A simple fugue has only one subject, and does not utilize invertible counterpoint. Similarly, a triple fugue has three subjects. In other words, the subject and countersubjects must be capable of being played both above and below all the other themes without creating any unacceptable dissonances. During the course of a permutation fugue, it is quite uncommon, actually, for every single possible voice-combination or "permutation" of the themes to be heard.
His childhood home has been named a historic site by the City of Toronto. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development.
Before his birth, his mother planned for him to become a successful musician, and thus exposed him to music during her pregnancy. He learned to read music before he could read words.
He would play his own little pieces for family, friends, and sometimes large gatherings, including, ina performance at the Emmanuel Presbyterian Church a few blocks from the Gould house of one of his own compositions. This left a tremendous impression.
He later described the experience: It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind.
They were all orchestral sounds, but I was playing them all, and suddenly I was Hofmann. Guerrero demonstrates his technical idea that Gould should pull down at keys instead of striking them from above. As a young child, Gould was taught piano by his mother. He studied music theory with Leo Smiththe organ with Frederick C.
Silvesterand piano with Alberto Guerrero.
Gould's mother would urge the young Gould to sit up straight at the keyboard. The chair allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of Ravel 's La valse and Liszt 's transcriptions of Beethoven's Fifth and Sixth Symphonies.
Gould worked from a young age with Guerrero on a technique known as finger-tapping: His manual practicing focused on articulation, rather than basic facility. He may have spoken ironically about his practicing as there is evidence that, on occasion, he did practice quite hard, sometimes using his own drills and techniques.
It tends to have a mechanism which is rather like an automobile without power steering: This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things.
Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric. He was a child prodigy  and in adulthood described as a musical phenomenon.
For Gould, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozartfor example, became increasingly susceptible later in his career. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.
He argued that public performance devolved into a sort of competition, with a non-empathetic audience musically and otherwise mostly attendant to the possibility of the performer erring or not meeting critical expectation.
For pianists such as Van Cliburnconcerts would have amounted to about two years' touring. He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices.
Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work.
For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting. Eccentricities[ edit ] A replica of Gould's piano chair Gould was widely known for his unusual habits. He usually hummed or sang while he played the piano, and his recording engineers had mixed results in how successfully they could exclude his voice from recordings.
Gould claimed that his singing was unconscious and increased in proportion if the piano he was playing could not produce his intended interpretation. It is likely that this habit originated in Gould's having been taught by his mother to "sing everything that he played", as Kevin Bazzana puts it.Glenn Herbert Gould and So You Want to Write a Fugue?
(SATB with piano or string quartet accompaniment). His String Quartet Op. 1 had a mixed reception from critics.
One of Gould's performances of the Prelude and Fugue in C major from Book II of The Well-Tempered Clavier was chosen for inclusion on the NASA Voyager Golden. In a interview, Glenn Gould said. I’m an addict of any crossword puzzle-like musical situation, because it’s fun to see what goes where.
It’s fun to write in the style of the 14th.
Glenn Herbert Gould (/ ɡ uː l d /; 25 September – 4 October ) was a Canadian pianist who became one of the best-known and celebrated classical pianists of the 20th century. He was renowned as an interpreter of the keyboard works of Johann Sebastian timberdesignmag.com playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach's music.
This is a magnificent collection of Gould's work. The boxed set is the in itself superb - a cloth covered, very sturdy box with all the CDs and DVDs well numbered and marked for easy retrieval.
Glenn Herbert Gould (Toronto, 25 september – aldaar, 4 oktober ) was een Canadees pianist die onder andere faam verwierf door zijn Bachvertolkingen.
A fugue begins with the exposition of its subject in one of the voices alone in the tonic key. After the statement of the subject, a second voice enters and states the subject with the subject transposed to another key (usually the dominant or subdominant), which is known as the answer.
To make the music run smoothly, it may also have to be altered slightly.