Glenn Gould: man, musician, myth and mystique
多面古尔德（二）
男人，音乐家，传奇的人，神秘的人
By Gramophone
推荐阅读：多面古尔德（一）丨他何以如此吸引我们？
For the sleeve-notes to his own recording of Beethoven’s Appassionata Sonata, Gould wrote: ‘I confess the reasons for its popularity elude me: it is not, surely, one of the formative works in Beethoven’s canon, nor is it one of those tense, argumentative middle-period essays that, like the Violin Concerto, get by through a combination of guts and one good tune…I think that in the Appassionata Sonata, his method does not work.’ Extraordinary to find this in the notes to an artist’s own recording – but honest!
古尔德在他录制的贝多芬的《热情奏鸣曲》的唱片套说明里写道：“这部作品流行的原因实在让我无法理解：它肯定不是贝多芬经典作品形成阶段中的一部，也不是像小提琴协奏曲那样富于紧张和争论性的中期作品，通过胆量和一段好的曲调完成一个作品。贝多芬的这套方法在《热情奏鸣曲》中行不通。”一个艺术家在自己的录音中做这样的评论可以说是异常的诚实！
Composition had appealed to him since childhood, but after his String Quartet, Op 1 from the 1950s, he completed very few pieces of music. Instead, he turned to the radio documentary, which he viewed as a kind of contrapuntal form of audio, created much like a composer creates a piece of music. Gould’s work in this area culminated in the Solitude Trilogy of documentaries for CBC Radio, a series dealing with people in isolation – a topic that fascinated him. These radio programmes are colourful, tightly-knit fabrics of audio that weave together speech, information, drama and music. He also arranged music for two feature films;  (1972) and (1982).
他从小就喜欢作曲，但在20世纪50年代完成《弦乐四重奏》（Op.1）之后，其它创作很少。相反，他转向电台录音，他认为电台是音频的对位，就像作曲家创作音乐作品中的对位技巧一样。古尔德在这一领域的成绩以CBC电台纪录片《孤独三部曲》达到高潮，这是一部针对孤独人群的连续剧——这个话题让他着迷。这些广播节目是丰富多彩、紧密结合的音频节目形式，这些形式将语音、信息、戏剧和音乐编织在一起。他还为两部故事片录制了音乐；《Slaughterhouse Five》（1972）和《The Wars 》（1982）。

Then in 1981, Gould decided to re-record Bach’s Goldberg Variations. He had never revisited any other music before. To any other artist, this would be tempting fate. Over a quarter of a century had passed since 1955 and both he and recording technology had changed dramatically. That must have been the appeal for him: the chance to make two distinct and separate versions of a work that he loved deeply and with which he was so closely identified.
1981年，古尔德决定重新录制巴赫的《哥德堡变奏曲》，在此以前他从未重新录制过任何其他作品 -- 对于其他艺术家来说这是必然的。自1955年以来，已经过去了四分之一世纪，他本人和录音技术都发生了巨大的变化。这是对他的吸引力：有机会对他深爱并因为它为人知晓的一部作品作两个不同的版本。
In the fall of 1982, Gould began a new phase, this time as a conductor. He would never have pursued the role of the public, live concert conductor. It was the recording conductor that appealed to him – again the ability to make music in a controlled setting. He put together a chamber orchestra, including members of the Toronto Symphony Orchestra, and recorded the original chamber version of Wagner’s Siegfried Idyll. 
1982年秋天，古尔德开始了一个新的阶段，这次是作为一名指挥家。他永远不会追求公众眼中期待的角色，现场音乐会指挥，古尔德感兴趣的是录音指挥 -- 在可控环境下创作音乐。他组建了一个室内乐乐团，包括多伦多交响乐团的成员，并录制了瓦格纳的《齐格弗里德》原版。

The work had long been a favourite. He had even made his own piano transcription, and recorded it in the 1970s for CBS. Conducting Siegfried Idyll was his final recording. On 27 September, 1982, not long after the release of the second recording of the Goldberg Variations, he suffered a stroke. He died in Toronto on 4 October, a little more than a week after his 50th birthday.
这个工作在很长一段时间是他最热忠的。他甚至在二十世纪七十年代为哥伦比亚广播公司转录了自己的钢琴曲。指挥《齐格弗里德》是他的最后一次录音。1982年9月27日，在《哥德堡变奏曲》第二张唱片发行后不久，古尔德因中风于10月4日在多伦多去世，在他五十岁生日刚过一周多一点。
Today in Toronto, the memory and legacy of Gould are strong. A partial list would include Glenn Gould Studio, a magnificent small concert hall and recording studio at the Canadian Broadcasting Centre of the CBC: a life-sized bronze statue of Gould sits on a bench outside. There’s the Glenn Gould Professional School at the Royal Conservatory of Music, his alma mater – a thorough training facility for young performers. Two international conferences have been held in Toronto, in 1992 and 1999, which have drawn fans and devotees from around the world. 
今天，在多伦多，对古尔德的记忆和他对后世影响是广泛的。这里有格林·古尔德工作室，一个宏伟的小型音乐厅和加拿大广播中心录音室： 一个真人大小的古尔德铜像坐在外面的长凳上。在皇家音乐学院，他的母校格林·古尔德职业学校是一个年轻表演者的全面培训机构。1992年和1999年在多伦多举行了两次国际会议，吸引了来自世界各地的粉丝和热衷者。

Novels, plays, poems, visual art, music, and the film Thirty-Two Short Films About Glenn Gould have all added to his stature, not to mention countless radio and television documentaries. The Glenn Gould Foundation was formed in Toronto in 1983 to co-ordinate and organise his legacy. The Foundation awards a triennial Glenn Gould Prize in music and communications.
小说、戏剧、诗歌、视觉艺术、音乐和三十二部关于格林·古尔德的短片使他更具声望，除此之外还有大量的广播和电视纪录片。格林·古尔德基金会于1983年在多伦多成立，负责组织安排他的遗留的音乐财产。基金会每三年颁发一次格林·古尔德音乐奖。
So what is it about Glenn Gould that has not only kept him firmly in the public mind, but has even made him increasingly popular? Pianist Emanuel Ax, who grew up in Winnipeg, can remember the hype around Gould in Canada during the 1950s. Today, he believes Glenn Gould and Vladimir Horowitz are two of the greatest pianists because of their individuality. Whether you agree with Gould or not, says Ax, every pianist since has been influenced by Gould in so in way or another. 
那么格伦·古尔德到底是怎么回事，不仅让他在公众心目中保持了稳固的地位，而且让他越来越受欢迎？在温尼伯长大的钢琴家伊曼纽尔·艾克斯（Emanuel Ax）记得20世纪50年代加拿大对古尔德的大肆宣传。今天，他认为格林·古尔德和弗拉基米尔·霍洛维茨是两位极富个性的最伟大的钢琴家。艾克斯说，无论你是否同意古尔德的观点，从那时起，每一位钢琴家都以不同方式受到古尔德的影响。

His communicative strengths were unbelievable, but there was also an ecstasy in Gould’s playing. He was exalted by the music he was performing, as was Alfred Cortot in Chopin. Ax was introduced to the piano music of Richard Strauss by Gould’s landmark recordings, and now frequently performs selected Strauss works. He’s also recently started to study the Bach Partitas, having previously been afraid to tackle them, because of the Gould legacy. But it’s not only Gould’s music-making that appeals to Ax. He believes that The Glenn Gould Reader, a compilation of Gould’s writings, is one of the most powerful books on musical thought and opinion.
他的音乐穿透力令人难以置信，带有一种令人陶醉的神韵。他被自己演奏的音乐所鼓舞，就像阿尔弗雷德·科尔托特（Afred Cortot）演奏肖邦时一样。艾克斯是通过古尔德的录音作品接触了理查德·施特劳斯，现在也经常精选一些施特劳斯的作品进行表演。他最近也开始研究巴赫的组曲，因为古尔德遗留下来的卓越的诠释，他以前一直害怕触碰。其实不仅古尔德的音乐制作具有吸引力，艾克斯认为《格林·古尔德读者文摘》是关于音乐思想和观点的最有影响力的著作之一。
The Glenn Gould Reader’s editor, Tim Page, agrees that the secret to the longevity of Gould’s reputation is his originality. ‘Gould begins where other pianists leave off,’ he says, alluding to the famous George Szell quip. The love, ecstasy and intensity of Gould in music were infectious. Like Leonard Bernstein, Gould was great to watch. Both of them responded to music honestly and genuinely, and in the heat of performance there was an unpredictable excitement. No two concerts were the same. There was an immediacy and spontaneity, creating an electric quality that kept audiences on the edge of their seats.
《格林·古尔德读者文摘》的编辑蒂姆·佩奇也认为，古尔德声誉不退色的秘诀在于他的独创性。他说“他从其他钢琴家停止演奏的地方开始” – 这是著名的乔治·斯泽尔的一句俏皮话。古尔德的音乐中有爱、狂喜和强烈的感染力。和莱昂纳德·伯恩斯坦一样，古尔德的表演引人入胜。他们两人对音乐的反应都是真诚和诚实的，在演出的高潮中，他们都有一种不可预测的兴奋。他们的音乐会每一场都是不一样的，他们音乐自然的流淌，就像电流一样，使观众只能紧张激动地坐在他们的座位边缘。

Not all of his recordings were stellar. Page believes that some were actually quite bad. But that’s the appeal. Good or bad, Gould was always challenging, always fascinating. To Page, another reason for Gould’s lasting power was his personality. He shunned the usual trappings of the piano virtuoso, although he could easily have accepted them. His cool, reserved charisma made him stand out even more.
并不是他所有的录音都很出色，佩奇认为有些实际很糟糕。但这才是古尔德吸引人的地方。不管是好是坏，古尔德总是充满挑战，总是引人入胜。对佩奇来说，古尔德持久力量的另一个原因是他的个性。虽然很容易但他避开了钢琴演奏家惯常的做法。他那冷静的、含蓄的魅力使他更加引人注目。
This quiet, solitary character of Gould has caused some to label him a hermit and a recluse. But according to Stephen Posen, Gould’s lawyer and friend, and now the sole executor of the Gould Estate, he was warm and fun, far from anti-social. He was a perfectionist, and sought complete control under his own terms. This, of course, was one of the reasons behind his retirement from public performance. The recording studio helped Gould get closer to musical perfection. But the goal of perfection was all through his life. 
古尔德安静、孤独的性格使一些人把他称为隐士或遁世的人。但据古尔德的律师和朋友，古尔德遗产的唯一执行人史蒂芬·波森（Stephen Posen）所说，他既热情又有趣，远不是个反社会者。他是追求完全控制的完美主义者。当然，这也是他退出公众演出的原因之一。录音室帮助古尔德接近音乐的完美。他一生的目标就是追求完美。

Posen recalls frequent, long telephone conversations during which Gould would often stumble while speaking, struggling to get his thoughts and words just right. He also would often phone Posen, and read him thoughts and writings over the phone, after slaving to get them perfect on his own. To Gould, there was no point in doing anything the same as others. Be unique and do it your own way, or don’t do it at all.
波森回忆起同他频繁的、长时间的电话交谈，在谈话中，古尔德经常蹒跚着努力使自己的想法和语言恰到好处。他也经常给波森打电话，读他自己的想法和文章，然后再努力使它们变得完美。对古尔德来说，没有必要和其他人做同样的事情 - 要么不做，要么按自己的方式做。
And Gould was heroic in the obstacles he overcame to achieve his goals, adds Posen. The fact that he had a very successful musical career, without having to appear publicly is as impressive today as it was 30 years ago. But perfection costs money, because it takes time. Gould wrestled over every note and word, regardless of the cost, sometimes raising the eyebrows and ire of studio crews, record executives and editors. For his 1955 recording of the Goldberg Variations, he recorded all the variations first, ignoring the opening theme. Then, when it came time to record the theme, he laid down over 20 takes of it, trying to find the right neutral character for it, that wouldn’t give away the level of involvement emerging later in the work. The opening theme used was take 21.
波森补充到，古尔德为了实现目标克服极大障碍并表现得很勇敢。在不必公开露面的情况下仍有非常成功的音乐生涯，这一事实在今天和30年前一样令人印象深刻。但追求完美需要金钱和时间。古尔德不顾一切地仔细斟酌每一个音符和每一个字，有时会引起录音室工作人员、唱片公司高管和编辑们的注意和愤怒。在他1955年录制的《哥德堡变奏曲》中，他先录制了所有变奏曲而不录开场主题。然后，当录制主题的时候，他录了20次，试图找到合适的平衡特征，同时对后期制作的要求也丝毫不减。最后开场主题使用的是第21版录制的内容。

During his lifetime, Gould was highly regarded in North America, especially in Canada, but his fame is more recent in the UK and parts of Europe. Like Bernstein, Gould was initially viewed as flashy and superficial. He was new, young, fresh and rebellious – a kind of musical James Dean, according to Rob Cowan of Gramophone. It was only after his death and through the phenomenon of the reissue that Gould made his mark.
在古尔德的一生中，他在北美，特别是在加拿大受到高度重视，但他在英国和欧洲部分地区的名声是近期才有的。像伯恩斯坦一样，古尔德最初被认为是浮华和肤浅的。根据留声机杂志罗伯·考恩的印象，古尔德是新的、年轻的、新鲜的和叛逆的– 类似音乐界的詹姆斯·迪恩（James Dean）。只有在他死后，通过大量的重新发行，古尔德才深深留下了自己的印记。在古尔德的一生中，曾因打破了的音乐传统和价值观不被信任。
During his life, Gould wasn’t trusted, breaking with time-honoured musical traditions and values. But today, through the reissues, a committed, fascinating artist has emerged with much to say. ‘He woke us up and opened our ears,’ says Rob Cowan, ‘similar to the conductor Sergiu Celibidache.’ The virtuosity, clarity, and rhythmic drive teamed with that almost manic element of Gould, continue to win new listeners.
但今天，通过重新发行，一个坚定的、迷人的艺术家逐渐有了他的话语权。“他叫醒了我们，让我们耳目一新”罗伯·考恩说，“这和指挥家塞尔吉·塞利比达奇（Sergiu Celibidache）很相似。”高超的技艺、清晰的头脑和节奏感，加上古尔德近乎疯狂的元素，继续赢得新的听众。
Glenn Gould was so much more than a pianist, that to think of him in only one field is to do him an injustice. He was a brilliant mind. Glenn Gould forces us to see our world in different, often challenging ways. We may not always agree with him, or like the results, but we are always richer for the experience.
格伦· 古尔德不仅仅是一个钢琴家，只在一个领域里评价他对他是不公正。他是个才华横溢的精灵。格伦·古尔德迫使我们以不同的，通常是具有挑战性的方式来看待我们的世界。我们不完全同意他的观点或结果，但他使我们的经历更丰富多彩。
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