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Меня в первую очередь поразили у Гульда 2 вещи - как он держит руки "над" (вернее, "на") клавиатурой и как ему удается поражающее звуковедение!

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А как зовут того Рубинштейна, который концерт Шопена на видеозаписи играет?

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Кем он приходится основателям консерваторий ?

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Не знаю, откуда были взяты эти уникальные видеозаписи, но, может, там же можно откопать и двухсерийный "Иоганн Себастьян Бах" Юрия Нагибина ?

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In reply to:

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Меня в первую очередь поразили у Гульда 2 вещи - как он держит руки "над" (вернее, "на") клавиатурой и как ему удается поражающее звуковедение!

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http://en.wikipedia.org/wiki/Glenn_Gould:

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Gould had a formidable technique that enabled him to choose very fast tempos while retaining the separateness and crisp clarity of each note. Part of the technique consisted of taking an extremely low position at the instrument which allowed him more control over the keyboard. Although Charles Rosen's view is that a low position at the piano is unsuitable for playing technically demanding music of the 19th century, this did not impede Gould's playing much as he generally disliked Romantic period piano music. He held in disdain much of the concert pianist's generally accepted repertoire of his time and did not play the usual romantic period technical show pieces that audiences expected. Gould's one-of-a-kind technique yielded excellent results, however, in contrapuntal music and his choice of repertoire reveals an obvious inclination to polyphony; his few recorded excursions into the Romantic period piano literature are biased towards uncharacteristically contrapuntal works. The music of Bach formed much of his repertoire, and it is for his interpretations of Bach's works that he is most remembered.

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