I showed the post to Scott and asked if he thought we should tag along, so to speak.
"Oh, absolutely!" he replied without missing a beat. (A beat, get it? I’m so very musical.) Scott’s the classical (and other kinds of) music buff of the family, and I usually look to him for suggestions on what pieces of music to play (over and over and over—that’s the sum total of our "music appreciation" method) for the children.
(No, wait, I guess there’s more to it than just listening to the music—we also listen hungrily to the interesting stories Scott tells about the composers and performers. All those evenings when I’m nose-deep in educational philosophy? He’s reading musicians’ biographies.)
"I’m kind of psyched to see some of those Gould performances myself," he added, still scanning Mama Squirrel’s list.
He says Gould is interesting to listen to, because he often hummed along—not in tune!—as he played. I’m intrigued. And also eager to hear all that Bach. I love Bach. Listening to Bach is like what St. Francis said about singing: It’s praying—twice.
(Scott just looked over my shoulder and told me—wait, say it again, honey, I’m taking dictation—that when Gould played Bach he didn’t use the sustain pedal, so it sounded very dry and crisp, like the harpsichord. And also! Rumor has it that his mother introduced him to the composers in chronological order, so he became intimately acquainted first with the Baroque, and then the Classical, and then the Romantic, and then the Modern composers, as opposed to the scattershot method most of us in this century are used to where we probably heard Mozart before Bach, or Tchaikovsky before—oh shoot, that’s as far as I can remember, and Scott just left for Mass. Ah well. You get his drift. See what I mean? Fascinating!)
So there’s that plan. Gould and Bach. :::rubs hands together briskly::: Gosh, thanks, Mama Squirrel!
(Another terrific resource for classical music studies is Helen over at Castle of the Immaculate. We rode the wave of her Elgar study last year. Oh! I still get goosebumps at the thought of that cello concerto played by Jacqueline du Pre!)
Monteverdi’s 1610 Vespers
Our Morning Music
“Every audience gets that.”
The Merry Widow Waltz