Scott Ross in an exclusive master class, recorded in Rome, a few times before his death in 1989. Olivier Bernager, about this master class with Scott Ross: This music lesson has a painful history. I have been reproached by members of the 'Baroque' milieu for having exploited Scott Ross...

Ausführliche Beschreibung

Bibliographische Detailangaben

Weitere Verfasser:	Bach, Johann Sebastian 1685-1750, Couperin, François 1668-1733, Rameau, Jean-Philippe 1683-1764
Format:	Elektronisch Video
Sprache:	French
Veröffentlicht:	[Place of publication not identified] La Sept Arte [1989] Radio France [1989] Com'unimage [1989]
Schlagworte:	Harpsichord Harpsichord music Harpsichord > Instruction and study Harpsichord music > Interpretation (Phrasing, dynamics, etc.) Internet videos
Online-Zugang:	BSB01 Volltext
Zusammenfassung:	Scott Ross in an exclusive master class, recorded in Rome, a few times before his death in 1989. Olivier Bernager, about this master class with Scott Ross: This music lesson has a painful history. I have been reproached by members of the 'Baroque' milieu for having exploited Scott Ross's illness in order to worm a film out of him. He who was so caustic about images, they say, so scrupulous, so suspicious of the media, would never have agreed ... But they fail to account of the artistic rapport between us which dated from the time of his complete Rameau recording (1975) for the inventive label Stil. To persuade a tired and anxious man, caught up in the tragic self-questioning of all who knew they were suffering from Aids, an illness still regarded as shameful in 1989, required the insistence of friends he trusted: the harpsichord builder David Ley, a close friend who regulated his instruments during filming, and Monique Devaux, director of the Auditorium du Louvre, without whom this film might never have seen the light of day, who cosseted him and accompanied him to the plane that took him to Rome. I will never forget them. Unlike many soloists when their career is in full swing, Scott Ross devoted time to teaching in his class at Laval University in Quebec (1973-86). One senses in these lessons that he was used to spotting the missing detail and to explaining it in simple terms, without forgetting to place it in perspective. But he also liked to say things that would surprise, even shock his interlocutor. Scott Ross was a mixture of profundity and provocation. His cut-and-dried judgements on Gould or Landowska are profound. They spring from a desire to make us think, not from a mere taste for witticism. 'Landowska didn't play the harpsichord!': what if he were right? 'Gould didn't understand Bach', because he didn't know the harpsichord: that seems like bad faith! But if you think about it again ... Those who were close to Scott Ross know that he was very well acquainted with the great keyboard players, and not only the harpsichordists! Schnabel, whom he greatly admired in Schubert, Horowitz whom he found fascinating ... Landowska, of whom he did a priceless imitation! If he had lived, he would have played Schubert on a fortepiano, as he told me during the pauses between two takes. It was a time when all kinds of excess seemed to come together. The world of Baroque music already had its institutions, in Bruges, Ghent, Paris, Quebec, Cologne, London, Basel. Editors were discovering new scores, performers unconventional ways of playing them.
Beschreibung:	1 Online-Ressource (1 video file (54 min., 23 sec.)) sound, color