office in Toronto and make it legal. At that age, I couldn't understand what he was doing and even at an older age, it was difficult. Bernhard, not the Canadian virtuoso, turned 51 the year Gould died; he had the lung disease; he broke with his family and moved to an isolated house in the country". But I have never imitated him. She did this by encouraging him to strike the right notes, and if he hit a wrong one, she grimaced, her body became tense, and words of disapproval crossed her lips (Ostwald, 1997,.44).
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He loves New York City and sets up a studio-home in the woods nearby - in part hoping that the country air would appease his "sick lungs." He speaks German fluently, having learned it from his maternal grandmother. There are techniques that teach pianists to drop loose arms, almost like dead weights, into thick chords, to let body mass fortify the sound. Therefore, the chair was causing him discomfort, but this did not stop Gould from using the chair his father had built for him. Tulk, as he recalls in the film, gently answered, I would love to be your brother, Glenn, but I have four brothers and a sister who might want some say in the matter. I find what he does so utterly compelling that I've never really thought to learn the piece myself: I think about the Goldbergs, and just imagine him playing, and there's no point in playing it like him again. Here is Gould the great virtuoso pianist, who specialized in Bach and Brahms and Schoenberg and Webern, who had negative feelings about Mozart and Beethoven and "never played Chopin who played the Goldberg Variations at the Salzburg Festival and made more than one recording. (When you hear those comments today in the film or on the Sony live recording Bernstein comes across as tactful and sincere.). I'm grateful he left so much interesting material for us to listen to, to read and to amuse ourselves with. In what would have been his 80th year, we asked leading pianists what Gould means to them. Gould dies at 51, not 50, and moreover does so poetically: "Glenn had the good fortune of collapsing at his Steinway in the middle of the Goldberg Variations". Here Gould tried to rid the piano part of orchestral thickness and purge the music of blatant expressive contrasts.
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