Glenn Gould citations

Glenn Gould, né le 25 septembre 1932 à Toronto au Canada et mort le 4 octobre 1982 dans la même ville, est un pianiste, compositeur, écrivain, homme de radio et réalisateur canadien. Il est connu pour ses interprétations pianistiques du répertoire baroque, en particulier pour deux enregistrements des Variations Goldberg de Jean-Sébastien Bach . Célèbre pour son style analytique et chantant, ainsi qu'une certaine excentricité, Glenn Gould abandonne rapidement sa carrière de concertiste en 1964 et ne se produira plus jamais en public afin de se consacrer aux enregistrements en studio et à la production d'émissions de radio pour Radio-Canada. Wikipedia  

✵ 25. septembre 1932 – 4. octobre 1982
Glenn Gould: 8   citations 0   J'aime

Glenn Gould: Citations en anglais

“I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach.”

Gramophone
Contexte: I think that if I were required to spend the rest of my life on a desert island, and to listen to or play the music of any one composer during all that time, that composer would almost certainly be Bach. I really can't think of any other music which is so all-encompassing, which moves me so deeply and so consistently, and which, to use a rather imprecise word, is valuable beyond all of its skill and brilliance for something more meaningful than that -- its humanity.

“Never be clever for the sake of being clever
For the sake of showing off.”

"So You Want To Write A Fugue", work's text

“The trouble begins when we start to be so impressed by the strategies of our systematized thought that we forget that it does relate to an obverse, that it is hewn from negation, that it is but very small security against the void of negation which surrounds it.”

Glenn Gould Reader p5
Contexte: The trouble begins when we start to be so impressed by the strategies of our systematized thought that we forget that it does relate to an obverse, that it is hewn from negation, that it is but very small security against the void of negation which surrounds it. And when that happens, when we forget these things, all sorts of mechanical failures begin to disrupt the functions of the human personality. When people who practice an art like music become captives of those positive assumptions of system, when they forget to credit that happening against negation which system is, and when they become disrespectful of the immensity of negation compared to system — then they put themselves out of reach of that replenishment of invention upon which creative ideas depend, because invention is, in fact, a cautious dipping into the negation that lies outside system from a position firmly ensconced in system.

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