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<font style="font-size: 12pt;" size="3"><b><br>Jorgen you're a marvel:</b> </font><font style="font-size: 12pt;" size="3">Let's have some fun - oh <i>where the devil</i> have my eyeglasses got to now? - ah yes, ahem,<br>hah hah on my head the whole time, silly of me really...<br>Samuel Johnson's 'A Dictionary of the English Language' (Penguin Anthology) describes 'marvel':<br><b><br>MA'RVEL.</b> n.s. [merveille, French.] A wonder, any thing astonishing. Little in use. <br></font><blockquote><div align="left"><font style="font-size: 12pt;" size="3"> <i> <br> A</i> marvel <i>it were, if a man could espy, in the whole scripture, nothing which might breed a </i></font><br><font style="font-size: 12pt;" size="3"><i> probable opinion, that divine authority was the same way inclinable.</i></font><br><font style="font-size: 12pt;" size="3"> <b> <font style="font-size: 10pt;" size="2">Hooker</font></b></font>.<br><font style="font-size: 12pt;" size="3"> <i>I am scarce in breath, my lord.</i></font><br><font style="font-size: 12pt;" size="3"><i> ------No</i> marvel, <i>you have so bestir'd your valour; you cowardly rascal!</i></font><br><font style="font-size: 12pt;" size="3"> <font style="font-size: 10pt;" size="2"><b>S</b><b>hakespeare's King Lear</b></font></font>.<br><font style="font-size: 12pt;" size="3"> <i>No</i> marvel</font><br><font style="font-size: 12pt;" size="3"> <i>My lord protector's hawks do towre so well.</i></font><br><font style="font-size: 12pt;" size="3"> <b><font style="font-size: 10pt;" size="2">Shakespeare.<br></font></b></font><div align="left"><blockquote><blockquote><blockquote><br></blockquote></blockquote></blockquote></div></div></blockquote><div align="left"><font style="font-size: 12pt;" size="3"><font style="font-size: 10pt;" size="2"><font style="font-size: 12pt;" size="3">Now what in the world could have possibly inspired me to consult Dr. Johnson? Could it be the truth(beauty) in words?</font><font style="font-size: 12pt;" size="3"><br></font><font style="font-size: 12pt;" size="3"><b><br>M&A </b>recordings <u><i>w</i></u></font><font style="font-size: 12pt;" size="3"><i><u>ere not banned </u> </i></font><font style="font-size: 12pt;" size="3">by Sony, simply subject to a 'cease and desist' letter. Shades of the infamous:</font><font style="font-size: 12pt;" size="3"><br></font><font style="font-size: 12pt;" size="3">It depends on what the definition of "is" is. Oh to be a corporate/copyright litigator-see-you-later-alligator in U.S. Chancery.<br>"It was all done in a "friendly" manner"".<br><br>Which brings us to Sony's "<u>The Secret Live Tapes</u>": has this cd been released <u>in the US</u>? I bring this up because the <br>1960 Krips/Buffalo Symphony/Gould 'Emperor' is <u>also</u> to be found on the <b>M&A</b> 'Gould In Concert' 6 cd set. I submit the <br>following exchange found on a "groups google" blog:<br><b>Quote:</b><br></font></font></font>> >It seems a Germany only Glenn Gould CD release, with the Emperor with <br> > >Krips/Buffalo, the first "official" publication of the Schoenberg PC <br> > >with Mitropoulos/NYPO and one more release pf the Bach BWV 1052 with <br> > >Mitropoulos/RCO from Salzburg. Great collection! <br> > Is Sony going to issue the Brahms 1st and Strauss Burleske with the <br> > Baltimore Symphony under Adler? This appeared on Music and Arts for <br> > about ten minutes until the Gould estate started bitchin'. Or has this <br> > been issued somewhere already? <br> <br><BR>They will dribble everything out bit by bit until there is nothing <br> else. And then start a complete reissue project. <br> <br><BR>The Gould Estate will endure. <br> <BR>TD<br><b><font style="font-size: 12pt;" size="3">Unquote. </font></b><br><br><font style="font-size: 12pt;" size="3">In response to Mr. Bazzana's </font><font style="font-size: 12pt;" size="3">comments about the GG Archives: </font><font style="font-size: 12pt;" size="3">Point taken. There is no better place (physically) for 'acetates' and old tapes </font><font style="font-size: 12pt;" size="3"><br></font><font style="font-size: 12pt;" size="3">to be stored - provided that the wild fans of yesteryear have stopped stealing things.<br><br>A query for you all: In the PBS 'extras' 'outtakes' from "Genius Within" there is a short sequence filmed at what is presumably<br>the home of Ray Roberts. I personally was amazed to see a huge array of what looked like studio tapes (Gould's?) in a bookcase<br>behind Roberts as he was pulling very personal Gould family photographs out of a cardboard box... <u>did anyone else notice this</u>?<br>WTF?? And <u>what</u> is Ray Roberts doing with Gould family photos at his house? Was it just for the cameras? What in the world?<br></font><font style="font-size: 12pt;" size="3"><br>Wherever those "basement tapes" are, I hope that the people involved begin to think about them realistically and render <br>
them to the Archives where they will be cared for by professionals. Hey CBC, what happened to Taussig's archives? Ooops.<br><br>On a contrarian note, <i>I would love</i> to read commentary from any of you who have bought into <b><u>the concert is dead</u></b> and who <br>have <b>thus <u>refused</u> </b>to listen to <b><u>any Gould live</u></b> because of it - and who <u>really believe</u> that Zenph has anything to do with Gould.<br>As Hitchens is so fond of saying: Bring it on. <br><br>Mary<br><br></font><font style="font-size: 12pt;" size="3"> </font><font style="font-size: 12pt;" size="3"><br></font><br><br><br><br> <font style="font-size: 12pt;" size="3"><font style="font-size: 10pt;" size="2"> </font><b><font style="font-size: 10pt;" size="2"> </font></b></font></div><br><br><div>> Date: Sun, 19 Jun 2011 21:44:51 +0200<br>> From: jorgen.lundmark@sundsvall.nu<br>> To: f_minor@glenngould.org<br>> Subject: [f_minor] [f-minor]: From Kevin Bazzana<br>> <br>> Hello all,<br>> <br>> Here's some elucidations and generally expert comments from Mr. Bazzana <br>> himself --<br>> <br>> I read the recent comments on F-minor, and I thought I might be able to <br>> make some helpful comments on a couple of points:<br>> <br>> = Yes, WHRA (which is based in Canada) is a “sub-label” of Music & Arts, <br>> and I also can’t find anything about it on the Music & Arts website. I <br>> think the reason is legal: M&A is based in the USA, and these Gould <br>> releases cannot legally be sold there—they rely on public-domain laws <br>> that make them legal in Canada (and almost everywhere else in the world) <br>> but not (yet) in the USA. The confusion is partly my own fault, since I <br>> constantly referred to them as “the new Music & Arts CDs”, because I <br>> have a long-standing relationship with M&A and its founder, and because <br>> that is who I was dealing with then the CDs were being put together. <br>> Anyway, fortunately the new GG CDs are being properly sold and promoted <br>> and reviewed as “WHRA” releases, and are shown on WHRA’s own website: <br>> http://whra.audiophile.ca/en/<br>> <br>> = It is not exactly correct that “the Music and Arts live recordings <br>> were banned from further distribution by Sony”. In the early 1990s, when <br>> its own GG Edition was about to be released, Sony did send a <br>> cease-and-desist letter to M&A, wanting their Gould recordings <br>> discontinued, but actually the laws in question were on M&A’s side, as <br>> both parties well knew. (It had to do with what country M&A was <br>> registered in and things like that—their Gould CDs were legal, anyway.) <br>> It was a classic case of a big corporation threatening a small company, <br>> with the small company legally in the right but (quite understandably) <br>> reluctant to expend enormous financial resources fighting the matter in <br>> court. (M&A’s founder told me at the time that there had been such a <br>> case fought between a small label and a major label in Europe, over a <br>> similar matter, and the small label had decided to fight—and won. At the <br>> time, I was told that the matter had never really been tested in this <br>> way in an American court, since it inevitably involves an unequal <br>> big-company/small-company fight.) So M&A’s GG releases were not <br>> technically banned; they were “willingly” withdrawn, under a threat that <br>> was toothless but could only be fought at prohibitive expense. It was <br>> all done in a “friendly” manner—the head of M&A and the person <br>> representing Sony were old acquaintances—but the implicit threat was there.<br>> <br>> = Incidentally, a few things in the WHRA box set did previously appear <br>> on M&A CDs (and other labels) in the 1980s/90s, including the Bach <br>> F-minor concerto and the Weber Konzerstück. But most of the items in the <br>> WHRA box are first releases. One item (Schoenberg’s Op. 11) was <br>> previously released by the CBC but appears here in a different source <br>> with much better sound quality (tape, as opposed to acetate).<br>> <br>> = Also, it is not correct that I worry about acetates and other old <br>> recorded sources in the GG archives in Ottawa—in fact, these are <br>> precisely the sources I don’t worry about, since they are in the hands <br>> of skilled, reliable archivists. Since GG’s death, however, there has <br>> been another trove of recordings—CBS outtakes, live recordings, CBC <br>> recordings, private recs. from GG’s teens and early 20s, GG conducting <br>> in Hamilton, GG playing his own compositions, etc.—that were in GG’s <br>> possession at his death but were kept back by his estate and never made <br>> part of the Ottawa archive. (I know about them because, long ago, I <br>> received a copy of a survey of these recs. made on the estate’s behalf <br>> in 1988.) These recordings (a few of which I was able to pry loose and <br>> bring to the public at the 1999 conference in Toronto and subsequently <br>> on CBC Radio) were quite literally sitting in someone’s basement for at <br>> least 25 years—and quitely likely still are, presumably deteriorating <br>> all the while. I heard a few years ago that there was (finally) a plan <br>> to make them part of the Ottawa archive, where they would (finally) be <br>> properly archives, catalogued, preserved, duplicated, etc. But I don’t <br>> know if that has actually been done, or will be. We’re talking here <br>> about, for instance, about recordings of the teenage Gould practicing, <br>> horsing around, improvising, playing 4 hands with Guerrero, and playing <br>> Debussy, Mozart, Chopin, Mendelssohn, Scarlatti, and other un-Gouldian <br>> things—and many other unique treasures. The biographical and artistic <br>> significance of such things is incalculable—and yet, as far as I know <br>> they are soon to celebrate their 30th year of captivity in someone’s <br>> basement. Unbelievable.<br>> <br>> = Finally, yes there will be a Gramophone review of the WHRA box (by Jed <br>> Distler), and I anticipate that it will get a good deal of press and <br>> sell well. I remember reading in The New Yorker a year or two ago that <br>> the boxed sets that the CBC released a while ago (The Young Maverick and <br>> The Radio Artist) sold unbelievably well, as did Sony’s State of <br>> Wonder/Serenity releases—even these were the umpteenth rereleases of <br>> familiar material. So even in a depressed classical-CD market, GG seems <br>> to sell noticeably well. I hope these new documents of his work in <br>> concert will get similar attention—they deserve it. They’re very revealing.<br>> <br>> Cheers, KB<br>> <br></div> </div></body>
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