En stol er en stol er en stol?

2 Responses to “En stol er en stol er en stol?”

  1. Hans Knut Sveen Says:

    Intervjuer: “So you mean the chair is as close to you as the music by Bach?”
    Gould: “Much closer, actually…”

    Den bør gå inn i samlingen av klassiske sitat.

  2. Erik Steinskog Says:

    Ja, det er et fantastisk utsagn. Men er jo også, i en veldig bokstavelig forstand, åpenbart. Gould var riktig tett på sin stol.
    Samtidig åpnes det her – hvis vi strekker det litt – for å skrive annerledes om musikk; en materialistisk musikkhistorie i ordets mest bokstavelige forstand. Jeg blir i den sammenheng minnet på hva Charles Rosen skriver i Piano Notes: The World of the Pianist (2002):
    “Not only the individual shape of the hand counts but even the whole corporal shape. That is why there is no optimum position for sitting at the piano, in spite of what many pedagogues think. Glenn Gould sat close to the floor while Artur Rubinstein was almost standing up. It may seem paradoxical that some pianists spend more time choosing a chair for a concert than an instrument […] The height at which one sits does affect the style of performance. It is difficult, for example, to play bursts of virtuoso octaves fortissimo when sitting very low. That is one aspect of piano technique that Glenn Gould, for example, could not deal with […]; nevertheless, the low seated position enabled Gould to achieve a beautiful technical control of rapid passage-work with different kinds of touch. The way one sits at the keyboard has had influence on the music that composers write as well as on performance.”
    På mange måter er dette åpenbart, altså at kroppen og dens positurer har innflytelse på hvordan man spiller, men samtidig åpner det for tanken, ikke minst tanken om kroppshistorie (inkludert dens ulike positurer og disiplineringer) som del av musikkhistorien.

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