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| 格伦·古尔德（Glenn Gould，1932年9月25日-1982年10月4日） | ||||||||||||||||||
格伦·古尔德《巴赫：哥德堡变奏曲》「BD-hi-res」 |
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Johann Sebastian Bach
(1685-1750) Goldberg-Variationen, BWV 988 Goldberg Variations • Variations Goldberg Variazioni Goldberg • Variaciones Goldberg Glenn Gould, piano Bruno Monsaingeon Produced at Columbia 30th Street Studio, New York City, April-May 1981 约翰·塞巴斯蒂安·巴赫 哥德堡变奏曲，BWV 988 格伦·古尔德，钢琴 1981年4月至5月，在纽约市哥伦比亚第 30 街工作室制作 © 1981 (2012) 《哥德堡变奏曲》，原名叫做《有各种变奏的咏叹调》，1742 年出版，此作为巴赫的学生哥德堡（Johan Theophil Goldberg）而作。哥德堡是侍奉当时驻在德累斯顿的俄国使臣凯瑟林（Hermann Karl Von Keyserlingk）伯爵的年轻演奏家。巴赫曾把他的《b小调弥撒》献给凯瑟林，因此而获得“宫廷音乐家”的封号。1741-1742 年间，凯瑟林居住在莱比锡，让哥德堡师从巴赫，学习演奏技巧。伯爵患不眠症，失眠时就需哥德堡为其演奏，哥德堡以演奏需要，求巴赫帮助谱曲。巴赫当时作成这部变奏曲之后，凯瑟林送他一只装满 100 枚金路易的金杯以酬谢。 Aria -0:01 Variatio 1 a 1 Clav -2:53 Variatio 2 a 1 Clav -4:03 Variatio 3 a 1 Clav. Canone all'Unisono -4:53 Variatio 4 a 1 Clav -6:23 Variatio 5 a 1 ô vero 2 Clav -7:13 Variatio 6 a 1 Clav. Canone alla Seconda -7:50 Variatio 7 a 1 ô vero 2 Clav. al tempo di Giga -8:30 Variatio 8 a 2 Clav -9:48 Variatio 9 a 1 Clav. Canone alla Terza -10:42 Variatio 10 a 1 Clav. Fughetta -11:42 Variatio 11 a 2 Clav -12:44 Variatio 12 Canone alla Quarta -13:37 Variatio 13 a 2 Clav -15:12 Variatio 14 a 2 Clav -17:54 Variatio 15 a 1 Clav. Canone alla Quinta in moto contrario, Andante -18:54 Variatio 16 a 1 Clav. Ouverture -24:01 Variatio 17 a 2 Clav -25:38 Variatio 18 a 1 Clav. Canone alla Sesta -26:33 Variatio 19 a 1 Clav -27:36 Variatio 20 a 2 Clav -28:38 Variatio 21 Canone alla Settima -29:30 Variatio 22 a 1 Clav. Alla breve -31:42 Variatio 23 a 2 Clav -32:45 Variatio 24 a 1 Clav. Canone all'Ottava -33:43 Variatio 25 a 2 Clav. adagio -35:25 Variatio 26 a 2 Clav -41:26 Variatio 27 a 2 Clav. Canone alla Nona -42:19 Variatio 28 a 2 Clav -43:40 Variatio 29 a 1 ô vero 2 Clav -44:43 Variatio 30 a 1 Clav. Quodlibet -45:44 Aria da capo -47:16 |
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音乐历史上的今天
1982年10月4日，格伦·古尔德因脑溢血去世，享年50岁零9天。在多伦多安乐山公墓，一块钢琴形状的花岗岩墓碑上刻著：格伦·古尔德 。 |
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| 格伦·古尔德在钢琴上的表现是与众不同 ，他一直坐在爸爸的很低的椅子上，一边唱一边弹。 | ||||||||||||||||||
| Glenn Gould's performance on the piano was unique.He always sat on his father's very low chair, singing while playing. | ||||||||||||||||||
| 走入迷宫不迷路，钢琴怪才古尔德 | ||||||||||||||||||
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巴赫（1635-1750）是巴罗克时代的德国作曲家，他最重要的成就，就是对复调音乐的贡献。如果说莫扎特及他的音乐是一种不能解释的奇迹，巴赫就是一种必然。日尔曼民族的自律、严谨、崇尚理性，及巴赫身上坚韧、厚重的人格力量，使他成为复调音乐的大师，这其中自有某种必然性。 巴赫的作品往往以一个庄重的主题为中心，两个或多个声部国绕着这个固定的中心繁衍生长、相互交错，旋转向上形成一个复杂的立体图案。像是用多条旋律线编织的一个复杂织体，主题在这个立体织体中，从一个声部“飞翔”到另一个声部形成对位，经复杂的“飞翔”路线跃入高峰，这一过程都在巴赫稳健自信的控制之中。他能将音乐的所有细节置于准确的位置，在他的作品中，从来不会有多余、滥情等非理性的内容。 如果我们称巴赫音乐中的内容为 “瑰宝”，而将表达这一内容的手段——立体织体叫 “迷官”的话，内容就是置于 “迷宫〞中的一个 “瑰宝”。许多演奏家为了接近这个 “瑰宝”，终其一生在“迷宫”中徘徊。 巴赫的音乐进行过程，好像是一个复杂的繁衍过程，主题在织体中会几次、十几次地出现，不高明的演奏者只能陷于 “迷宫〞中手忙脚乱地应付（有时还很激动，以为接近了 “瑰宝”);而对听众来讲，这种演奏是一种重复、枯燥、乏味的经历。 有幸的是出现了天才古尔德 (Glenn Gould 1932 -1982)。古尔德和巴赫这种相隔300 多年在五线谱上的交流，对他们双方、对人类、对音乐都是一个幸运。 一个好的演奏家应具备以下几个条件：一、对音乐的热爱；二、善于表达音乐的完美技巧；三、高度的智慧一看透乐谱，有捕捉藏在乐谱后面灵魂的能力。具备第一、二两个条件的演奏家很多，而具备高度智慧的演奏家太少了！ 加拿大钢琴家格伦· 古尔德就是少数几个同时具备上述三个条件的演奏家之一，他的第三条更有别于常人。古尔德对巴赫音乐的贡献，如同施纳贝尔对贝多芬的钢琴作品、富特文格勒对贝多芬的交响乐作品、科尔托对肖邦的作品的贡献一样。不同的是：后三位大师的演绎几乎给某个作曲家的作品下了定义，成为我们心目中的权威解释，而古尔德永远不是任何作品的代言人。古尔德对巴赫的作品情有独钟，并不是因为巴赫本身（可能作曲家的名字只是他区分不同作品的符号)，他只是借助巴赫乐谱提供的可能性，实现自己的音乐理想。在巴赫的作品中，他的才能得到了充分的体现。古尔德进入“迷官” 的目的，不是为了“瑰宝”，他关注的只是破译“迷宮” 的过程。如果他童年时代有“魔方”的话，他可能是个 “魔方迷”；如果是个画家，他对结构、构图的者迷程度可能会远远超过对色彩语言的热爱。 古尔德是个非常有个性的钢琴家，他对作品的理解和处理是很独特的，听他的演奏应该是从欣赏的角度去听，而不能从教学的角度去学，去模仿 他是不明智的。他对乐曲的天才理解、他极富个性的触键使得他难以被摹仿。钢琴家就应该发挥自己的个性，当然是在理解作品的基础上。 听古尔德的演奏激动人心，他有理由那么自信。只有对音乐挚爱到无以复加的程度，才可能像他那样投人地演奏，他是用生命来演奏，音乐就是他的呼吸。 古尔德弹巴赫是在巴赫演奏史上极其特殊的现象。巴赫离我们有300 多年之遥，古尔德对巴赫的解释是全新的，是一个飞跃，他使我们重新认识了巴赫。他的演奏清新、独特、自然，他运用不同的触键和奏法，把巴赫的各声部生动有趣地呈现出来。 当然，如果仅仅只听古尔德演奏的巴赫作品，还不能说对古尔德有了全面的了解，他弹的贝多芬，无论是协奏曲还是变奏曲，都是很精彩的。他才气横溢，他是难得的天才，我感觉不出他有什么怪。 |
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| 少年时代的格伦·古尔德 | ||||||||||||||||||
| Glenn Gould in his youth | ||||||||||||||||||
| 古尔德出生于 1932 年，是独生子。他识谱的能力远超识字能力，早在能够阅读文字之前就已经学会了识谱。他的父母将毕生精力都投入到这个意外的晚生身上，并且他的母亲亲自教导他。他三岁或四岁时就已经开始演奏了。古尔德演奏了所有人们能想到的作曲家的作品：李斯特、肖邦、舒曼、门德尔松，当然还有巴赫。在他辉煌的时期（他称之为“辉煌时期”），也就是 12 岁或 13 岁的时候，古尔德甚至演奏了所有肖邦和李斯特的作品系列。当古尔德 14 岁时，他在多伦多皇家音乐学院管弦乐团的指挥维克多·费尔德布里尔的带领下，演奏了贝多芬的第四协奏曲。他说：“走出来的是这个身材瘦长的孩子，他有着神童的名声。”“我们从未见过有人以这样的姿势坐在钢琴前。但他的演奏和音乐才华是显而易见的。他的演奏为贝多芬带来了全新的光彩。” | ||||||||||||||||||
| Born in 1932,Gould an only child, he learned to read music before he could read words. His parents dedicated their lives to this surprise late birth and his mother taught him. He was already playing at the age of 3 or 4. Gould played all the music of composers one would expect: Liszt, Chopin, Schumann, Mendelssohn, and of course Bach. During his days of glory, as he called it, at the age of 12 or 13, Gould even played all Chopin and Liszt programs. When Gould was 14 years old, he performed Beethoven Concerto No. 4 with the Royal Conservatory Orchestra in Toronto led by conductor Victor Feldbrill. “Out came this gangly kid with the reputation of a child prodigy.” He said, “We’d never seen anyone sit at the piano in that position. But his playing and musicianship were unmistakable. He shined a new light on the Beethoven.” | ||||||||||||||||||
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| 人生短暂，别错过最美的音乐——其中就包括格伦·古尔德的巴赫 | ||||||||||||||||||
| Life is short. Don't miss out on the most beautiful music - and among them is Glenn Gould's performance of Bach. | ||||||||||||||||||
| Entering the maze without getting lost, the piano genius Gould | ||||||||||||||||||
| Bach (1635-1750) was a German composer of the Baroque era. His most significant achievement was his contribution to polyphonic music. If Mozart and his music were an inexplicable miracle, then Bach was a certainty. The self-discipline, rigor, and reverence for reason of the German nation, as well as the resilient and profound personality of Bach, made him a master of polyphonic music. There was a certain inevitability to this. Bach's works often centered around a solemn theme, with two or more voices growing and intertwining around this fixed center, rotating upward to form a complex three-dimensional pattern. It was like weaving a complex texture with multiple melodic lines, with the theme in this three-dimensional texture "flying" from one voice to another to form counterpoint, jumping to a peak through a complex "flying" route, all within Bach's steady and confident control. He could place all the details of the music in the exact position, and in his works, there were never any redundant or excessive irrational elements. If we call the content of Bach's music "treasures" and the means of expressing this content - the three-dimensional texture - "traps", then the content is a "treasure" placed in the "traps". Many musicians, in their pursuit of these "treasures", wandered in the "traps" throughout their lives. The musical process of Bach was like a complex reproduction process, with the theme appearing several times, ten times or more in the texture, and less skilled performers could only be in a state of chaos in the "traps" (sometimes even very excited, thinking they were approaching the "treasure"); for the audience, this performance was a repetitive, boring, and tedious experience. Fortunately, there emerged the genius Glenn Gould (1932 - 1982). The communication between Gould and Bach, which took place on the staff paper over a period of 300 years, was a blessing for both of them, for humanity, and for music. A good performer should possess the following conditions: 1. Love for music; 2. The ability to express the perfect techniques of music; 3. High wisdom - being able to see through the staff paper and have the ability to capture the soul hidden behind the staff. Many performers have the first and second conditions, but there are too few with high wisdom! Canadian pianist Glenn Gould is one of the few performers who simultaneously possess these three conditions. His third condition is more different from ordinary people. Gould's contribution to Bach's music is like Schnabel's contribution to Beethoven's piano works, Furtwängler's contribution to Beethoven's symphonic works, and Corto's contribution to Chopin's works. The difference is that the interpretations of the latter three masters almost defined a composer's work and became the authoritative interpretation in our minds, while Gould was never the spokesperson for any work. Gould's special fondness for Bach's works was not because of Bach himself (perhaps the composer's name was just a symbol for him to distinguish different works), but he used the possibilities provided by Bach's staff paper to realize his own musical ideals. In Bach's works, his talent was fully demonstrated. Gould's purpose of entering the "traps" was not for the "treasure", but he only focused on deciphering the process of the "traps". If he had a "magic cube" in his childhood, he might have been a "cube enthusiast"; if he were a painter, his obsession with structure and composition might have been far greater than his love for color language. Gould was a very individualistic pianist. His understanding and handling of the works were very unique. Listening to his performance should be done from an appreciation perspective, not from a teaching or imitation perspective. It was unwise of him. His genius understanding of the music and his highly individualistic touch keys made it difficult to be imitated. A pianist should express his own personality, of course, based on a proper understanding of the piece. Listening to Gould's performances is truly thrilling. He has every reason to be so confident. Only when one has an unparalleled passion for music can one play with such dedication, and he plays with his entire life, with music being his very breath. Gould's playing of Bach is an extremely special phenomenon in the history of Bach's performances. Bach is over 300 years away from us, and Gould's interpretation of Bach is completely new, a leap. He enables us to re-recognize Bach. His playing is fresh, unique, and natural. He uses different touch keys and playing techniques to vividly and interestingly present each voice of Bach. Of course, merely listening to Gould's performances of Bach's works cannot be considered as having a comprehensive understanding of Gould. His performances of Beethoven, whether in concertos or variations, are all very wonderful. He is full of talent and is a rare genius. I can't sense anything strange about him. | ||||||||||||||||||
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| 古尔德在 31 岁时便从音乐舞台上退役，他的最后一场演出于 1964 年 4 月 19 日举行。他认为通过录制作品，他的听众群体能够扩大，并且在他看来这是一个进步的举措。古尔德还想从事其他工作，比如制作演出、剧本以及有关人类状况的广播纪录片。 | ||||||||||||||||||
| Gould retired from the concert stage at the age of 31, his final concert on April 19, 1964. He felt his audience could be larger through recording and that in his mind it was a step forward. Gould wanted to do other things such as producing shows, and scripts, and radio documentaries that were commentaries on the human condition. | ||||||||||||||||||
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| 格伦·古尔德为什么被称为“巴赫在20世纪的最佳代言人” | ||||||||||||||||||
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古尔德为什么能够成为巴赫在20世纪的最佳代言人？这决定于他独特的音乐观。 除了巴赫，古尔德的演奏范围相当广：从文艺复兴的吉本斯到20世纪的勋伯格。但纵观上下，这些作品都有一个特点：对位。 "对位是使不同旋律在不同声部中和谐进行的艺术。" 这是音乐辞书的解释。广义的说来，公元10世纪当作曲家们在圣咏的旋律上方或下方的四度或五度加上一个平行运动的旋律时，就有了最初的对位法。到了文艺复兴时代，对位法得到了高度的发展，而巴洛克音乐，特别是巴赫的音乐则是欧洲音乐史上对位发展的最高峰：赋格、大协奏曲这样的体裁把两条、三条、更多的旋律交织在一起。古典主义兴起的年代，对位法遭到了冷落；而海顿、莫扎特和贝多芬三位大师又让对位在主音音乐和调性对比的基础上向前发展了一大步。到了20世纪，新古典主义的崛起，更提高了对位的地位。作曲家们采用对位构成多调性的音色对比而不是旋律对比。为古尔德所钟爱的作曲家和作品，总的来说都注重对位的运用。莫扎特晚期的作品不像早期那样注意对位，古尔德便这样语出惊人：“莫扎特不是死的太早，而是太晚！”。 对位意味著对比，意味著冲突，意味著矛盾，意味著斗争。而古尔德本人何尝又不是生活在冲突、矛盾、斗争之中！是他，在一个曰益功利化、物质化的社会中，依然放弃了前途无量的舞台生涯；是他，蔑视保守的音乐观，一次次让评论家们瞠目结舌。这是古尔德与社会的抗争，这是古尔德与自我的抗争——最终，都转化为他左手与右手的抗争。 一般的演奏家面对对位稠密的巴赫音乐，明智些的都或多或少的简化它们。古尔德是个左撇子。也许这使他能够更加清晰的把巴赫的低音线条倾吐出来，也使得他能够以与常人不同的角度去理解巴赫的音乐。他敢于也有能力向这座关著吃人米诺牛的迷宫发起冲击。 古尔德为什么能够成为巴赫在20世纪的最佳代言人？也许他们在气质上有许多相似的神韵。 "一个人可以在丰富自己时代的同时并不属于这个时代；他可以向所有时代述说， 因为他不属于任何特定的时代这，是一种对个体主义的最终辩护。他声明，一个人可以创造自己的时间组合，拒绝接受时间规范所强加的任何限制。"古尔德这样评价作曲家理查德·施特劳斯，也许说这是古尔德对自己的评价更恰当些。"他与时代的每一种可能的潮流都背道而驰。" 古尔德这样评价巴赫。这也像是他的自嘲。 巴赫的晚年生活在心灵的孤独中。儿子称他为"老古董"，市民们沉醉于歌剧院里充满卖弄的咏叹调，雇主则用斥责回答他的天才……他无意于开创一个新的世界——他自知这不是他力所能及，这不是上帝给他的使命。他把一切余热用去修补那个即将随他逝去的旧世界，让它与自己一起完美的死去。古尔德的一生也生活在孤独中。无论在舞台上他能得到多少鲜花和掌声，无论他的唱片能买多少万张，他都厌倦，都孤独。因为世界上没有几个人能够完全理解他的哲学，就像世纪初的物理界无法理解爱因斯坦和他的相对论。总之他不属于这个时代。他自称是"最后一个清教徒"——声明自己属于过去。总之他不属于这个时代，他是个没有光环的先知——他属于未来。 |
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| 格伦·古尔德和他的爱犬尼克在一起 | ||||||||||||||||||
| Glenn Gould with his dog, Nick | ||||||||||||||||||
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| 爸爸亲手制作的椅子一直让古尔德爱不释手 | ||||||||||||||||||
| The chair made by Dad has always been cherished by Gould. | ||||||||||||||||||
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| 爸爸亲手制作的椅子一直在录音棚里陪伴着古尔德 | ||||||||||||||||||
| The chair made by Dad himself has been accompanying Gould in the recording studio all along. | ||||||||||||||||||
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| 古尔德左手指挥右手（摄于60年代后期） | ||||||||||||||||||
| Gould was conducting with his left hand while using his right hand for other tasks (photo taken in the late 1960s) | ||||||||||||||||||
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| 格伦·古尔德为《哥德堡变奏曲》精心标注的乐谱完整变化 | ||||||||||||||||||
| Glenn Gould's meticulously annotated score of the "Goldberg Variations" has been completely revised. | ||||||||||||||||||
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| 格伦·古尔德手迹 | ||||||||||||||||||
| Glenn Gould's Autograph | ||||||||||||||||||
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| 格伦·古尔德戴着手套的样子 | ||||||||||||||||||
| Glenn Gould with his gloves | ||||||||||||||||||
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| 古尔德在电视节目中扮演一个虚构的人物——英国指挥“泰斗”尼格尔·特维特-桑维特爵士 | ||||||||||||||||||
| Gould played a fictional character on a TV show - Sir Nigel Twitt-Sandwick, the "giant" of British conductors. | ||||||||||||||||||
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| 1964年1月，古尔德在多伦多大学授予荣誉学位的典礼上发表了演讲 | ||||||||||||||||||
| In January 1964, Gould delivered a speech at the ceremony where honorary degrees were awarded by the University of Toronto. | ||||||||||||||||||
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| 古尔德与伯恩斯坦、斯特拉文斯基在哥伦比亚唱片公司（1960年） | ||||||||||||||||||
| Gould, Bernstein and Stravinsky were on the Columbia Records label (in 1960) | ||||||||||||||||||
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| 格伦·古尔德和科妮莉亚·福斯 | ||||||||||||||||||
| Glenn Gould's Autograph | ||||||||||||||||||
| 格伦·古尔德 1968 年 1 月 6 日的音乐会最后终止 。 | ||||||||||||||||||
| 不久之后，他与指挥家、作曲家兼钢琴家卢卡斯·福斯的妻子科妮莉亚·福斯的长时间通话促成了这段恋情。科妮莉亚原本打算与古尔德结婚。古尔德对她忠心耿耿，关爱有加，性格温和亲切。1968 年的照片显示这对夫妇衣着时髦。他和孩子们喜欢和古尔德的柯利犬玩耍，还会一起外出旅行，但随着时间的推移，古尔德变得越来越多疑。他服用抗抑郁和抗焦虑药物，随意混合服用，而且他日益严重的疑病症和古怪行为愈发严重。当科妮莉亚离开他时，古尔德悲痛欲绝。她和她的孩子们从 1968 年到 1972 年一直与他生活在一起。他再也不会有如此亲密的关系了。 | ||||||||||||||||||
| Glenn Gould’s 1/6 1968 Concert Dropout. | ||||||||||||||||||
| Shortly thereafter, his long phone conversations with Cornelia Foss, the wife of conductor, composer, and pianist Lucas Foss, resulted in an amorous liaison. Cornelia had every intention of marrying Gould. Devoted to her and to her children, Gould was warm and sweet, and caring. Photos from 1968 show a chic couple. He and the children loved romping with Gould’s collie and going on road trips, but as the years passed Gould became increasingly paranoid. He took medications for depression and anxiety, mixing them indiscriminately and his increasing hypochondria and eccentricities intensified. Glenn was devastated when Cornelia left him. She and her children had lived with him from 1968-1972. He would never again have such a close relationship. | ||||||||||||||||||
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| 格伦·古尔德的施坦威牌 CD 318型钢琴，还有古尔德爸爸亲手制作的椅子，放置在他位于多伦多的公寓里。 | ||||||||||||||||||
| Glenn Gould's Steinway CD 318 piano, along with the chair that Gould's father made himself, is placed in his apartment in Toronto. | ||||||||||||||||||
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| 格伦·古尔德 巴赫 《巴赫全集》 | ||||||||||||||||||
| Glenn Gould the Complete Bach Collection | ||||||||||||||||||
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| 格伦·古尔德档案馆《1981 年未发行的录音室现场完整版》 | ||||||||||||||||||
| THE GLENN GOULD ARCHIVES "The Unreleased Complete Live Recording Sessions from 1981" | ||||||||||||||||||
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| 多伦多皇家音乐学院以格伦·古尔德命名的音乐学院 | ||||||||||||||||||
| The Royal Conservatory of Music in Toronto, named after Glenn Gould | ||||||||||||||||||
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Today in the
history of music On October 4, 1982, Glenn Gould passed away due to a cerebral hemorrhage at the age of 50 years and 9 days. In the Evergreen Cemetery in Toronto, a granite tombstone in the shape of a piano was engraved with: Glenn Gould. Glenn Gould (Glenn Gould, September 25, 1932 - October 4, 1982) was a Canadian pianist. He was born in Toronto, Ontario, and graduated from the Royal Conservatory of Music in Toronto. He was renowned for his performances of Bach's works. Gould set his goal to become a pianist at the age of 5, mastered Bach's "Harmonic Suite" Volume 1 at the age of 10, became the youngest graduate of the Royal Conservatory of Music in Toronto at the age of 12, and made his first public performance with the Toronto Symphony Orchestra at the age of 15. In 1955, he became famous in the United States by performing "The Goldberg Variations", and then signed a contract with Columbia Records and recorded this piece. In 1964, he stopped public performances and turned to the recording studio, completing the recordings of all of Bach's piano concertos and the "Harmonic Suite". In 1981, he re-recorded "The Goldberg Variations", and this album became the starting point and endpoint of his career. On October 4, 1982, he passed away due to a cerebral hemorrhage at the age of 50. Today's video: 1. Glenn Gould's "Bach: Goldberg Variations"; 2. Glenn Gould's Legend: Life After Life (in English). |
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| 格伦古尔德原版封面作品集 | ||||||||||||||||||
| Glenn Gould Original Cover Art Collection | ||||||||||||||||||
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| 格伦·古尔德的墓碑，上面刻有《哥德堡变奏曲》的音符 | ||||||||||||||||||
| Glenn Gould’s tombstone, with the Goldberg Variations | ||||||||||||||||||
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古尔德传奇：来世今生(英文) |
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| Gould's Legend: Life After Life and Before | ||||||||||||||||||
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古尔德的时光之旅 顾尔德的时光之旅(台) 古尔德传奇：来世今生 古尔德: 时光之旅 Glenn Gould: Hereafter Glenn Gould: Au delà du temps 古尔德传奇：来世今生(英文) |
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Gould's Journey Through Time Gould's Journey Through Time (TV) Gould's Legend: Life After Life and Before Gould: Journey Through Time Glenn Gould: Hereafter Glenn Gould: Beyond Time |
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| 未得原作者编者授权严禁转载www.mt77.com任何内容 | ||||||||||||||||||
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