[ad_1]
As he idealized the North and reflected on loneliness, in 1964 Gould was left behind. But if you don’t count phones, photos, recorded sounds, recorded videos, and fast distribution networks it was hidden. In his two electronic decades, Gould managed to be anywhere and everywhere. Although often kidnapped, he proliferated tens of millions of television, movie theaters, car radios, and eventually outdoor space when he made an astonishing performance of Bach in 1977. Well tempered key It came out of the Earth’s atmosphere in the phonographic time capsule of the Voyager spacecraft. Gould weird extraterrestrials may be the best, those with the right rotating disk or at least those who work ESP.
Gould had a sweet tooth for some pop music, including Petula Clark; He called Barbra Streisand’s voice an “instrument of infinite diversity and a brain resource”. And even though he had the perfect tone, he was fascinated by unusual speaking voices, key or not. He invented a documentary film known as the Counterpoint, as a tribute (perhaps) to Bach, where oral effects overlap with strange effects. The most suggestive example is Gould’s film about the harsh Canadian tundra. The idea of the North, Which is easily ranked among the most cutting-edge rates on YouTube.
Although he murmured compulsively while playing, avoided shaking hands for fear of illness, developed an addiction to prescription pills, and dressed for a winter storm regardless of the weather, Gould managed to keep flashing electric eccentricity without ever getting into monotony. of madness. This delicate psychic balance is evident in the erudite stems that he delivered directly to the camera. It is included in his experimental acoustic collage and in the numerous radio shows he recorded. Gould spoke for hours to friends and unwanted acquaintances on landlines and cell phones, while sometimes dispelling the theories of everything that put his friends to sleep, a single-man soundscape whose speech cadences were as rare as his piano playing. “He has never given a supreme pianist his heart and head so completely while he shows so little of himself,” said Goulden’s dear friend, violinist Yehudi Menuhin.
Gould became what could now be known as a pandemic musician. Tim Page, a music critic and a close confidant of Gould, was asked last year what his friends could do with his life in quarantine. “Glenn loved the Internet,” Page replied. “He was germophobic and didn’t like much physical contact. But he would like things like Skype and Facebook [so he could] still enjoy hanging out with friends. “In fact, Gould was at his best far away– Baroque chamber and far from the modern stage, it allowed to send a signal to another person, lonely, like himself, for fear of touch, inspired by the same Canadian media that inspired the media philosopher Marshall McLuhan. Goulden’s frequent interlocutor.
[ad_2]
Source link
