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Morton Gould (1913–1996) was a dominant force in American music throughout most of the 20th century. A child prodigy whose first composition was “Just Six” (his age at the time), he was still composing in the 1990s, including several pieces for President Clinton to play on his saxophone. This versatile composer, conductor, arranger, and pianist worked in vaudeville and on radio, from Tin Pan Alley to Broadway, all the while churning out jingles, symphonies, and everything in between. Gould was phenomenally talented; he worked tirelessly to bring great music to wide audiences, which he did with more than 100 best-selling records. The very excess of his gifts, however, may have been the reason that he felt his life to be a failure. He remained subject to profound depressions, which he managed to conceal from the many colleagues who found him always generous and thoughtful. His marriages, like his relationship with his domineering father, were ties of love and hate t! hat caused years of emotional pain. Peter Goodman began working with Gould on Morton Gould: American Salute more than a year before Gould’s death. He spent many hours interviewing Gould as well as his family, friends, and colleagues. Upon Gould’s death, his family allowed Goodman access to his files, diaries, records, and tapes. The result is a full, detailed, and well-rounded story.
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In the Foreword to Morton Gould: American Salute, Tim Page dubs Gould (1913-1996) an "embodiment of 'homegrown' music for more than half a century," citing as evidence his wide range of musical experience, from playing piano in vaudeville and conducting swing bands on radio shows to composing a concert piece for "a rap singer and an orchestra." Despite his enormous breadth and depth of achievement, Gould never felt assured of his place as a serious musician, and he found himself increasingly disappointed as he surveyed the mark that he was leaving. Goodman, uniquely armed with Gould’s cooperation before his death, and the assistance of Gould’s family and friends, has assembled a fascinating account of the man and musician. From a prodigious childhood with a difficult father, to his role as an "elder statesman of music," Goodman examines Gould's struggles with teachers and formal instruction as a child, following the thread of his career as it intertwined with his private life.
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Morton Gould/American Salute by Peter W. Goodman
2000/10/30
By カスタマー
- (Amazon.com)
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"Morton Gould/American Salute," by Peter W. Goodman, should appeal to anybody with even a passing interest in modern American music. Goodman, who had extensive access not only to the subject himself, but to the efforts of previous, would-be biographers, breezily moves the story of Gould's life along. The central theme of the book is the composer's unfulfilled, life-long yearning for acceptance in his field. At every turn, Goodman explains, from his early success in radio, to his widespread play by "secondary" orchestras, Gould snatched despair from the jaws of professional satisfaction. Gould's continuous battle with depression weaves through the narrative.
The author goes to great lenghts to vividly protray on the written page what, one imagines, really must be heard to be fully appreciated in Gould's work:
"'Dance Variations' is in four movements, most of which fly by at breakneck speed. Gould's harmonic language and organization are tonal and conventional, yet the music is passionate and unsettling. . . . [I]ts 'Can-Can' is pounding and raucous. And the concluding 'Tarantalla' is frighteningly angry. Far from being a simple-minded crowd-pleaser, 'Dance Variations' is a score of depth and complexity, the work of a mind that is hiding in plain sight." (P. 211.)
Goodman also delves into Gould's many and varied sexual conquests. Unlike many of his peers (Copland and Bernstein, among others), Gould was, most decidedly, heterosexual. The detailed dissection of his two marriages (curiously, to two women with the same name (Shirley)), is a vital part of Gould's life story.
Perhaps the best compliment for this book is that the reader is left with the strong urge to round out his or her personal musical collection with anything Gould! It is highly recommended.
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