КЛАВИРНЫЕ ПРОИЗВЕДЕНИЯ ГЕНДЕЛЯ

[SN]

Вчера переслушал этот диск Гульда. Действительно забавно, хотя к Генделю, конечно, отношение имеет весьма отдаленное. Прислушался - в нескольких местах, где мне мерещилась чечетка, все-таки тоже стучит механика инструмента, терзаемого Гульдом . Он (клавесин) на протяжении всей записи постукивает.
Ниже привожу текст из буклета - вдруг кому-то интересно будет.

"I'LL PRETEND THAT I'M NOT PLAYING THE HARPSICHORD AT ALL"

When Gould's harpsichord recording of Handel's first four Suites was issued in August 1972, some critics spoke of an accident, little did they know how close they were to the mark - albeit not in the way they intended.
After much toing and froing "Columbia" had persuaded Gould in late 1971 to record two solo concertos with the Cleveland Orchestra under Karel Ancerl Beethoven's opus 19 (to replace Bernstein's old mono recording in the catalogue) and - believe it or not - the A minor Concerto by Edvard Grieg. Not only the technical equipment, but also Gould's legendary Steinway concert grand CD 318 had already been transported to Severance Hall in Cleveland where the concertos were to be recorded, when the star of the whole enterprise cancelled at short notice. Whether Gould really had a cold or merely cold feet is neither here nor there, the piano had to be returned to Eaton's Auditorium in Toronto, where the Handel recordings were scheduled for early 1972. Then Gould and Kazdin discovered to their horror that the instrument had been so badly damaged during the return journey - nobody knew exactly where or how or through whose fault - that it could not be used for recording in its present condition. It was this accident which gave Gould the idea that he might record Handel's four Suites on the harpsichord.
Basically the idea was not all that farfetched. Way back in January 1962 Gould had prepared a concert grand with steel pins for a Bach programme in the "Sunday Music Series" on Canadian television, making it into a "harpsipiano", on this "neurotic piano that thinks it's a harpsichord" he played the fourth counterpoint of Bach's Art of Fugue, the continue part of the Cantata Widerstehe doch der Sunde (Resist Sin) and the solo part in the fifth Brandenburg Concerto (Glenn Gould Collection SLV 48407/SHV 4840. For a time he seems even to have toyed with the idea of recording the Well-Tempered Clavier (for which the first sessions were also held in early 1962) on the "harpsipiano".
The fact that Gould's pointillistic non-legato playing was in many respects closer to the harpsichord than to the piano is proved by the "major surgery" to which he submitted his CD 318 in September 1963 prior to recording Bach's Inventions and Sinfonias (SMK 52596), "in accordance with my sober conviction that no piano need feel duty-bound to always sound like a piano […] to try to design an instrument for baroque repertoire which can add to the undeniable resource of the modern piano something of the clarity and tactile felicity of the harpsichord".
In spite of this stated affinity there is only a single piece of evidence, prior to the Handel production, which shows Gould to be a harpsichordist, namely the two Preludes and Fugues, No 9 in E major, BWV 878 and No 14 in F-sharp minor, BWV 883, from Part Two of the Well-Tempered Clavier (published here on CD for the first time) which Gould played in the course of his television feature "The Well-Tempered Listener", a studio discussion with Curtis Davis transmitted by the Canadian Broadcasting Corporation on February 18, 1970.
The notion of recording the first four Handel Suites on the harpsichord was, as has already been remarked, not all that farfetched. However, as Gould later explained to Jonathan Cott, "I don't own a harpsichord and never have, and there's only one harpsichord in the world that I can play, and that's one that many pro-harpsichordists turn up their noses at - the Wittmayer - simply because its tactilia, and particularly the width of its keyboard, is as close to the piano as one can get I love it, however. The particular Wittmayer that I used was owned by a choirmaster here in Toronto who just had it for his own amusement It's the equivalent of a baby grand, a five- or six-foot instrument, and it lacks certain amenities such as a lute on the four-foot, which I would dearly like to have and which any self-respecting harpsichord offers. Anyway, the registrations for that record were worked out movement by movement as the session progressed I did exactly the same thing with the organ record (from Bach's Art of Fugue) [ ]
On the harpsichord, it's very easy to achieve the sort of secco, pointillistic, detache line that I've always tried to produce on the piano with varying degrees of success. On the other hand, having achieved it, you can't influence it dynamically and you're left, so to speak, beholden to the generosity of the ear which is sometimes prepared to read dynamic implications into rhythmic alterations. But this introduces another set of problems, because, on the harpsichord, you have a choice between rhythmic inexorability and its converse, which is infinite rubato, a kind of sound-world which really never comes to rest on any bar-line I was determined to try and find a way around that problem And I thought, well, the best solution would be to pretend that I'm not playing the harpsichord at all."
The Handel project seems to have come comparatively quickly to fruition, on December 21, 1971 -three months before the beginning of the recording sessions - Gould suggested to Ronald Wilford, the manager of "Columbia", that in addition to completing Bach's French and English Suites, "we could also, perhaps, devote an additional set of discs to the complete Handel suites There are sixteen of these, more or less, and four discs would seem like a reasonable guess, at this juncture". In the event, only the first quarter of this edition (which had been planned for the piano) was realized, I probably on account of the reticence, if not disapproval, with which the critics received the harpsichord disc. Although Gould himself never expressly stated whether he was satisfied with the result of the experiment, he did comment on it on January 28, 1973 in a very long letter to his old friend John Peter Lee Roberts, which he signed "G Herbert Gould", a veritable "tour de force" of his peculiar sense of humour "Permit me to introduce myself I am a young harpsichordist and, as proof of my modest ability, enclosed a critique of my disc debut. You may well ask, dear sir, how I, an unknown, was selected for the signal honour of a CBS recording. The reason, though I shall endeavour to spare you the more tiresome fiscal details, relates, alas, not to my artistry - if I may so term it - but to my citizenship. Although a long-time resident of Canada, I am officially "registered" - to borrow maritime jargon - as an Andorran, and the unusual circumstances surrounding my harpsichord debut were brought about through the intercession of my great-aunt, Elspeth-Yvonne who, for many decades, as you perhaps know, has been an intimate of His Serene Highness, the Grand Duke Willibald Christoph. Due to a balance-of-trade deficit incurred when the U.S. Central Intelligence Agency refused re-imbursement for some 120 Andorran passports […] on the unlikely pretense that the essential, if invalid, data contained therein was obscured by goat-milk stains […]. "
Well, Gould's great-aunt Elspeth-Yvonne may rely on our gratitude, since, without her, the one and only harpsichord recording by the Andorran-Canadian would never have seen the light of day, because "my abilities on the harpsichord have gone entirely untapped by the moguls of the Canadian Broadcasting Corporation".

Michael Stegemann (Translation © 1993 Gery Bramall)

[deitch]

Спасибо. Очень интересно.

[анатолий александрович]

Дорогой Дмитрий! В "левом" варианте этот диск выходил. Поищите на //cd.tomsk.ru , введя в графу Поиск Gould или Гульд

[Demetrius]

Дорогой Дмитрий! В "левом" варианте этот диск выходил. Поищите на //cd.tomsk.ru , введя в графу Поиск Gould или Гульд

на сайте написано - Вы можете заказать DVD, CD, Видео
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Между Омском и Томском - день пути на паровозе.....

Но все равно спасибо за информацию, буду искать уже здесь