Excerpt of intermission radio interview with Glenn Gould Lyrics

Song	Excerpt of intermission radio interview with Glenn Gould
Artist	Glenn Gould
Album	Glenn Gould, Leonard Bernstein -Brahms Piano Concerto No 1
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[00:00.000]	作词 : Spoken Word
[00:00.000]	作曲 : Spoken Word
[00:00.01]	There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year,
[00:07.12]	when the...eh...when you played d minor Brahms with Leonard Bernstein.
[00:11.04]	And there is a...eh...people were record Bernstein made a speech before the audience,
[00:18.38]	saying that his conception and your conception collided more or less and he wanted to...
[00:23.65]	well I wouldn't say disassociate himself
[00:26.93]	Now it has interested me to find a explanation,
[00:31.63]	in what way two musicians, two artists of the caliber of you and of Mr. Bernstein
[00:39.13]	can approach a standard symphonic work like the d minor Brahms concerto
[00:45.57]	and have such diverse conceptions of the piece
[00:49.29]	that Bernstein in this case felt that he had to disassociate himself from...
[00:53.35]	I don't know that there's a satisfactory explanation. As far as what actually transpired last year,
[00:58.57]	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,
[01:07.71]	and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started.
[01:13.60]	I thought it was delightful.
[01:15.62]	But there is no solution to this sense of collaboration that's demanded by a concerto.
[01:21.69]	Part of the concerto idea is of course the sense of non-collaboration,
[01:25.92]	the sense of willingness of the virtuoso, so called, to show off.
[01:32.47]	And I think it's this, it's the traditions that emanate out of that that prompted me to do what I did
[01:38.98]	because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto
[01:45.97]	except for one factor, and that was that our proportions of tempi
[01:51.14]	and our proportions of dynamics tended to be scaled closer together than is usually the case
[01:55.27]	There was less, if I say exaggeration, I don't mean it critically of other people's performances,
[01:59.97]	but there was less exaggeration in that sense of the word,
[02:02.71]	there was less divergence between what could be called the masculine-feminine approach of the piano concerto between first theme and second theme, （
[02:09.94]	between the barking of the orchestra and the placidity of the piano.
[02:13.51]	It was a much more tightly welded unit, what I wanted to do.
[02:17.84]	Now, Lenny felt that in order to preserve the antagonism of orchestra for piano
[02:24.10]	there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi
[02:29.66]	and I was at that time, and still am, I must say,
[02:33.81]	in a Baroquish mood as far as even the nineteenth century concerto is concerned.
[02:39.64]	I was trying to bring a common pulse to the movements and to hold things together in that
[02:44.01]	if rather arbitrary, nevertheless for me very convincing way.
[02:47.60]	And this is what happened it was simply the meeting at two points of our particular metamorphosis
[02:56.11]	at which he was more in favor of the tradition which has accrued around the concerto style
[03:01.81]	and I wished at that moment to break with it.
[03:04.84]	You say at that moment?
[03:05.98]	I may change, I only imply that I
[03:08.08]	No, have you always felt that way?
[03:09.53]	About that particular piece I have.
[03:11.39]	I have not applied quite as extreme an analysis to other works of the same genre,
[03:16.11]	but I have about that particular work.
[03:19.08]	And... so I was very grateful for the chance to do this for the chance to exhibit it nationally,
[03:23.83]	so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this,
[03:28.21]	I've only write that he should get off the hook himself.
[03:31.63]	Right. I want to come and hear you play in the 1970s see what happened.
[03:35.73]	Great I hope you can.
[03:36.60]	We've talked long time and I've enjoyed it very much. I hope you come again.
[03:40.46]	I will indeed.
[03:41.43]	Thank you, thank you Gleen Gould.

[00:00.000]	zuo ci : Spoken Word
[00:00.000]	zuo qu : Spoken Word
[00:00.01]	There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year,
[00:07.12]	when the... eh... when you played d minor Brahms with Leonard Bernstein.
[00:11.04]	And there is a... eh... people were record Bernstein made a speech before the audience,
[00:18.38]	saying that his conception and your conception collided more or less and he wanted to...
[00:23.65]	well I wouldn' t say disassociate himself
[00:26.93]	Now it has interested me to find a explanation,
[00:31.63]	in what way two musicians, two artists of the caliber of you and of Mr. Bernstein
[00:39.13]	can approach a standard symphonic work like the d minor Brahms concerto
[00:45.57]	and have such diverse conceptions of the piece
[00:49.29]	that Bernstein in this case felt that he had to disassociate himself from...
[00:53.35]	I don' t know that there' s a satisfactory explanation. As far as what actually transpired last year,
[00:58.57]	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,
[01:07.71]	and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started.
[01:13.60]	I thought it was delightful.
[01:15.62]	But there is no solution to this sense of collaboration that' s demanded by a concerto.
[01:21.69]	Part of the concerto idea is of course the sense of noncollaboration,
[01:25.92]	the sense of willingness of the virtuoso, so called, to show off.
[01:32.47]	And I think it' s this, it' s the traditions that emanate out of that that prompted me to do what I did
[01:38.98]	because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto
[01:45.97]	except for one factor, and that was that our proportions of tempi
[01:51.14]	and our proportions of dynamics tended to be scaled closer together than is usually the case
[01:55.27]	There was less, if I say exaggeration, I don' t mean it critically of other people' s performances,
[01:59.97]	but there was less exaggeration in that sense of the word,
[02:02.71]	there was less divergence between what could be called the masculinefeminine approach of the piano concerto between first theme and second theme,
[02:09.94]	between the barking of the orchestra and the placidity of the piano.
[02:13.51]	It was a much more tightly welded unit, what I wanted to do.
[02:17.84]	Now, Lenny felt that in order to preserve the antagonism of orchestra for piano
[02:24.10]	there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi
[02:29.66]	and I was at that time, and still am, I must say,
[02:33.81]	in a Baroquish mood as far as even the nineteenth century concerto is concerned.
[02:39.64]	I was trying to bring a common pulse to the movements and to hold things together in that
[02:44.01]	if rather arbitrary, nevertheless for me very convincing way.
[02:47.60]	And this is what happened it was simply the meeting at two points of our particular metamorphosis
[02:56.11]	at which he was more in favor of the tradition which has accrued around the concerto style
[03:01.81]	and I wished at that moment to break with it.
[03:04.84]	You say at that moment?
[03:05.98]	I may change, I only imply that I
[03:08.08]	No, have you always felt that way?
[03:09.53]	About that particular piece I have.
[03:11.39]	I have not applied quite as extreme an analysis to other works of the same genre,
[03:16.11]	but I have about that particular work.
[03:19.08]	And... so I was very grateful for the chance to do this for the chance to exhibit it nationally,
[03:23.83]	so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this,
[03:28.21]	I' ve only write that he should get off the hook himself.
[03:31.63]	Right. I want to come and hear you play in the 1970s see what happened.
[03:35.73]	Great I hope you can.
[03:36.60]	We' ve talked long time and I' ve enjoyed it very much. I hope you come again.
[03:40.46]	I will indeed.
[03:41.43]	Thank you, thank you Gleen Gould.

[00:00.000]	zuò cí : Spoken Word
[00:00.000]	zuò qǔ : Spoken Word
[00:00.01]	There is one subject that has interested me, Gleen Gould, in connection with you for a long time especially last year,
[00:07.12]	when the... eh... when you played d minor Brahms with Leonard Bernstein.
[00:11.04]	And there is a... eh... people were record Bernstein made a speech before the audience,
[00:18.38]	saying that his conception and your conception collided more or less and he wanted to...
[00:23.65]	well I wouldn' t say disassociate himself
[00:26.93]	Now it has interested me to find a explanation,
[00:31.63]	in what way two musicians, two artists of the caliber of you and of Mr. Bernstein
[00:39.13]	can approach a standard symphonic work like the d minor Brahms concerto
[00:45.57]	and have such diverse conceptions of the piece
[00:49.29]	that Bernstein in this case felt that he had to disassociate himself from...
[00:53.35]	I don' t know that there' s a satisfactory explanation. As far as what actually transpired last year,
[00:58.57]	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,
[01:07.71]	and I in fact I sat backstage giggling before playing the thing. I could hardly stop it when we started.
[01:13.60]	I thought it was delightful.
[01:15.62]	But there is no solution to this sense of collaboration that' s demanded by a concerto.
[01:21.69]	Part of the concerto idea is of course the sense of noncollaboration,
[01:25.92]	the sense of willingness of the virtuoso, so called, to show off.
[01:32.47]	And I think it' s this, it' s the traditions that emanate out of that that prompted me to do what I did
[01:38.98]	because what went on last year was in no way a particularly unusual performance of that particular Brahms concerto
[01:45.97]	except for one factor, and that was that our proportions of tempi
[01:51.14]	and our proportions of dynamics tended to be scaled closer together than is usually the case
[01:55.27]	There was less, if I say exaggeration, I don' t mean it critically of other people' s performances,
[01:59.97]	but there was less exaggeration in that sense of the word,
[02:02.71]	there was less divergence between what could be called the masculinefeminine approach of the piano concerto between first theme and second theme,
[02:09.94]	between the barking of the orchestra and the placidity of the piano.
[02:13.51]	It was a much more tightly welded unit, what I wanted to do.
[02:17.84]	Now, Lenny felt that in order to preserve the antagonism of orchestra for piano
[02:24.10]	there ought to be greater contrast, there ought to be larger dynamic spans and greater changes of tempi
[02:29.66]	and I was at that time, and still am, I must say,
[02:33.81]	in a Baroquish mood as far as even the nineteenth century concerto is concerned.
[02:39.64]	I was trying to bring a common pulse to the movements and to hold things together in that
[02:44.01]	if rather arbitrary, nevertheless for me very convincing way.
[02:47.60]	And this is what happened it was simply the meeting at two points of our particular metamorphosis
[02:56.11]	at which he was more in favor of the tradition which has accrued around the concerto style
[03:01.81]	and I wished at that moment to break with it.
[03:04.84]	You say at that moment?
[03:05.98]	I may change, I only imply that I
[03:08.08]	No, have you always felt that way?
[03:09.53]	About that particular piece I have.
[03:11.39]	I have not applied quite as extreme an analysis to other works of the same genre,
[03:16.11]	but I have about that particular work.
[03:19.08]	And... so I was very grateful for the chance to do this for the chance to exhibit it nationally,
[03:23.83]	so to speak, on the radio, and I was very grateful to Mr. Bernstein for going along with this,
[03:28.21]	I' ve only write that he should get off the hook himself.
[03:31.63]	Right. I want to come and hear you play in the 1970s see what happened.
[03:35.73]	Great I hope you can.
[03:36.60]	We' ve talked long time and I' ve enjoyed it very much. I hope you come again.
[03:40.46]	I will indeed.
[03:41.43]	Thank you, thank you Gleen Gould.

Excerpt of intermission radio interview with Glenn Gould Lyrics

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