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　　Whether Gould's subject is Boulez, Stokowski, Streisand, or

his own highly individual thoughts on performance and creation of

music, the reader will be caught up in his intensity, intelligence,

passion and devotion.

Acknowledgments

Introduction

PROLOGUE: Advice to a Graduation

PART ONE: Music

William Byrd and Orlando Gibbons

Domenico Scarlatti

Art of the Fugue

The “Goldberg” Variations

Bodky on Bach

Of Mozart and Related Matters: Glenn Gould in Conversation with

Bruno

Monsaingeon

Glenn Gould Interviews Himself About Beethoven

Beethoven’s Pathétique, “Moonlight, and “Appassionata”

Sonatas

Beethoven’s Last Three Piano Sonatas

Beethoven’s Fifth Symphony in the Piano:Four Imaginary

Reviews

Some Beethoven and Bach Concertos

N’aimez-Vous Pas Brahms?

Should We Dig Up the Rare Romantics?. . . No, They’re Only a

Fad

Piano Music by Greig and Bizet, with a Confidental Caution to

Critics

Data Bank on the Upward-Scuttling Mahler

An Argument for Richard Strauss

Strauss and the Electronic Future

Richard Strauss’s Enoch Arden

The Piano Music of Siberlius

Arnold Schoenberg—A Perspective

The Piano Music of Arnold Schoenberg

Piano Concertos by Mozart and Schoenberg

Arnold Schoenberg’s Chamber Symphony No. 2

A Hawk, a Dove, and a Rabbit Called Franz Josef

Hindermith: Will His Time Come? Again?

A Tale of Two Marienlebens

Piano Sonatas by Scriabin Prokfiev

Music in the Soviet Union

The Ives Fourth

A Festschrift for “Ernst Who???”

Piano Music of Berg, Schoenberg, and Krenek

Korngold and the Crisis of the Piano Sonata

Canadian Piano Music in the Twentieth Century

The Dodecacophonist’s Dilemma

Boulez

The Future and “Flat-Foot Floogie”

Terry Riley

Gould’s String Quartet, Op. 1

So You Want to Write a Fugue?

PART TWO: Performance

Let’s Ban Applause!

We Who Are About to Be Disqualified Salute You!

The Pyschology of Improvisation

Critics

Stokowski in Six Scenes

Rubinstein

Memories of Maude Harbour, or Variations on a Theme of Arthur

Rubinstein

Yehudi Menuhin

The Search for Petula Clark

Streisand as Schwarzkopf

INTERLUDE: Glenn Gould Interviews Glenn Gould About Glenn

Gould

PART THREE: Media

The Prospects of Recording

Music and Technology

The Grass Is Always Greener in the Outtakes:An Experiment in

Listening

“Oh, for heaven’s sake. Cynthia, there must be something else

on!”

Radio as Music: Glenn Gould in Conversation with John Jessop

Prologue from “The Idea of North”

“The Idea of North”: An Introduction

“The Latecomers”: An Introduction

PART FOUR: Miscellany

Three Articles Published Under the Pseudonym Dr. Herbert von

 Hochmeister

Toronto

Conference at Port Chillkoot

Fact, Fancy, or Psychohistory: Notes from the P.D.Q

Underground

The Record of the Decade

Rosemary’s Babies

A Desert Island Discography

The Film Slaughterhouse Five

A Biography of Glenn Gould

CODA: Glenn Could in Conversation with Tim Page

Index

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"You play the organ, and you claim to like Bach,"said one of my teachers, a Toscanini advocate. "How can you possibly approve of Stokowski?"(We all knew of the transcription travesties for which he'd been responsible in the name of the cantor of Leipzig.)

Stokowski was, for want of a better word, an ecstatic.He was involved with the notes, the tempo marks, the dynamics in a score, to the same extent that a filmmaker is involved with the original book or source which supplies the impetus, the idea, for his film . "We write black marks on white paper—the mere facts of frequency; but music is a communication much more subtle than mere facts. The best a composer can do when within him he hears a great melody is to put it on paper. We call it music, but that is not music; that is only paper. Some believe that one should merely mechanically reproduce the marks on the paper, but I do not believe in that. One must go much further than that. We must defend the composer against the mechanical conception of life which is becoming more and more strong ...

I am disposed toward this view because I believe that the justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentar ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity. Through the ministrations of radio and the phonograph, we are rapidly and quite properly learning to appreciate the elements of aesthetic narcissism — and I use that word in its best sense — and are awakening to the challenge that each man contemplatively create his own divinity.

书籍介绍

Whether Gould's subject is Boulez, Stokowski, Streisand, or his own highly individual thoughts on performance and creation of music, the reader will be caught up in his intensity, intelligence, passion and devotion.