Glenn Gould's 'Solitude Trilogy' uses dialogue as though it were musical counterpoint and explores a kind of isolation familiar in our coronavirus era.
Glenn Gould gave his last public concert at the Wilshire Ebell Theater in L.A. 56 years ago. He was 32. Two years later, he predicted in a magazine article that “the public concert as we know it today will no longer exist a century hence, that its functions would have been entirely taken over by electronic media.”
An isolationist at heart who had always been more at home in the recording studio than in the concert hall, Gould often sought refuge outside his native Toronto. In “The Idea of North,” the first episode of the “Solitude Trilogy,” he traveled to the farthest reaches of north Manitoba that Canadian rail would take him and where “all who spend time there are changed by the experience.”
Gould approached “The Idea of the North” as though a musical score. Voices of a surveyor, a geologist, a nurse, a government official and a writer intertwined as though contrapuntal voices in a Bach fugue or suite. Several could be sometimes be heard at once, each artfully edited, syllable by syllable, so that their rhythms made a certain sense as one emerged and another faded.
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