Olivier
Group: Super Admins
Posts: 1866
Joined: Nov. 1999 |
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Posted: Mar. 25 2009, 13:31 |
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Hannibal Lecter's favorite pianist Glenn Gould: "I've come to feel over the years that a musical work, however long it may be, ought to have basically—I was going to say 'one tempo' but that's the wrong word—one pulse rate, one constant rhythmic reference point. Now obviously there couldn't be anything more deadly dull than to exploit one beat that goes on and on and on indefinitely – that's what drives me up the wall about rock, you know, and... about minimalism... [...] Anyway, I would never argue in favor of an inflexible music pulse, you know, that just destroys any music. But you can take a basic pulse and divide or multiply it, not necessarily on a scale of two, four, eight, sixteen, thirty-two, but often with far less obvious divisions, I think, and make the result of those divisions or multiplications act as a subsidiary pulse for a particular movement or section of a movement.... So in the case of the Goldberg, there is in fact one pulse, which—with a few very minor modifications—mostly modifications which I think take their cue from ritards at the end of the preceding variation, something like that—one pulse that runs all the way throughout."
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- yes the guy on Crystal Clear sounds like he might be nodding off between 3 and 2. 
But the video is great - I think I'm going to buy the whole thing on DVD. I have nothing of Kraftwerk, hopefully I won't be disappointed. 
