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Absolute Music, Mechanical Reproduction$
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Arved Ashby

Print publication date: 2010

Print ISBN-13: 9780520264793

Published to California Scholarship Online: May 2012

DOI: 10.1525/california/9780520264793.001.0001

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PRINTED FROM CALIFORNIA SCHOLARSHIP ONLINE (www.california.universitypressscholarship.com). (c) Copyright University of California Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CALSO for personal use.date: 20 October 2019

Schnabel's Rationalism, Gould's Pragmatism

Schnabel's Rationalism, Gould's Pragmatism

Chapter:
(p.91) 3. Schnabel's Rationalism, Gould's Pragmatism
Source:
Absolute Music, Mechanical Reproduction
Author(s):

Arved Ashby

Publisher:
University of California Press
DOI:10.1525/california/9780520264793.003.0004

This chapter compares Artur Schnabel and Glenn Gould, especially in their differences in their keyboard address, showing that while Gould is usually criticized for emphasizing pianism over service to the composer, Schnabel is criticized for paying more attention to the abstract notions of musicality than to the realities of musical execution. It then examines the Schnabel–Gould divide within the confrontation between rationalism and pragmatism, and studies their texts and performances. The chapter also tries to reidentify Gould, introduces Gouldian pragmatism and the pragmatist recording, and looks at how Schnabel fixed a cycle of Beethoven's sonatas and concertos.

Keywords:   Artur Schnabel, Glenn Gould, keyboard address, pianism, musical execution, rationalism, pragmatism, Schnabel–Gould divide, Gouldian pragmatism, pragmatist recording

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