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The Lives of Glenn Gould: the Limits of Musical Auto/Biography

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The Lives of Glenn Gould: the Limits of Musical Auto/Biography THE LIVES OF GLENN GOULD: THE LIMITS OF MUSICAL AUTO/BIOGRAPHY A DISSERTATION SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI‘I AT MĀNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN ENGLISH MAY 2012 BY ALANA BELL Dissertation Committee: Craig Howes, Chairperson Miriam Fuchs Glenn Man John Zuern E. Douglas Bomberger Lesley A. Wright KEYWORDS: GLENN GOULD, MUSIC, AUTOBIOGRAPHY, BIOGRAPHY i ACKNOWLEDGEMENTS I lived with this project for many years, and there are many people to thank. My advisor Craig Howes offered exactly the kind of support and encouragement I needed, which sometimes meant simply letting me live my life without the pressure to write. When I was ready and able to work, Craig put in many tireless hours (mostly over the telephone in true Glenn Gould style) to help me make my dissertation the best it could be. Craig’s knowledge of life writing is encyclopedic, and his understanding of Canadian culture and history is vast. Having grown up in Gould’s city, he offered fascinating and valuable first-hand accounts of twentieth-century Toronto. I cannot imagine a better teacher and mentor, and I am extremely grateful for his help. This dissertation represents the culmination of ideas formed through courses and conversations with each of my committee members. I developed the initial idea to investigate life writing about Glenn Gould in a course taught by Miriam Fuchs, one of several in which I gained theoretical knowledge and writing skills that were crucial to this project. I did some initial writing on Gould’s Goldberg Variations recordings in Douglas Bomberger’s keyboard literature course, and I did some early thinking about musical biography in his course on Robert Schumann. I still have several of the articles I read in John Zuern’s Rhetoric and Aesthetic of Electronic Media course, and I referred to them during the writing process. My understanding of film developed in part through my experience as a teaching assistance in Glenn Man’s film course. Finally, though I met Lesley Wright near the end of this project, her comments and questions have helped me develop a more nuanced understanding of music. ii I sincerely thank friends and family who encouraged me over the years. My friends and fellow graduate students in Honolulu offered advice and understanding during the initial stages of this project. My Ontario friends encouraged me toward its end. Tara Rintoul and Nicole Henry deserve special mention for being there throughout and encouraging me to leave my job and finish my doctorate. At a crucial moment, Ina Székeley asked, “Why do you need to finish this anyway?” I didn’t know then, and I’m still not sure, but her question prompted me to make the changes needed to complete my dissertation. I gratefully acknowledge the funding sources that made this degree possible. During the initial stages, I received a tuition waiver from the University of Hawai‘i. I honed some of my best teaching skills as a graduate assistant in the UH English department. While this project gestated, I was an English teacher and then Co-Principal of The Linden School, a feminist girls' school in Toronto. The Linden community is truly extraordinary. Thank you to the Founders, Board of Trustees, faculty, staff, students, and parents for their encouragement. I have a large and close-knit extended family both through birth and marriage, and I thank the Bells, Rileys, O’Malleys, Scafidis, and Folzes for their interest and support. Michael O'Malley deserves special mention for his persistent questions about my progress. My grandmother, Verdun McEachern encouraged me to read from a young age, often by sharing books my parents would have found wholly inappropriate. She did not live to see me complete my degree, but the photo I took of her in front of Glenn Gould’s cottage represents one of the happiest moments of my research and writing process. iii My parents, George and Ruthanne Bell, and my in-laws Rosemary and Jim O'Malley offered love and support, financial assistance, childcare, and space to work. During the past three years, my mom has lived with us for extended periods, keeping the house in order and the kids entertained and cared for, and giving me the time to write. Finally, my husband, Brendan O'Malley, has watched countless Glenn Gould films, accompanied me to Gould events and exhibits, and offered thoughtful insight into my work. He had faith in this project and in me from beginning to end. With much love, I dedicate my dissertation to him and to our two sweet, hilarious children, Joseph and Patrick O'Malley. iv ABSTRACT This dissertation examines the large body of life writing in various genres by and about Canadian pianist, recording artist, and broadcaster Glenn Gould to consider reasons for his continuing international popularity, and to explore the implications his auto/biography has for life writing as a genre. Gould is a musical auto/biography “limit- case,” in that the texts about him enact the many fascinating and often bizarre possibilities for life writing. Despite the conservative history of musical biography as a genre, many biographers, filmmakers, and even novelists have come to the unlikely conclusion that Gould is an elusive subject who must be constructed rather than re- presented. Such conclusions arise from Gould’s own auto/biographical interventions which have profoundly influenced subsequent representations of his life. A man obsessed with privacy and with control over his own image, Gould created auto/biographical representations that turned him into something of an empty signifier, both confounding biographers, and allowing them to invest their own meanings into him. Each chapter explores a key theme in representations of Gould. Chapter one examines portrayals of Gould as genius and eccentric. Two notions of genius prevail. It is a mysterious force, beyond the understanding even of the possessor himself; alternately, the genius is a god-like figure, transforming the lives of the listener through art. Eccentricity—manifested in Gould through his unusual performance practice, his illnesses and drug use, and his apparent lack of traditional relationships—is often portrayed by Gould’s biographers as the terrible downside of his genius that paradoxically serves to normalize Gould and allows life writing to wrest biographical control from him. Chapter two explores representations of Gould as a Canadian icon, v largely in response to his own self-constructed links with the Canadian North. While Gould himself, many Canadian institutions, and some of his biographical representations have presented him as an exemplary Canadian, other texts dispute Gould’s appropriateness as icon for an increasingly diverse nation, and at times even question the biographical enterprise itself. Chapter three considers Gould as a performer of music and of his own complex constructions of self, examining the ways in which Gould’s music, self-interviews, and radio documentaries test the suppleness of auto/biographical forms. Gould’s textual lives ultimately demonstrate that music can be effectively deployed as life writing, and shatter the myth of a unified, coherent biographical self. vi TABLE OF CONTENTS ACKNOWLEDGEMENTS...........................................................................................................i ABSTRACT ...................................................................................................................................iv INTRODUCTION..........................................................................................................................1 Who Was Glenn Gould ......................................................................................................4 The Lives of Glenn Gould .................................................................................................11 The Performance and Construction of Glenn Gould .......................................................17 This Dissertation ................................................................................................................21 CHAPTER 1: “Thin Partitions”: Genius and Eccentricity In Biographies and Biographical Films About Glenn Gould .......................................................................................28 Artistic Genius and Glenn Gould ......................................................................................31 Gould as “Poly-Person”: Glenn Gould: Music and Mind, The First Auto/Biography .................................................................................................................58 A Context for Genius: Kevin Bazzana’s Wondrous Strange ...........................................71 “Chinese Boxes”: Otto Friedrich’s Glenn Gould: A Life and Variations .......................79 The Genius-Enigma on Film: Thirty Two Short Films About Glenn Gould ..................88 The Limits of Platonic Genius: Representations of Gould in Bruno Monsaingeon’s Glenn Gould: Hereafter and Rhona Bergman’s The Idea of Gould ...............................95 The Other Side of the Partition: Eccentricity in the Lives of Gould ..............................116 CHAPTER 2: “Endless Vistas”: The North and Canadian Identity in Life Writing About Glenn Gould ...................................................................................................................................144 An Extra/Ordinary Canadian: Gould and the NFB ..........................................................160 “I chose north as
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