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Home » Comments about Shep » JEAN SHEPHERD and GLENN GOULD Part 2 of 2

JEAN SHEPHERD and GLENN GOULD Part 2 of 2

gould goldberg cover complete

What do Gould and Shepherd have in common?

Part 2, in which Shep enthusiast

Joel Baumwoll discusses the matter.

In this Part 2  post about Glenn Gould and Shepherd, I present my original inspiration for discussing Gould–a couple of years before I began blogging about Shep, I read an intriguing email (12/27/2010) discussing the similarities between Glenn Gould and Jean Shepherd. I’d printed it out and filed it, and now its author, Shep enthusiast Joel Baumwoll, has given me permission to reproduce it here. Thanks, Joel, for this:

American Masters played a fascinating biography of Glenn Gould tonight. As I listened to the story unfold, I was struck by the parallels between Shepherd and Gould. The enigma that was Gould was purposely created by him to keep his distance from all but those he chose to share his life with. He was a genius who detested audiences after having been a great performing success. He considered them a mob. He retreated to a security of recording where he could control every moment, every utterance and decide what he would put out there.

He decided to create a radio program on CBC where he talked and explored human nature and his own nature. The shows described were very much like many of Shep’s programs. I would love to hear these programs. I am sure they would be as fascinating as Shep’s deepest programs were.

He was obsessive compulsive, dominated every relationship, was a total control freak and eventually became quite paranoid. People said he would talk to them for hours on the phone or in person, and would not stop talking. [I’ve also read that he would call friends in the middle of the night and expect them to listen to his long monologs.] Yet his genius of music put him in a class so far above others that established and recognized pianists and musicians said he was in a class by himself. His technique left them in awe, he refused to trod any path but his own, and refused to retread any path. “Why should I play Beethoven like everyone else has and has been heard before?” he explained when he did a rendition of a sonata that was so different from any ever heard.

His Goldberg Variations were at once a work of wonder and so deviant from what people knew of Bach that they were amazed…. [Most famously, he recorded them proficiently at an incredibly fast speed–in later years he re-recorded them more slowly.]

Unlike Shepherd he loved children. But in many other ways, he was quite similar in his habits and eccentricities. I left the program amazed at how similar in so many ways these two geniuses were in their art and in their lives.

gould ecstatic at piano

Another Shep enthusiast, Dolores Nocturni added her thoughts:

You don’t develop technique like [Gould’s] without incredible discipline, and I’m not sure Shepherd had it. Gould came to hate audiences because they got between him and some ideal of perfection he could only achieve in the studio. Shepherd craved audiences (the Limelight shows, colleges, Carnegie Hall), although I believe he was best in the studio, talking one-on-one to solitary listeners. Maybe that’s a Gould connection, too.

Otto Friedrich, his biographer, commented that as for control, for Gould: “over the years it became a passion, an obsession. It was the need to be in control, really, that drove him from the concert stage to the recording studio.” One might remember that A Christmas Story director Bob Clark commented that Shepherd’s need for control became an impediment to him in work on the film.

Library and Archives Canada:

http://www.collectionscanada.gc.ca/glenngould/028010-1040.03-e.html

In the 1960s Gould began to take a strong and active interest in radio and TV documentaries, nearly all for the CBC. He was the deviser, compiler, interviewer, writer, narrator and even producer of many of these programs, which ranged in subject matter from contemporary music to Newfoundland, from Stokowski to the Mennonites. He approached the technique of the documentary as a composer might approach the fugue or sonata movement form, or even an opera. Weaving together spoken voices and background sounds in counterpoint to each other, Gould achieved highly inventive and original effects. [As one commentator put it, in the documentary “The Idea of the North,” Gould used human voices to musical effect. I think Shepherd would have applauded this.]

gould diagram

gould notes on radio show

One can grasp clues  suggesting for us Shep-enthusiasts, some similarities (but not exactitude), between Gould and Shepherd. [For the following quote, I use color and underline to indicate my suggested similarities.] In the New Yorker of April 18, 1994, Anthony Lane reviews the documentary “32 Short Films About Glenn Gould,” in which he writes:

…it is Gould’s achievement to engage us not only with the demeanor of his performances but with their suggestion of larger virtues beyond the piano–of a living temperament, a limber philosophical stance, unlocked by its keys….Gould was a solitary, but not an eccentric; rather, he made himself central, and drew people in. He was one of a band of impassioned ascetics thrown up by our century, all of them immune to intellectual half measures; this means that Gould groupies are a scary lot, who tend to read Wittgenstein and Walter Benjamin and Simone Weil, although it’s probably safe to say that Gould was the only one with a taste for tomato ketchup and Petula Clark.*

* [I’d love to know in what ways both Glenn Gould and Andy Warhol found

Petula Clark so fascinating–and in what ways they’d disagree.]

What genius does not have some neurotic personality disorder that somehow goes along with his/her extraordinary ability? One aspect of Gould seems to have been his obsessiveness–yet he obsessed on such a variety of fields of interest–seems like a contradiction. “Incredible discipline” is a less judgmental way of approaching the related issue.

In their intensity and obsessiveness, Gould and Shep were somewhat different. (Gould appears to me to have had a much higher pitch of intensity and obsession.) Each could be a delightful human; but when they were in one of their “moods,” I think I might have felt uncomfortable in Shep’s company and I think that in Gould’s company I’d have been in a state of shock.

I greatly admire them both.

classic shep image

gould formal at piano

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1 Comment

  1. mygingerpig says:

    I agree with Dolores Nocturni’s comment about Shep’s craving an audience. In that sense he was different from the later Gould, who retreated from live musical performance before audiences. His use of radio, and recordings does mirror Shep’s masterful use of these media. And about OCD, there is no indication of that in Shep. Nevertheless, it is an interesting parallel, and along similar time lines. One might think Bobby Fisher’s reported fascination with Shep reflects another kindred soul of eccentric genius in many respects.
    Joel

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