|Nikolaus Harnoncourt||Symphony no. 4 in C minor "Tragic"||Schubert Symphonies||Franz Schubert|
|Yefim Bronfman & Isaac Stern||Sonata for Piano and Violin K.296 in C major||Mozart Sonatas for Piano and Violin||W.A. Mozart|
|Daniel Barenboim & Staatskapelle Berlin||Symphony no. 4 in D minor, op.120||Schumann The Symphonies||Robert Schumann|
|Washington Bach Consort||Mass in F Major, BWV 233||The Bach Masses||J.S. Bach|
|John Eliot Gardiner & The Monteverdi Choir||Gottes Zeit ist die allerbeste Zeit, BWV 106||Johann Sebastian Bach: Cantatas||J.S. Bach|
|John Eliot Gardiner & The Monteverdi Choir||Lass, Fürstin, lass noch einen Strahl, BWV 198||Johann Sebastian Bach: Cantatas||J.S. Bach|||>|PLAYING|>||
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.
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