dreamt of for that matter, in its remarkably broad tempi and its frequent departures from Brahms' dynamic indications.
126:. This went smoothly, but the second half of the concert was less sure. Even Gould's performance was not guaranteed, as he regularly canceled at the last minute. Consequently, the orchestra was ready with another work of Brahms, his
68:– and was not expected to cause any great stir. But several days before beginning rehearsals, Gould called Bernstein regarding some discoveries he had made while studying the score. The conductor was curious, later writing:
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Any discovery of Glenn's was welcomed by me because I worshiped the way he played: I admired his intellectual approach, his "guts" approach, his complete dedication to whatever he was doing.
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Nevertheless, the novelty of Gould's ideas needed to be shared carefully with the orchestra, and later with the public. The issue at hand was that Gould chose to take three very slow
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in playing the three movements. Bernstein, in urging the musicians not to give up, referred to Gould as a "great man" and held that his ideas should be taken seriously.
451:"Laughter" parentheticals and paragraph breaks incorporated from the transcription in Mesaros (2008), p. 251, in which details of wording are less accurate.
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I have only once before in my life had to submit to a soloist's wholly new and incompatible concept and that was the last time I accompanied Mr. Gould .
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The performance is still regularly referred to by critics and features in retrospectives of Gould's career. Gould, speaking in 1982, was unrepentant:
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Soloists and conductors disagree all the time. Why should this be hidden from the public, especially if both parties still give their all?
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202:) in which he decried numerous aspects of the performance, specifically the conductor's seeming attempt to throw blame onto the soloist:
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And this, essentially, is what I have done. I have valued this structure for its similarities; I have chosen to minimize its contrasts.
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Bernstein's remarks occasioned much comment from nearly all the critics present. Some viewed his idea favorably, others less so.
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Gould's chosen tempo being similar to previous performances of the piece. Bernstein's later recording of the concerto, with
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Other recordings exist of Gould playing the same concerto at a more conventional tempo, one with the
Canadian conductor
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198:. Schonberg cast his review in the form of a letter to his friend "Ossip" (believed by some to be a version of pianist
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The concert was planned as a regular subscription concert towards the end of the orchestra's 71st season – its last at
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pressings of the broadcast circulated for some years. As a result, it was decided to release the performance on
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not come; however, he repeated his speech at the Friday concert, which was usually the one chosen for review.
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Glenn Gould, Leonard
Bernstein, New York Philharmonic – Brahms Piano Concerto No. 1, Sony Classical 1998
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Bernstein's "Don't be frightened, Mr. Gould is here" refers to Gould's tendency to cancel performances.
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all turned to the audience, and in unison disassociated themselves with the piece itself.
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Glenn Gould: The Performer in the Work: A Study in Performance Practice
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Songfest: A Cycle of American Poems for Six Singers and Orchestra
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Bernstein's spoke for more than three minutes from the podium:
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Glenn Gould plays Brahms Piano Concerto No. 1 in D minor (1-2)
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Concert Hall Curveballs: Bernstein and Gould : NPR Music
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Bravo fortissimo Glenn Gould: the mind of a Canadian virtuoso
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the controversy over Gould's performance, it was decided (by
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A 2020 Swiss radio documentary re-enacted the controversy.
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interesting enough so that I feel you should hear it, too.
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part of the concert program consisted of two works by
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became famous because of Bernstein's remarks from the
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427:John Canarina, in liner notes to the Sony release
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508:. American Literary Press. p. 270.
402:. Oxford: Clarendon Press. p. 125.
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1464:Young People's Concerts
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449:on October 31, 2000.
443:F minor mailing list
330:The American Scholar
33:First Piano Concerto
883:One Hand, One Heart
862:Gee, Officer Krupke
592:. October 10, 1962.
436:Transcription from
222:Gould's performance
200:Ossip Gabrilowitsch
190:Harold C. Schonberg
184:Bernstein's remarks
168:Dimitri Mitropoulos
39:, conducted by its
1335:(incidental music)
1324:Other compositions
1193:(song cycle, 1947)
1185:(song cycle, 1943)
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890:Something's Coming
792:New York, New York
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1624:Glenn Gould Prize
1551:(1956 & 1982)
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716:Leonard Bernstein
589:The Baltimore Sun
515:978-1-56167-985-0
326:"Who's the Boss?"
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1177:(art song, 1935)
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1258:(1942—1988)
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1182:I Hate Music
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1158:Missa Brevis
1152:Olympic Hymn
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107:Carl Nielsen
103:intermission
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1714:Glenn Gould
1604:(1967–1977)
1575:Other works
1542:Discography
1528:Glenn Gould
1472:(2023 film)
1388:(2021 film)
1380:(1961 film)
1372:(1949 film)
1370:On the Town
1297:Four Sabras
1223:Piano music
1136:Hashkiveinu
1117:Dance Suite
1062:Concertante
799:Lonely Town
784:On the Town
179:Controversy
97:The concert
29:Glenn Gould
1698:Categories
1300:(ca. 1950)
1263:Seven Ann.
1104:Piano Trio
962:Fancy Free
546:January 2,
541:Gramophone
409:0198166567
370:Quoted by
336:January 2,
312:References
60:Background
1282:(1949–51)
1279:Five Ann.
1271:Four Ann.
1266:(1942–43)
1198:So Pretty
1175:Psalm 148
1025:CBS Music
897:Somewhere
808:Peter Pan
240:Recording
119:Maskarade
1678:Tim Page
1596:" (1963)
1488:Category
1333:The Lark
1215:" (1988)
1200:" (1968)
1154:" (1981)
1014:) (1963)
994:) (1942)
992:Jeremiah
776:Musicals
573:and the
521:July 18,
487:April 4,
354:Tim Page
111:overture
101:The pre-
84:Brahms:
1612:Related
1470:Maestro
1313:Touches
1012:Kaddish
903:Tonight
848:America
836:(1957)
819:(1953)
787:(1944)
757:Candide
680:YouTube
669:Discogs
567:YouTube
254:bootleg
113:to his
49:concert
31:of the
1646:(1998)
1638:(1993)
1567:(1982)
1559:(1973)
1535:Albums
1354:(1986)
1346:(1971)
1338:(1955)
1316:(1980)
1308:(1960)
1290:(1988)
1274:(1948)
1250:(1938)
1242:(1938)
1234:(1937)
1208:(1977)
1160:(1988)
1147:(1965)
1139:(1945)
1128:Choral
1120:(1989)
1112:(1942)
1106:(1937)
1089:(1981)
1081:(1954)
1073:(1948)
1044:(1980)
1036:(1977)
1028:(1976)
1020:(1961)
973:(1974)
970:Dybbuk
965:(1944)
954:Ballet
938:(1976)
930:(1968)
811:(1950)
768:(1983)
760:(1956)
752:(1951)
732:Awards
512:
406:
388:Chapin
275:Legacy
233:booing
212:Gould.
109:, the
53:podium
47:, the
1397:Books
1168:Vocal
1086:Ḥalil
876:Maria
291:, in
115:opera
78:tempi
1343:Mass
855:Cool
824:Ohio
548:2023
523:2012
510:ISBN
489:2022
404:ISBN
338:2023
136:oboe
19:The
678:on
667:at
565:on
35:of
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