Program:
- Nikolaus Harnoncourt
Symphony no. 4 in C minor "Tragic"
from
- Schubert Symphonies
()
- Franz Schubert
- Yefim Bronfman & Isaac Stern
Sonata for Piano and Violin K.296 in C major
from
- Mozart Sonatas for Piano and Violin
()
- W.A. Mozart
- Daniel Barenboim & Staatskapelle Berlin
Symphony no. 4 in D minor, op.120
from
- Schumann The Symphonies
()
- Robert Schumann
- Washington Bach Consort
Mass in F Major, BWV 233
from
- The Bach Masses
()
- J.S. Bach
- John Eliot Gardiner & The Monteverdi Choir
Gottes Zeit ist die allerbeste Zeit, BWV 106
from
- Johann Sebastian Bach: Cantatas
()
- J.S. Bach
- John Eliot Gardiner & The Monteverdi Choir
Lass, Fürstin, lass noch einen Strahl, BWV 198
from
- Johann Sebastian Bach: Cantatas
()
- J.S. Bach
Last week we explored a peculiar question on the connection (if any) a performer has with an instrument. Some performers, according to an interview with Glenn Gould first, make a connection to the instrument presumably the piano, although Gould never stated this in the interview. The second type, he claims and cites Richter as a prime example of this bypasses the mechanical interaction with the instrument instead making what Gould phases as "a direct connect," with the music thus involving the listener with a more intuitive performance, drawing the audience into the score itself.
This week we examine a similar supposition: that it is indeed possible to altogether bypass the mechanism of an instrument a performer shares focusing on a direct connection to the score and the music. What then, could Gould or any other make claim to in reference to a vocal performer. Using Bach's mass in F major as a juxtaposition to Gould's proposition, we discuss and explore the musical and instrumental connections within these prodigious selections from Bach's catalogue.
Stephan S. Dalal
Department:
