The Case of the Temperamental Talent - amazonia.fiocruz.br

The Case of the Temperamental Talent - happiness!

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He was one of the best known and most celebrated pianists of the 20th century, [1] [2] and was renowned as an interpreter of the keyboard works of Johann Sebastian Bach.

Gould's playing was distinguished by a Tsmperamental technical proficiency and a capacity to articulate the contrapuntal texture of Bach's music. Gould rejected most of the standard Romantic piano literature by ChopinLisztand others, in favour of Bach and Beethoven mainly, along with some late-Romantic and modernist composers.

Gould was known for his eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and behaviour. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects. Gould was also a writer, broadcaster, composer and conductor. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy.

Although Gould was known chiefly as a pianist, he capped off his musical career with a recording of Wagner 's Siegfried Idyll as conductor. Gould's interest in music and his talent as a pianist were evident very early. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. His mother, hoping for him to become a successful musician, had exposed him to music during her pregnancy. As a baby, he reportedly hummed instead of crying and wiggled his fingers as if playing chords, leading his doctor to predict that he would "be either a physician or a pianist".

Defining Goodness

When presented with a piano, the young Gould was reported to strike single notes and listen to their long decaya practice his father Bert noted was different from typical children. 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 family home of one of his own compositions.

At the rhe of six, he was taken for the first time to hear a live musical performance by a celebrated soloist. This profoundly affected him. He later described the experience:.

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It was Hofmann. 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 tne playing them all, and suddenly I was Hofmann. I was enchanted.

Achievement

He studied music theory with Leo Smiththe organ with Frederick C. Silvesterand piano Master toys spin Alberto Guerrero. Gould's mother would urge the young Gould to sit up straight at the keyboard. Gould developed a technique that enabled him to choose a very fast tempo while retaining the "separateness" and clarity of each note. 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 valseand 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 : a method of training the fingers to act more independently from the arm. Gould passed his final Conservatory examination in piano at the age of 12, achieving the highest marks of any candidate, and thus attaining professional standing as a pianist at that age. Gould was a child prodigy [23] and The Case of the Temperamental Talent described in adulthood as a musical phenomenon.

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He may have spoken ironically about his practising as there is evidence that, on occasion, he did practise quite hard, sometimes using his own drills and techniques. He stated that he did not understand the requirement more info other pianists to continuously reinforce their Temperamentql with the instrument by practising many hours a day. The piano, Gould said, "is not an instrument for which I have any great love as such It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all.]