[f_minor] New transcription edition of 1981 Goldberg
ksenia
kkicons at gmail.com
Wed Dec 2 17:03:18 MST 2015
Thanks, Kevin, that is very interesting to see them come out with a score
like that. I hope it will generate enough interest that the publishers will
make similar scores for his other work. The WTC is one that would benefit
me, especially, but just for reading along with the music, it would be
fascinating to own a set of these. GG said and wrote many times that the
best way to learn music is through studying scores, so these would benefit
any GG fan, not just the musicians.---Ksenia
On Wed, Dec 2, 2015 at 1:00 PM, <f_minor-request at glenngould.org> wrote:
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> 1. Re: New transcription edition of 1981 Goldberg (Kevin Bazzana)
> 2. Re: New transcription edition of 1981 Goldberg
> (bstagno at optonline.net)
> 3. Re: New transcription edition of 1981 Goldberg (J?rgen Lundmark)
> 4. Re: New transcription edition of 1981 Goldberg (Kevin Bazzana)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 1 Dec 2015 17:04:16 -0800
> From: "Kevin Bazzana" <kevinbazzana at shaw.ca>
> To: <f_minor at glenngould.org>
> Subject: Re: [f_minor] New transcription edition of 1981 Goldberg
> Message-ID: <22CC855586CD4DBEBEF807E2015ED8D3 at Desktop>
> Content-Type: text/plain; charset="us-ascii"
>
> A unique and very interesting publication was recently announced
> on the Glenn Gould Foundation's website (www.glenngould.ca): Glenn Gould's
> Goldberg Variations: A Transcription of the 1981 Recording of The Goldberg
> Variations by Johann Sebastian Bach, transcribed and edited by Nicholas
> Hopkins and just published by Carl Fischer, in New York. (Hopkins is the
> company's managing editor.) I recently received a copy, and thought a brief
> report on it might be appreciated here.
>
> The publication, which runs to 155 pages, is just what the title
> says: A notated transcription of Gould's 1981 Goldberg interpretation,
> based
> on both his recording and the Monsaingeon film. The edition comprises, on
> facing pages, Bach's original score and Gould's interpretation thereof.
> Every pertinent aspect of his performance is indicated, in amazing detail:
> tempos and rhythmic nuances, dynamics, articulation and phrasing,
> ornamentation, fingering and hand-crossing, pedaling, contrapuntal
> relationships, repeats.
>
> The 47-page introduction discusses the Goldberg Variations itself and
> Gould's relationship with it, and includes comments on every aspect of his
> 1981 interpretation, with particular attention given to his unifying scheme
> of proportional tempos (Hopkins has a lot that is new and interesting to
> say
> about this). There are further, detailed notes on each variation.
>
> The result is a kind of "study guide" to Gould's 1981 Goldberg.
>
> Moreover, Hopkins's printing of Bach's original score, on the verso side of
> each page, itself amounts to an excellent, reliable Urtext edition of the
> piece, based on close study of Bach's original publication and his later
> corrected copy thereof.
>
> This new publication is supposed to be available through the Carl Fischer
> website and Amazon, and presumably all the other usual outlets for sheet
> music and music books. Kevin Bazzana
>
>
>
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> ------------------------------
>
> Message: 2
> Date: Wed, 02 Dec 2015 03:32:40 +0000 (GMT)
> From: bstagno at optonline.net
> To: "Discussion of the Canadian pianist Glenn Gould."
> <f_minor at glenngould.org>
> Subject: Re: [f_minor] New transcription edition of 1981 Goldberg
> Message-ID: <e7ccbda6c6b5.565e6658 at optonline.net>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Thanks for sharing this information.?
> Am I correct in remembering that Gould claimed somewhere (perhaps your
> book?) that he did not put fingering in his sheet music? Maybe that was
> just a phase. In any case, he was always a man of contradictions.
>
> Barbara Stagno
>
> ----- Original Message -----
> From: Kevin Bazzana
> Date: Tuesday, December 1, 2015 9:23 pm
> Subject: Re: [f_minor] New transcription edition of 1981 Goldberg
> To: f_minor at glenngould.org
>
> > A unique and very interesting publication was
> > recently announced
> > on the Glenn Gould Foundation's website (www.glenngould.ca):
> > Glenn Gould's
> > Goldberg Variations: A Transcription of the 1981 Recording of
> > The Goldberg
> > Variations by Johann Sebastian Bach, transcribed and edited by
> > NicholasHopkins and just published by Carl Fischer, in New York.
> > (Hopkins is the
> > company's managing editor.) I recently received a copy, and
> > thought a brief
> > report on it might be appreciated here.
> >
> > The publication, which runs to 155 pages, is just
> > what the title
> > says: A notated transcription of Gould's 1981 Goldberg
> > interpretation, based
> > on both his recording and the Monsaingeon film. The edition
> > comprises, on
> > facing pages, Bach's original score and Gould's interpretation
> > thereof.Every pertinent aspect of his performance is indicated,
> > in amazing detail:
> > tempos and rhythmic nuances, dynamics, articulation and phrasing,
> > ornamentation, fingering and hand-crossing, pedaling, contrapuntal
> > relationships, repeats.
> >
> > The 47-page introduction discusses the Goldberg Variations
> > itself and
> > Gould's relationship with it, and includes comments on every
> > aspect of his
> > 1981 interpretation, with particular attention given to his
> > unifying scheme
> > of proportional tempos (Hopkins has a lot that is new and
> > interesting to say
> > about this). There are further, detailed notes on each variation.
> >
> > The result is a kind of "study guide" to Gould's 1981 Goldberg.
> >
> > Moreover, Hopkins's printing of Bach's original score, on the
> > verso side of
> > each page, itself amounts to an excellent, reliable Urtext
> > edition of the
> > piece, based on close study of Bach's original publication and
> > his later
> > corrected copy thereof.
> >
> > This new publication is supposed to be available through the
> > Carl Fischer
> > website and Amazon, and presumably all the other usual outlets
> > for sheet
> > music and music books. Kevin Bazzana
> >
> >
> >
> >
> -------------- next part --------------
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>
> ------------------------------
>
> Message: 3
> Date: Wed, 2 Dec 2015 04:46:06 +0100
> From: J?rgen Lundmark <jorgen.lundmark at mypost.se>
> To: "Discussion of the Canadian pianist Glenn Gould."
> <f_minor at glenngould.org>
> Subject: Re: [f_minor] New transcription edition of 1981 Goldberg
> Message-ID: <565E697E.8070801 at mypost.se>
> Content-Type: text/plain; charset="windows-1252"; Format="flowed"
>
> Fantastic news indeed! The essay itself will be worth the price of the
> publication.
>
> Regards,
> Jorgen
> >
> > A unique and very interesting publication was recently
> > announced on the Glenn Gould Foundation?s website (www.glenngould.ca):
> > /Glenn Gould?s Goldberg Variations: A Transcription of the 1981
> > Recording of The Goldberg Variations by Johann Sebastian Bach/,
> > transcribed and edited by Nicholas Hopkins and just published by Carl
> > Fischer, in New York. (Hopkins is the company?s managing editor.) I
> > recently received a copy, and thought a brief report on it might be
> > appreciated here.
> >
> > The publication, which runs to 155 pages, is just what the
> > title says: A notated transcription of Gould?s 1981 Goldberg
> > interpretation, based on both his recording and the Monsaingeon film.
> > The edition comprises, on facing pages, Bach?s original score and
> > Gould?s interpretation thereof. Every pertinent aspect of his
> > performance is indicated, in amazing detail: tempos and rhythmic
> > nuances, dynamics, articulation and phrasing, ornamentation, fingering
> > and hand-crossing, pedaling, contrapuntal relationships, repeats.
> >
> > The 47-page introduction discusses the Goldberg Variations itself and
> > Gould?s relationship with it, and includes comments on every aspect of
> > his 1981 interpretation, with particular attention given to his
> > unifying scheme of proportional tempos (Hopkins has a lot that is new
> > and interesting to say about this). There are further, detailed notes
> > on each variation.
> >
> > The result is a kind of ?study guide? to Gould?s 1981 Goldberg.
> >
> > Moreover, Hopkins?s printing of Bach?s original score, on the verso
> > side of each page, itself amounts to an excellent, reliable Urtext
> > edition of the piece, based on close study of Bach?s original
> > publication and his later corrected copy thereof.
> >
> > This new publication is supposed to be available through the Carl
> > Fischer website and Amazon, and presumably all the other usual outlets
> > for sheet music and music books. Kevin Bazzana
> >
> >
>
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> ------------------------------
>
> Message: 4
> Date: Wed, 2 Dec 2015 10:17:17 -0800
> From: "Kevin Bazzana" <kevinbazzana at shaw.ca>
> To: <f_minor at glenngould.org>
> Subject: Re: [f_minor] New transcription edition of 1981 Goldberg
> Message-ID: <AA06857B268F473E998D55116CD4A711 at Desktop>
> Content-Type: text/plain; charset="us-ascii"
>
> A clarification, in response to Barbara Stagno's question: It is
> correct that Gould's surviving scores are almost devoid of fingering; this
> was apparently a matter he left largely to intuition. The fingerings in
> Nicholas Hopkins's new Goldberg edition do not derive from Gould's scores
> (which Hopkins studied) but from Monsaingeon's film; they record the
> fingerings Gould used in that film, to the extent that they can be
> determined. (Of course, in the film, his hands are not always visible, so
> fingerings appear only sporadically in Hopkins's edition.) Anyway, there is
> no evidence that Gould planned his fingerings in advance for the 1981
> Goldberg interpretation, and this is consistent with his lifelong practice.
> Kevin Bazzana
>
>
>
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> End of f_minor Digest, Vol 65, Issue 1
> **************************************
>
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