I think Frankl has put the whole argument extremely well. Any interpretation has to start from a position of respect for the score. Beethoven went to enormous lengths to make his intentions clear as has already been pointed out.
C.P.E.Bach's Essay on the True Art of Playing Keyboard Instruments (1753) is an example from an earlier period whereby these matters were not considered as unimportant - Unfortunately Bach was not consistent and there still remains much ambiguity in the realisation of ornamentation. One must know the conventions of the period and the composer's preferences and also consider the context in which the ornament appears.
Having said that, I in common with many who criticise Gould's approach find much to admire in him - his intellect, technique and undoubted passion are very infectious! He was a very eccentric character and I think unfortunately allowed this side of his nature to colour his playing.
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'Man know thyself'
C.P.E.Bach's Essay on the True Art of Playing Keyboard Instruments (1753) is an example from an earlier period whereby these matters were not considered as unimportant - Unfortunately Bach was not consistent and there still remains much ambiguity in the realisation of ornamentation. One must know the conventions of the period and the composer's preferences and also consider the context in which the ornament appears.
Having said that, I in common with many who criticise Gould's approach find much to admire in him - his intellect, technique and undoubted passion are very infectious! He was a very eccentric character and I think unfortunately allowed this side of his nature to colour his playing.
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'Man know thyself'
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