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作词 : Spoken Word |
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作曲 : Spoken Word |
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There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year, |
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when the...eh...when you played d minor Brahms with Leonard Bernstein. |
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And there is a...eh...people were record Bernstein made a speech before the audience, |
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saying that his conception and your conception collided more or less and he wanted to... |
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well I wouldn't say disassociate himself |
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Now it has interested me to find a explanation, |
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in what way two musicians, two artists of the caliber of you and of Mr. Bernstein |
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can approach a standard symphonic work like the d minor Brahms concerto |
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and have such diverse conceptions of the piece |
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that Bernstein in this case felt that he had to disassociate himself from... |
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I don't know that there's a satisfactory explanation. As far as what actually transpired last year, |
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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, |
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and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started. |
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I thought it was delightful. |
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But there is no solution to this sense of collaboration that's demanded by a concerto. |
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Part of the concerto idea is of course the sense of non-collaboration, |
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the sense of willingness of the virtuoso, so called, to show off. |
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And I think it's this, it's the traditions that emanate out of that that prompted me to do what I did |
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because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto |
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except for one factor, and that was that our proportions of tempi |
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and our proportions of dynamics tended to be scaled closer together than is usually the case |
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There was less, if I say exaggeration, I don't mean it critically of other people's performances, |
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but there was less exaggeration in that sense of the word, |
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there was less divergence between what could be called the masculine-feminine approach of the piano concerto between first theme and second theme, （ |
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between the barking of the orchestra and the placidity of the piano. |
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It was a much more tightly welded unit, what I wanted to do. |
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Now, Lenny felt that in order to preserve the antagonism of orchestra for piano |
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there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi |
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and I was at that time, and still am, I must say, |
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in a Baroquish mood as far as even the nineteenth century concerto is concerned. |
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I was trying to bring a common pulse to the movements and to hold things together in that |
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if rather arbitrary, nevertheless for me very convincing way. |
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And this is what happened it was simply the meeting at two points of our particular metamorphosis |
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at which he was more in favor of the tradition which has accrued around the concerto style |
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and I wished at that moment to break with it. |
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You say at that moment? |
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I may change, I only imply that I |
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No, have you always felt that way? |
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About that particular piece I have. |
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I have not applied quite as extreme an analysis to other works of the same genre, |
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but I have about that particular work. |
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And... so I was very grateful for the chance to do this for the chance to exhibit it nationally, |
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so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this, |
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I've only write that he should get off the hook himself. |
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Right. I want to come and hear you play in the 1970s see what happened. |
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Great I hope you can. |
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We've talked long time and I've enjoyed it very much. I hope you come again. |
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I will indeed. |
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Thank you, thank you Gleen Gould. |
