I don’t about all of you, but I certainly have a large number of CDs that are of the non-commercial variety (self recordings and the like). Just this weekend I have been going through a big box of them and noticing significant degradation on some of the older ones. These are only about 5-8 years old, and admittedly I haven’t treated them with the upmost care. More like, I left them in my parent’s garage for a summer, then threw them in a box, moved them 500 miles to Michigan, put them in a closet, and jostled them considerably. Luckily I haven’t found anything that is irreplaceable that I will lose, but it is creating a sense of urgency for me to get going on my full-on digital conversion.
Neven Mrgan made this really nice chart to show the differences between the two recordings.
This isn’t a “Go Buy This” kind of blog, but seriously, GO BUY THIS! Just do it. If you listen to music, you need to own these two recordings. I’ve posted about them before, and I probably will again because they are so valuable for a listener. Think of it as you text book.
What you will immediately hear is the development of Glen’s interpretation over the 26 years. I doubt the change happened all at once. It’s more likely that Glen slowly discovered new sounds within the piece that warranted slower tempos and more repeats. Although none of us are Glen Gould, we can learn to think like he did, or more importantly, learn to listen like he did through this invaluable double-CD set.
Plan of attack:
Tear off the shrink-wrap and enjoy the liner notes. They are extremely well written and deserving of a few readings.
Take the 1981 CD out of the package, put it in a different case, and hide it from yourself for one month.
For the entire first month, just listen to the 1955 recording. Really get into it and know it. Know it so well you can join in the sing-along.
After one month, like a fine wine, break out the 1981 recording. You will notice the differences right away. Try to get over the shock of the slower tempos and really listen into the sounds.
To me, Glen’s piano sounds absolutely majestic in the latter recording. The 1955 recording has a more wooden, earthy, but smaller sound, whereas the 1981 recording sparkles with brilliance. Also, Glen’s reputation clearly preceded him in 1981 and the engineers were ready to deal with his squeaky chair and the dulcimer tones of Glen’s imaginary, extraneous obbligato.
I love them both for so many different reasons but mostly because the fantastic listening challenge the two recordings offer. It’s such a rarity to have two recordings by the same person that are so different, yet each so good in their own ways. Really, just get it.
The League of American Orchestras is having a major conference in Atlanta this month. At that event there will be major discussions focusing on how and what American orchestras need to do to keep up in an ever changing culture. They started a site called Orchestra R/Evolution at which users can submit, read, vote, and comment on the emerging ideas that might save the Nursing-Home Fun-Night we call the American Orchestra Concert. I know that in my own circles of musician-friends the plight of the American orchestra is a common topic of frustration. Well, gas-bags, now is your chance to get your voice heard.1
Off the top of my head, here’s one change I can suggest that I could see making a difference:
Kill Subscriptions. Everyone hates their cable and wireless phone providers. The common thread between those wretched industries and the American orchestra is their apparent distain for their customers and that they are subscription based services.2 Everything is ticket-by-ticket, first-come, first-serve. If pro baseball teams can’t sell out their season tickets, what makes you think an orchestra can? More concerts, more often, with less musicians. Let’s hear Bartók Quartet Number 1, Barber Adagio for string orchestra, something by Arvo Pärt. I’d go to that concert.
If you think your favorite orchestra really cares about YOU, rather than the dollar-signs YOU represent to them, than let me invite YOU to thumb through the program at your next event and count the eyeball-gouging ads that they are forcing upon you. Then count the number of pre-concert ads. Count the ads in the lobby. To top it off, they then stand on the stage and lay the thickest guilt trip on YOU the customer to pony up more cash for as a donation. Yeah, they really like YOU. ↩
