Forlag KEY PORTER BOOKS
Finner du ikke ditt favorittbibliotek på lista? Send oss e-post til email@example.com med navn på biblioteket og fylket det ligger i. Kanskje vi kan legge det til!
Ingen diskusjoner ennå.Start en diskusjon om verket Se alle diskusjoner om verket
The justification of art is the internal combustion it ignites in the hearts of men, and not its shallow, externalized, public manifestations.
He is a musical thinker who makes use of all available means to thought, including the piano.
A performance for Gould is not a contest but a love affair with the music. A performer, he believes, should not perform in order to be hailed as the greatest since X or Y , much better than Z and so on; he should not even perform in order to surpass his own previous performances. He should, by performing a piece of music, create the one-time, unique work of art that is that particular performance of the piece. This is not a commitment to the task of delivering to the audience a perfect performance of the work. It is rather a commitment to creating, here and now, a new work of art that is unlike any other performance of the piece, possible or imagined, past or future. It is a mental involvement in the possibilities of this unique unfolding of the music, as if it were newly composed.
According to Gould, artists have a moral mission and art has an unrealized potential for the betterment of humankind.
According to Gould, artists have a moral mission and art has an unrealized potential for the betterment of humankind. Human improvement can occur only as the result of modification in our attitudes as solitary, private individuals, and not as some kind of collective modification of our species, voluntary or not. Each person must accept the challenge of contemplatively creating his own "divinity." "Divinity" here refers to the better part of individual human nature, which for Gould is the introspectively and ecstatically contemplative part; the worse part is that which abandons itself to herd impulse, as in the mindless, hysterical responses of crowds to spectacles and of populations to propaganda.
But this music, The Art of the Fugue, is not organ music. It does not belong to the canon of Bach's works written for performance on the organ. This canon includes his chorale preludes, his many toccatas, fantasies, preludes, variations, and fugues designated by him as organ pieces - an enormous repetoire for the organ. But The Art of the Fugue belongs among what are called Bach's "didactic" works. In them, Bach, the great teatcher of all musicians, shows what can be achieved by a stupendous contrapuntal intelligence working with minimal constraint from the physical demands and limitations of musical instruments; with, perhaps, no concern that they should be playable at all.