{"id":1999,"date":"2019-04-18T03:07:37","date_gmt":"2019-04-18T03:07:37","guid":{"rendered":"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/?p=1999"},"modified":"2019-04-18T10:57:15","modified_gmt":"2019-04-18T10:57:15","slug":"gould-and-rondeau-some-visual-offerings","status":"publish","type":"post","link":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/assignments\/music-video-review\/gould-and-rondeau-some-visual-offerings\/","title":{"rendered":"Gould and Rondeau: Some Visual Offerings"},"content":{"rendered":"\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bach - Aria mit 30 Ver\u00e4nderungen &#039;Goldberg Variations&#039; BWV 988 - Rondeau | Netherlands Bach Society\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/1AtOPiG5jyk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The <a href=\"http:\/\/allofbach.com\/en\/\">All of Bach<\/a> project is an undertaking by the Netherlands Bach Society\u2014the legendary Dutch period ensemble \u201c<a href=\"https:\/\/www.nytimes.com\/2007\/04\/15\/arts\/music\/15gure.html\">on the vanguard<\/a>\u201d of Bach scholarship and performance practice\u2014to produce a recorded video anthology of the entire opus of the Eisenach master. For instrumental works not scored for their core ensemble they have reached out to soloists, many of international repute: harpsichord works have been recorded in domestic settings, in seeming homage to the musical interiors of the Dutch Golden Age. <a href=\"https:\/\/youtu.be\/5gf-QYR1Ap0\">Christian Rieger\u2019s filmed performance<\/a> of the charming E major Prelude and Fugue\u2014if one ignores the absence of ruffled collars and tights\u2014grants one entry to a living Vermeer canvas.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"893\" height=\"1024\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/VermeerJohannesMusicLesson-893x1024.jpg\" alt=\"\" class=\"wp-image-2004\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/VermeerJohannesMusicLesson-893x1024.jpg 893w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/VermeerJohannesMusicLesson-262x300.jpg 262w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/VermeerJohannesMusicLesson-768x880.jpg 768w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><figcaption>Johannes Vermeer, <em>The Music Lesson <\/em>(Royal Collection, London); Wikimedia Commons<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">A different artistic lineage, however, is being perpetuated in what is by far the most popular video of the extant harpsichord collection: in Jean Rondeau\u2019s breathtakingly sublime rendition of the <em>Aria mit 30 Ver\u00e4nderungen<\/em>, better known to posterity as the <em>Goldberg Variations<\/em>, BWV 988, director Jonas Sacks and cameraman Petr Cikhart grant us a <em>camera obscura<\/em> of a setting perhaps even more intimate than the domestic interior\u2014the alchemical lair of the recording studio. This union of the <em>Goldberg Variations<\/em> and the recording studio milieu inevitably invites comparison to Glenn Gould\u2019s <a href=\"https:\/\/www.thewholenote.com\/index.php\/booksrecords2\/classicalabeyond\/19171-glenn-gould-plays-bach-bruno-monsaingeon\">1981 video rendition<\/a> of the same work, directed by Bruno Monsaingeon and released as the third volume of <em>Glenn<\/em> <em>Gould plays Bach<\/em>. <\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Glenn Gould 1\/4 Goldberg Variations (HQ audio - 1981)\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/aEkXet4WX_c?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>The first of four parts of Monsaingeon&#8217;s 1981 video-recording<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Like Sebald inheriting Kafka\u2019s propensity for fable or Malevich inheriting Kandinsky\u2019s spatiality, the continuation of a tradition asserts, by itself, a strong aesthetic position. Monsaingeon\u2019s 1981 video recording can on one hand certainly be regarded as a visual artifact that merely accompanies Gould\u2019s audio recording, but it is more usefully understood as an expos\u00e9 of Gould\u2019s fundamental aesthetic beliefs. We know this is the case because Gould was obsessively involved with personally perfecting every aspect of his publications\u2014the interview he did with Tim Page on this particular recording, for instance, was <a href=\"https:\/\/www.chicagotribune.com\/news\/ct-xpm-2002-09-18-0209180046-story.html\ufeff\">entirely scripted<\/a>, tangents and bad jokes included. By preserving the most important aspects of Monsaingeon\u2019s production\u2014and thereby preserving Gould\u2019s deliberate methods of self-presentation\u2014Sacks\u2019s video clearly conservates Gould\u2019s core aesthetic values.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; As is well-known, Gould abandoned concertizing early in his career and devoted himself to the recording medium. In <a href=\"https:\/\/journals.uvic.ca\/index.php\/ctheory\/article\/viewFile\/14079\/4850\ufeff\">his essay on the ideological overlap of Glenn Gould and Marshall McLuhan<\/a>, Paul Th\u00e9berge identifies how Gould\u2019s embracing of the studio can be understood in light of some of Gould\u2019s key ideas. To begin with, Th\u00e9berge identifies Gould\u2019s use of technology \u201cas a way of maintaining contact with, and a way of protecting himself from, the outside world.\u201d Gould exploits the communicative potential and ritual-free medium of recording by prefacing his performance with a discussion, with director Monsaingeon, about his choice of takes. Like in Gould\u2019s many <a href=\"http:\/\/21cm.org\/magazine\/artist-features\/2017\/08\/03\/how-glenn-gould-and-i-became-friends\/\">telephone-only friendships<\/a>, he is enabling, via the video medium, a particularly intimate mode of communication\u2014an insight into his creative process\u2014while simultaneously dictating the terms of this communication. Rondeau\u2019s performance is similarly paired with an expository video:<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"OLD VERSION Rondeau on Bach Goldberg Variations BWV 988 | Netherlands Bach Society\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/Lo5KVP1X9wU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">The very existence of such a video exposition already indicates a clear break from concert etiquette and therefore the traditional primacy of live concert performance (and the distancing of audience and virtuoso). Th\u00e9berge cites Gould\u2019s aversion to the traditional concert hall performance, his critique of the concert hall as a symbol of \u201cmusical mercantilism\u201d and a means of \u201cego-gratification.\u201d Both Sacks\u2019s and Monsaingeon\u2019s videos evade suggestions of the concert hall milieu. There is a liberalization of perspectives\u2014extreme close-ups, unusual vantage points (including the prominence of low point-of-view shots in both videos), and camera movement. Significantly, there are visible attempts to eradicate the concert hall milieu (and its bourgeois stuffiness). This stands in contrast to the traditional approach to filmed performance, in which, <a href=\"https:\/\/muse.jhu.edu\/article\/385219\/pdf\ufeff\">as Melina Esse writes<\/a>, videographers aim to preserve the illusory liveness of staged performance, via \u201cthe persistent interpenetration of the live and mediatized such that there remains no clear distinction between the two,&#8221; and indeed often by foregrounding the recording milieu as a localized social context; see the lengthy virtual concert-hall tour that precedes this D minor cello <em>Suite<\/em> production from the Netherlands Bach Society:<\/p>\n\n\n\n<figure class=\"wp-block-embed-youtube wp-block-embed is-type-video is-provider-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Bach - Cello Suite no. 2 in D minor BWV 1008 - Pincombe | Netherlands Bach Society\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/_NvZRo-3wvU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">In Gould\u2019s case, this emancipation from the milieu is accomplished by the chiaroscuro lighting and darkening of the <em>mis-en-sc\u00e8ne<\/em>, such that any sense of a fixed space\/locale\/establishment is obfuscated; in Rondeau\u2019s case, the same is achieved by the use of a large, modernist and (most importantly) chairless recording hall, which seems hermetically sealed from the outside world and therefore inaccessible to intruding audiences. Additionally, both directors evade the conventional direct profile view of the typical concert-goer:<\/p>\n\n\n\n<figure class=\"wp-block-image is-resized\"><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.43.57-PM-1024x699.png\" alt=\"\" class=\"wp-image-2022\" width=\"641\" height=\"437\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.43.57-PM-1024x699.png 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.43.57-PM-300x205.png 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.43.57-PM-768x524.png 768w\" sizes=\"auto, (max-width: 641px) 100vw, 641px\" \/><figcaption>Benno Moiseiwitsch in a video recording of Sergei Rachmaninoff&#8217;s B minor Prelude, op. 32 no. 10, available (in part) <a href=\"https:\/\/youtu.be\/fjlltDlJSQQ\">here<\/a><\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"> &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Th\u00e9berge quotes Gould\u2019s assertion that, in the age of \u201celectronic culture,\u201d \u201cthe performer\u2019s once sacrosanct privileges are merged with the responsibilities of the tape editor and the composer,\u201d and, indeed, that \u201cthe Van Meegeren syndrome\u2026becomes rather an entirely appropriate description of the aesthetic condition of our time.\u201d The Van Meegeren mentioned here was an infamous Vermeer forger: Gould believed that the forgery of the doctored recording was no cause to be shameful. Indeed, <a href=\"https:\/\/search.proquest.com\/docview\/203893214?pq-origsite=gscholar\ufeff\">as Edward Said writes<\/a>, Gould\u2019s most prominent ability as a pianist was the creation of a kind of \u201cart that tries to show us its compositional activity still being undertaken in its performance.\u201d No aspect of this compositional activity needed to be hidden. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"752\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.46.48-PM-1024x752.png\" alt=\"\" class=\"wp-image-2025\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.46.48-PM-1024x752.png 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.46.48-PM-300x220.png 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.46.48-PM-768x564.png 768w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><figcaption>Glenn Gould, 1981 Goldberg Variations, with the mixing console partially visible<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; This\nattitude towards open process is reflected in the cinematography of the opening\nAria in Gould\u2019s 1981 performance rather heavy-handedly by a slow pan from the mixing\nconsole to an engineer\u2019s window-filtered view of the pianist. Sacks\u2019s cinematography\naccomplishes the same effect with more subtlety: a tall microphone-stand towers\nover Rondeau and his instrument, often visible, hardly hidden, but not\nexhibited as a novelty\u2014in fact, presented as an expected, mundane fixture. Abrupt\nchanges in lighting cue us to the multiple-takes and post-performance\npatchworking involved. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 These cinematographic choices reveal that video recordings can reveal, often on a subliminal level, core aesthetics of the performer in question. Not surprisingly, key aesthetic differences in Gould\u2019s and Rondeau\u2019s approach to the <em>Variations <\/em>are also reflected in the videography. I\u2019ll mention just one for the sake of brevity, although, as is the case for most such comparisons, countless details differ. Gould was largely uninterested in the physical aspects of piano performance; as Anca Aleman notes in her essay \u201cNon-Judgemental Musical Criticism\u201d (as found in <em><a href=\"https:\/\/books.google.com\/books?id=QRoKz9zx3DEC&amp;printsec=frontcover#v=onepage&amp;q&amp;f=false\ufeff\">Gould and Variations<\/a><\/em>) Gould was hardly interested in the distinct sound of the piano and the physicality involved in its sound production. He could have been playing harpsichord, organ, or string quartet\u2014what was vital was the clarity of polyphony. As Th\u00e9berge notes, Gould\u2019s pianism maximized clarity to bring out the most subtle layers of musical structure and detail, a direct antithesis to the \u201ccavernously reverberant\u201d sound of the traditional concert hall. Gould removes the fallboard, such that he is receiving the most direct\u2014and hence clearest\u2014sound output of the instrument, and the video largely focuses on the space surrounding Gould and his head: the space where the sound is being conceptualized, processed, and re-conceptualized, rather than the space from where the sound emanates and dissipates. Rondeau, on the other hand, according to his video introduction\/interview to his recording, is intensely drawn to the harpsichord\u2019s sonority, something \u201cdelicate and fragile,\u201d and its lute-like physicality. Indeed, he describes the <em>Goldberg Variations<\/em> as an \u201code to silence,\u201d even a \u201ccaress\u201d of silence; it is no surprise, therefore, that Sacks tries to capture this sonic caress by featuring long close-ups on the harpsichord&#8217;s visually delicate strings and aerial shots of the cavernous recording hall, in which one can almost see the single diminutive sounding body, the harpsichord, dissipate its energy into a vast space of responsive silence.<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"582\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.51.46-PM-1024x582.png\" alt=\"\" class=\"wp-image-2027\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.51.46-PM-1024x582.png 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.51.46-PM-300x171.png 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.51.46-PM-768x437.png 768w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><figcaption><br><\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"171\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.14.24-PM-1024x171.png\" alt=\"\" class=\"wp-image-2030\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.14.24-PM-1024x171.png 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.14.24-PM-300x50.png 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.14.24-PM-768x128.png 768w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.14.24-PM.png 1388w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">I was somewhat surprised to see that audience reactions generally avoided Gould allusions\u2014even besides the numerous videographic parallels I\u2019ve pointed out (which clearly place Rondeau\u2019s performance as a successor to Gould\u2019s thought), Gould\u2019s legacy hangs over the <em>Goldberg<\/em> about as much as Herbert von Karajan\u2019s hangs over the Berlin Philharmonic. We could perhaps ascribe this to the fact that, as Th\u00e9berge notes, \u201cin an economic system that seeks to produce not only the objects but also the conditions of consumption\u201d (i.e. the economic system of our current digital capitalism) \u201cit is the recording and broadcast industries that should be regarded as the most dynamic symbols of that system,\u201d a phenomenon that has, in effect, realized some of Gould\u2019s \u201cprophecies.\u201d In other words, since corporations in our age are just as intent on selling consumers ways of listening to music\u2014Spotify, YouTube music\u2014as they are on producing the music itself, recordings have really become the <em>lingua franca<\/em> of the musical economy. As such, the \u201cstatements\u201d asserted by Monsaingeon\u2019s videography are scarcely more than the \u201cnorm\u201d for the twenty-first century viewer-listener.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This probably isn\u2019t the case, however: despite the radically open-access nature of the All of Bach project, it seems that audiences are unable to move beyond the traditional expectations of the concert hall. <\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"151\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.12.28-PM-1-1024x151.png\" alt=\"\" class=\"wp-image-2031\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.12.28-PM-1-1024x151.png 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.12.28-PM-1-300x44.png 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.12.28-PM-1-768x114.png 768w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.12.28-PM-1.png 1326w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">As Said notes in his aforementioned essay, the traditional concert pianist, via \u201cdigital wizardry,\u201d sought to \u201cimpress and ultimately alienate the listener\/spectator,\u201d and it was Gould who first transformed mere show into \u201cprovocation, the dislocation of expectation, and the creation of new kinds of thinking.\u201d Yet, it is clear that online audience members like Norman Astrin are not yet prepared to take part in this dialogue between equals, and insist on alienating Rondeau as an other. Even laudatory comments fail to accept equal footing with Rondeau, despite his casual dress and modest demeanor:<\/p>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"208\" src=\"http:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.10.37-PM-1024x208.png\" alt=\"\" class=\"wp-image-2032\" srcset=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.10.37-PM-1024x208.png 1024w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.10.37-PM-300x61.png 300w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.10.37-PM-768x156.png 768w, https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-content\/uploads\/2019\/04\/Screen-Shot-2019-04-17-at-10.10.37-PM.png 1500w\" sizes=\"auto, (max-width: 706px) 89vw, (max-width: 767px) 82vw, 740px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The All of Bach project is an undertaking by the Netherlands Bach Society\u2014the legendary Dutch period ensemble \u201con the vanguard\u201d of Bach scholarship and performance practice\u2014to produce a recorded video anthology of the entire opus of the Eisenach master. For instrumental works not scored for their core ensemble they have reached out to soloists, many &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/assignments\/music-video-review\/gould-and-rondeau-some-visual-offerings\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Gould and Rondeau: Some Visual Offerings&#8221;<\/span><\/a><\/p>\n","protected":false},"author":87,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[594,593,592,393,435],"class_list":["post-1999","post","type-post","status-publish","format-standard","hentry","category-music-video-review","tag-bach","tag-glenn-gould","tag-jean-rondeau","tag-performance-practice","tag-recording"],"_links":{"self":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts\/1999","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/users\/87"}],"replies":[{"embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/comments?post=1999"}],"version-history":[{"count":3,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts\/1999\/revisions"}],"predecessor-version":[{"id":2130,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/posts\/1999\/revisions\/2130"}],"wp:attachment":[{"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/media?parent=1999"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/categories?post=1999"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gcornish.digitalscholar.rochester.edu\/mhs123_spring2019\/wp-json\/wp\/v2\/tags?post=1999"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}