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I'm guessing that few list-members are fans of her voice, but GG's remarks on Streisand seem less tongue-in-cheek than his comments on Petula Clark, for example. Something about the variety of her interpretations, her humour, and her capacity to produce a variety of vocal characters and colours clearly appealed to him and struck him as uniquely authentic, in their own way. I cannot agree that Gould's comments on pop culture are without value, nor that Streisand's thoughts about Gould would have been without significance. I think GG's musings on these topics, and his various forays into pop culture, are quite relevant to any understanding of his worldview and aesthetic outlook. If that worldview and aesthetic had been more tightly defined, as it is for many classical pianists, I'm not sure that we would be discussing him at all 25 years after his death.<BR>
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J.<BR>
<BR>James K. Wright, Ph.D. <BR>
<DIV>Associate Professor &</DIV>
<DIV>Supervisor of Performance Studies</DIV>
<DIV>School for Studies in Art & Culture: Music</DIV>
<DIV>A917 Loeb Building, Carleton University<BR>1125 Colonel By Drive<BR>Ottawa, Ontario, Canada K1S 5B6<BR>Email: <A href="mailto:James_Wright@carleton.ca"><FONT color=#0066cc>James_Wright@carleton.ca</FONT></A></DIV>
<DIV>Telephone : (613) 520-2600 (ext. 3734)<BR>Fax : (613) 520-3905<BR> </DIV>
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Date: Sun, 18 Jul 2010 07:33:17 -0700<BR>From: mmacelletti@sbcglobal.net<BR>To: f_minor@glenngould.org; gmadoodat@hotmail.com<BR>Subject: Re: [f_minor] Gould Meets Haydn / Streisand<BR><BR>
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<DIV>frankly, what streisand has to say about gg is of utterly no significance. and what he could have possibly seen in her voice, which is supposedly lacking in the really great singers, only God knows. </DIV>
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<B><SPAN style="FONT-WEIGHT: bold">From:</SPAN></B> James Wright <gzarlino@hotmail.com><BR><B><SPAN style="FONT-WEIGHT: bold">To:</SPAN></B> f_minor list <f_minor@glenngould.org><BR><B><SPAN style="FONT-WEIGHT: bold">Sent:</SPAN></B> Sun, July 18, 2010 7:28:25 AM<BR><B><SPAN style="FONT-WEIGHT: bold">Subject:</SPAN></B> Re: [f_minor] Gould Meets Haydn / Streisand<BR></FONT><BR>
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The question was not when and where GG wrote about Streisand (the High Fidelity piece is well known), but rather when and where Streisand commented on Gould, in response.<BR><BR>James K. Wright, Ph.D.
<DIV>Associate Professor &</DIV>
<DIV>Supervisor of Performance Studies</DIV>
<DIV>School for Studies in Art & Culture: Music</DIV>
<DIV>A917 Loeb Building, Carleton University<BR>1125 Colonel By Drive<BR>Ottawa, Ontario, Canada K1S 5B6<BR>Email: <A href="mailto:James_Wright@carleton.ca" rel=nofollow><FONT color=#0066cc>James_Wright@carleton.ca</FONT></A></DIV>
<DIV>Telephone : (613) 520-2600 (ext. 3734)<BR>Fax : (613) 520-3905<BR> </DIV>
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From: maryellenjensen28@hotmail.com<BR>To: f_minor@glenngould.org<BR>Date: Sat, 17 Jul 2010 01:47:43 +0200<BR>Subject: [f_minor] Gould Meets Haydn / Streisand<BR><BR>
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<BR><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman">Oh what a relief that someone else gives a flying ---- about Gould's Haydn. I have already begged anyone here who can get their hands on a copy of "Gould's Remarkable Haydn Series" Piano Quarterly Vol. 31 no. 121 Winter 1982-83 by Joseph Banowetz to please send me a photocopy. I'll pay postage...I'll send you a free cd of whatever you want (within reason) in return. No, that's going too far. I offer a free cd of Gerard Lesne and Ensemble Il Seminario musicale recorded at Basilique Saint-Hippolyte, Thonon-les-Bains, Haute-Savoie, France, April 1988 "Musique Sacree pour Contralto, Cordes et Basse Continue" in fair trade for a copy of the Joseph Banowetz article. You'll just have to twig the composer and the compositions. </FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"><BR></FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"><BR></FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"> People crow and crow ('cause it's facile?) that Gould rerecorded The Goldberg Variations ... well hang on "just a doggone minute" (Gouldian speak); </FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"><U>Gould revisited Haydn first </U></FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman">with his "slowhand" technique and I'm so glad that he did. What gorgeous play he has to offer; this is really a sublime Gould who feels at home with the composer. Haydn had all the moves that Gould could respect and bounce off of. It sort of drives me crazy with jealousy. I have to laugh out loud in pleasure and utter ... what is it exactly? Agreement? Amusement? Fulfillment.</FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"><BR><BR> </FONT><SPAN><A href="http://www.youtube.com/watch?v=hfu5VDjRKmA&NR=1">http://www.youtube.com/watch?v=hfu5VDjRKmA&NR=1</A></SPAN><BR><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"><BR></FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"> <B>As for what Gould had in mind for "Barbra", he laid his cards on the table: from <U>High Fidelity Magazine May 1976 "Streisand As Schwarzkopf" by Glenn Gould:</U></B></FONT><FONT face="Times New Roman"><BR></FONT><FONT face="Times New Roman"><BR></FONT><FONT face="Times New Roman"> </FONT><FONT style="FONT-SIZE: 10pt" size=2 face=Verdana><SPAN><A href="http://barbra-archives.com/bjs_library/70s/high_fidelity_1976.html">http://barbra-archives.com/bjs_library/70s/high_fidelity_1976.html</A></SPAN></FONT><FONT face="Times New Roman"><BR></FONT><FONT face="Times New Roman"><BR></FONT><B><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman">This is <U>the second time</U> I have submitted the Gould-Streisand article to F Minor.</FONT></B><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"><BR></FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman"><BR></FONT><FONT style="FONT-SIZE: 16pt" size=4 face="Times New Roman">Mary Jensen</FONT> <FONT style="FONT-SIZE: 16pt" size=4><BR></FONT><BR> <BR><BR>
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